Turf Club

In grunge's wake, Sub Pop now rarely releases music that recalls the Seattle label's heyday. And even though they don't have the same bass-heavy, plaid-clad mystique, Obits reflect the same energy that once fueled the label's phenomenal roster. With a sound reminiscent of the tinny, under-produced alternative (when "alternative" meant an actual alternative to the mainstream) bands that inspired the indie rock of the '90s, Obits deliver a four-part reflection of what some might refer to as modern rock's heyday. And when figuring the band members' history into the equation, it's no wonder why Obits sound the way they do. With musicians from bands such as Hot Snakes, Drive Like Jehu, Shortstack, and Edsel, it seems like Obits' only choice was to sound like a garage-punk band—and a great garage-punk band, at that. With Chicago's Disappears and locals the Dynamiters. 21+. $8. 9 p.m. 1601 University Ave. W., St. Paul; 651.647.0486. —Chris DeLine


The Dead Weather

First Avenue

Fall in line with Foreign Born
Fall in line with Foreign Born

Supergroup the Dead Weather, featuring members of Queens of the Stone Age (Dean Fertita), the Kills (Alisson Mosshart), the White Stripes (Jack White) and the Greenhornes (Jack Lawrence), immediately captured the interest of music fans by releasing their first single alongside a cover of Gary Numan's "Are Friends Electric?," both lending a raspy blues influence to a sonic parade. Having now released a full-length debut, Horehound, the Dead Weather are escaping criticisms that they're a hasty side project, and becoming a unique outlet for each of the musicians to experiment with a new sound. The album does little to represent a culmination of the band members' typical efforts, however, as it takes on a sludgy, gritty sound that swells over the course of Horehound's 11 tracks. With a few successful shows already under their belt, the Dead Weather are becoming a powerhouse that stands to add a new depth to each of its superstars' résumés. 18+. $30. 7 p.m. 701 First Ave. N., Minneapolis; 612.332.1775. —Chris DeLine


Sad Accordions

Big V's

Sad Accordions may not be as downtrodden as their name suggests, but they do seem haunted by their surroundings. In "Mousetrap," Seth Woods sings, "I love you 'cause you lock the door," repeating the phrase until it slowly builds into desperate screaming. The song becomes an exercise in emotional elasticity—until the rubber band breaks and everything is at least quiet again, if not okay. Similarly, "Bottomless" sounds like the band is mourning a daydream that doesn't end the right way. Vocals linger above the luring soft static, while simple drum beats echo in reverb, steering listeners toward alleyways with unknown exits. If Sad Accordions are perplexed by the mysteries of daily life, they choose to cope by drowning their worries in lush tones and acceptance, and planting beauty above the question-mark gravestones. With the Dee Use, Eye of the Great Protector, Small White, and Knickbit. 21+. $5. 8 p.m. 1567 University Ave. W., St. Paul; 651.645.8472. —Erin Roof

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