Maps & Atlases, the Weeknd, Jimmy Cliff, and more

Three men and a beardy
courtesy of the artists

Maps & Atlases

Amsterdam Bar & Hall, Tuesday 6.19

Over the course of their two full-lengths and numerous EPs, the Chicago quartet Maps & Atlases have crafted an intricate, textured experimentalism that hovers comfortably between art pop and expansive, angular rock 'n' roll. Their inventive new album, Beware and Be Grateful, is a more accessible collection of songs, while still maintaining a buoyant, creative edge. Maps & Atlases' absorbing live shows consistently showcase the dexterous talents of all four members, who smoothly blend each of their distinct, ambitious sounds to further each song's unconventional aims and directions. This show represents one of the bigger national indie-rock bookings for Amsterdam, which should provide the perfect room. With the Big Sleep and Suns. 18+, $10-$12, 7 p.m. 6 W. Sixth St., St. Paul; 612.285.3112. —Erik Thompson

The Flatlanders/Jason Eady

Cedar Cultural Center, Wednesday 6.13

This is being billed as the 40th anniversary tour of the Flatlanders. Back in 1972, Lubbock buddies Jimmie Dale Gilmore, Joe Ely, and Butch Hancock got together, recorded an album at Nashville's Sun Studios, and promptly saw it essentially evaporate. The few copies of its eight-track-only release mostly disappeared into truck-stop discount bins. The trio scattered, eventually establishing themselves individually as superb Texas songsmiths and artistically hip cult faves: Ely, the roots rocker; Hancock, the country/folk philosopher; Gilmore, the existential cosmic cowboy. Two decades after its recording, that first album was re-released as More a Legend Than a Band. It was another decade before the Flatlanders recorded their second, Now Again. On 2009's Hills and Valleys, the tres amigos mixed reflections on hard times with rousing honky-tonkers, still tapping that potent wind-whipped West Texas elixir that spawned three legends and a band. Opening will be Texas singer-songwriter Jason Eady, who has dabbled with blues, gospel, and various Americana styles, but whose latest is a solid dose of classic country called AM Country Heaven. $29-$31. 7:30 p.m. 416 Cedar Ave. S., Minneapolis; 612.338.2674. —Rick Mason

Peter Wolf Crier

Triple Rock Social Club, Wednesday 6.13

After a brief foray into trio-land, local-boys-made-good Peter Wolf Crier are once again operating as a daring duo, pared back down to founding members Peter Pisano (vocals/guitar) and Brian Moen (drums/synthesizers). Erecting a surprisingly giant wall of sound for a two-piece, the band returns home briefly tonight fresh off a well-received overseas run that included a coveted slot at Barcelona's Primavera Sound Festival. Recent performances have found the pair jamming out and deconstructing the prickly distorted folk-rock tunes on their dense sophomore album, Garden of Arms, so be prepared for delightful detours from PWC's recorded sound. In a nice nod to the working man, tonight's show kicks off early and features bargain-basement merchandise prices, with music starting sharply at 8:30 and all PWC CDs and shirts running just $7. With Prissy Clerks and the Blind Shake. 18+, $7, 8 p.m., 629 Cedar Ave., Minneapolis; 612.333.7399. —Rob Van Alstyne

Céu & Curumin

Dakota Bar & Grill, Friday 6.15

On her first two albums, São Paulo singer Céu enchanted listeners by slipping her deliciously sly and supple voice around languid bossas and sambas subtly updated with touches of electronica, reggae, trip-hop, jazz, and pop. But on her new Caravana Sereia Bloom, produced by Gui Amabis, Céu is far more eclectic, her repertoire inspired by a metaphoric journey around Brazil and the Caribbean, assimilating influences and reaching back to the expansive philosophy of psychedelic-era Tropicália. She particularly taps northeastern Brazil's potent musical crucible for elements of baião, maracatu, and mangue, as well as Jamaica and a pan-Latin array of styles that only begins with merengue, cumbia, and chica, all woven into tracks that sidle and sashay from sizzling Carnaval to cool Ipanema. "You Won't Regret It," one of three tunes sung in English, is a vintage Lloyd Robinson/Glen Brown rocksteady song that Céu also laces with New Orleans spirit, from her vocal phrasing to the splashes of trumpet and tuba. Another, "Streets Bloom," is a seductive dose of noir-funk accented by programmed steel pan. Also along on tour is fellow São Paulo resident Curumin, a drummer, singer, and composer who plays on some Caravana tracks and has a new album of his own titled Arrocha. $45. 7 p.m. 1010 Nicollet Mall, Minneapolis; 612.332.1010. —Rick Mason

Jimmy Cliff

Minnesota Zoo Amphitheatre, Saturday 6.16

Rock and Roll Hall of Famer Jimmy Cliff launched his career in Jamaica around the time ska was evolving into reggae, and his music still contains elements of ska, calypso, pop, and R&B. But Cliff, through his association with Chris Blackwell's Island label, was the first to introduce reggae to many audiences outside Jamaica, including Britain, Brazil, Africa, and the U.S., initially via his early hits and compositions, then thanks to the landmark reggae film The Harder They Come. Cliff not only starred in the 1972 film, he also dominated the excellent soundtrack with songs that remain indelible classics: "You Can Get It If You Really Want," "Sitting in Limbo," "Many Rivers to Cross," along with the title track. Cliff's subsequent career never reached the heights of Bob Marley's, but over the years he's remained a solid and often inspirational artist, and recent tours have earned rave reviews, including this spring at Coachella and his performance with Bruce Springsteen at SXSW. A new album has been pending for several years. But last year he issued an EP, Sacred Fire, which sported covers of the Clash's "Guns of Brixton" and Bob Dylan's "A Hard Rain's A-Gonna Fall." $41. 7:30 p.m. 13000 Zoo Boulevard, Apple Valley; 800.745.3000. —Rick Mason

Rock the Garden


Walker Art Center, Saturday 6.16

The 10th installment of Rock the Garden, the Walker Art Center and 89.3 the Current's yearly outdoor music festival, has a distinctly local feel. Although the evening's final performance belongs to Brooklyn-based the Hold Steady, these Americana punks should spill plenty of Twin Cities blood on their guitar strings. Expect them to try out some of the new songs they're recording this summer. Filling things out are bluegrass-inflected folk act Trampled by Turtles, hip-hop supergroup Doomtree, and buzzed-about surf-rock act Howler, who all have Minnesota ties wrapped around them, but have all recently gained notoriety for their live prowess around the globe. The one complete out-of-towner is the oh-so-colorful Merrill Garbus, a.k.a. tUnE-yArDs. Last year's w h o k i l l proved to not only be a favorite among critics — it topped the Village Voice's Pazz & Jop poll — but its eclectic mix of pop, hip-hop beats, and worldly textures has revved up area fans whenever Garbus comes through town. Sold out, 3 p.m. 1750 Hennepin Ave., Minneapolis; 612.375.7600. —Reed Fischer

The Weeknd

First Avenue, Sunday 6.17

Over the course of three brilliant free albums (House of Balloons, Thursday, and Echoes of Silence) released last year, singer Abel Tesfaye pushes the tropes of modern R&B off a cliff into an irresistible oblivion of recreational drugs and callous come-ons. Dark and alluring in ways that this style of music has been hurting for, the Weeknd's world of glass table girls and faded miasma slows tracks to a seductive pace that's both melodically and conceptually engaging. The buzz caught like wildfire, despite a low profile and a shroud of mystery (no one had even seen a picture of the singer or producers initially, and there remains but a handful of shows under their belt) that manages to make the music itself all the more creepy and sexy. The Weeknd's first international tour stops by First Avenue on Sunday for a glimpse into the seedy world as Tesfaye sees it. 18+, $30, 8:30 p.m. 701 First Ave. N., Minneapolis, 612.332.1775. —Jack Spencer


Triple Rock Social Club, Monday 6.18

English sisters Colette and Hannah Thurlow formed 2:54 in London shortly after discovering modern punk music while in their teens. The buzz over their initial demos quickly landed them some notable praise on both sides of the pond, and the girls have capitalized on that early attention, crafting edgy, atmospheric rock songs that make their self-titled debut record a fresh burst of vibrant energy. The duo have added a rhythm section to help flesh out their sound in a live setting, and even landed a coveted opening slot on one of the XX's new tour dates in their native England. Expectations are building around the Twin Cities as local fans wonder if 2:54's live show justifies all of the hype, but with songs as striking as theirs, the Thurlow sisters should have little trouble further convincing fans of their talents while converting the skeptics. With Widowspeak. 18+, 8 p.m., $10, 629 Cedar Ave., Minneapolis; 612.333.7399. —Erik Thompson

Baby Dee

Bryant-Lake Bowl, Monday 6.18

Baby Dee is a fiftysomething pianist, harpist, songwriter, transsexual, former church organist, and ex-circus attraction from Cleveland, whose résumé also includes New York City street performer and tree surgeon. Dee had to give up the latter line of work when one of the patients fell on a house, but soon after went out on another limb, playing harp for Antony and the Johnsons and launching a recording career that last year yielded a kind of greatest-hits live album (Baby Dee Goes Down to Amsterdam) and Regifted Light, mostly classically inspired instrumentals played on a Steinway concert grand. From alternately sparkling and melodramatic Regifted ditties like "Coughing Up Cat Hair," it's obvious Dee is not your average classically trained, campy medievalist who favors cabaret, flirts with outsider/avant-garde expression, and once reportedly had a gig as an hermaphrodite. Dee also can juxtapose a lovely, elegant ragtime-etched instrumental with a comically nasty ode to incontinence and quite serious tales of domestic abuse. Dee's singing is a curious blend of Antony Hegarty, way-off-off Broadway, Tiny Tim, ancient court jester, and some blues guy turned to light opera, all of which seem to surface on "The Pie Song," a Regifted vocal number on which Dee repeatedly demands a pastry treat. Which you're likely to get, in one form or another, at Dee's performance. $8-$10. 10 p.m. 810 West Lake St., Minneapolis; 612.825.8949. —Rick Mason

The Men


7th St. Entry, Monday 6.18

New York quartet the Men have made a short career out of boldly blending disparate genres and subverting various musical styles within their raucous, unrestrained material. Over the course of three full-lengths and countless cassettes and singles, the young group seamlessly bounces from black metal to country to psych and surf rock, refusing to be pinned down by any particular classification while audaciously defying expectations. They have had a strict DIY aesthetic from the start, self-releasing much of their music until the buzz started to build, and signing to Sacred Bones Records did little to dampen things. With Buildings and Stereo Confusion. 18+. $10. 8 p.m. 701 First Ave. N., Minneapolis; 612.332.1775. —Erik Thompson


7th St. Entry, Tuesday 6.19

The high-octane punk quintet Ceremony rolled out of Rohnert Park, California, in the middle of the past decade and quickly set the music scene ablaze with their incendiary sound. The group recently left behind their faithful, longtime label, Bridge 9, in favor of indie stalwart Matador Records, which released the band's potent new album, Zoo, a fiery collection of clean, cohesive punk-rock songs. Ross Farrar's sneering vocals are reminiscent of the raw fury of Johnny Rotten, just with more urgent contemporary concerns than the Queen, while the crisp, angular guitars that churn at the heart of Ceremony's turbulent songs contain plenty of echoes of Wire's most volatile material. With White Lung and Much Worse. All Ages, $10, 5 p.m., 701 First Ave. N., Minneapolis; 612.332.1775. —Erik Thompson


7th St. Entry, Tuesday 6.19

With Wolf Parade on indefinite hiatus, and Sunset Rubdown appearing to be a temporary, one-off diversion, Spencer Krug has shifted his focus, at least for the time being, to his one-man, keyboard-driven experimental project Moonface. For the rather excellent new Moonface album, Heartbreaking Bravery, Krug hooked up with his old friends in the Helsinki band Siinai, who helped give his material an added texture and depth that was lacking a bit in the earlier Moonface efforts. The results are highly charged melodic explosions of sound tempered with the despair hinted at in the album's title, with Krug's rich vocals blending fluidly with the dynamic pulse added by Siinai. Hopefully, Krug brings his new collaborators with him on this tour, but either way it will be nice to hear Spencer sing his anguished songs once again. 18+. $10-$12 door. 10 p.m. 701 First Ave. N., Minneapolis; 612.332.1775. —Erik Thompson

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