Music A-List

Certain priveleges attach to the wearer of the Pinback jumpsuit

Certain priveleges attach to the wearer of the Pinback jumpsuit


Fine Line Music Café

Rob Crow and Armistead Burwell "Zack" Smith IV are at the core of a rotating group of musicians who operate under the moniker of Pinback, purveyors of some of the most complex, postmodern-yet-straightforward indie rock of the new century. Delicate and detailed, yet broad in scope, Pinback's reserved, autumnal sound fits nicely with their brooding, soul-searching words. Pinback's lyrics feel personal and reflective, but, as with any band worth its salt, open-ended enough that they invite listeners to interpret them as they see fit and let them think for themselves. With Frightened Rabbit. 18+. $13/$15 at the door. 8:00 p.m. 318 First Ave. N., Minneapolis; 612.338.8100. —Pat O'Brien


Shout Out Louds
Fine Line Music Café

"Tonight I Have to Leave It," the opening track on the Shout Out Louds' latest release, Our Ill Wills, sounds like it could have been a B-side from the Cure's 1985 album The Head on the Door. The buoyant tune bears a striking resemblance to Robert Smith and company's "In Between Days," thanks to the swift strumming of the acoustic guitars and the vocals of Adam Olenus, who sounds so much like Smith that even kinfolk would have difficulty distinguishing between the two. While there are numerous other references to Door scattered throughout Wills, the Swedish indie-pop quintet has somehow managed to create a delightful album, despite how obviously derivative it is. 18+. $12/$15 at the door. 8:00 p.m. 318 First Ave. N., Minneapolis; 612.338.8100. —Jon Solomon


Disco Biscuits
First Avenue

As much as the term may scream cliché, "jam band" has come to represent a springboard from which imaginative artists can create progressive variations on the vocabulary popularized by the likes of Phish and the Dead. Formed 10 years ago in typical fashion—on the campus of Philadelphia's U Penn as a frat-house-haunting regular—Disco Biscuits stick closer to the fence, managing to expand jam-band vocabulary while remaining faithful to it. The Biscuits fire on all cylinders when they step away almost entirely and land with both feet in their own rather soulful brand of rock. Fans and newcomers can revel in both faces of the Disco Biscuits on not one but two just-released live albums, both of which demonstrate the Biscuits' penchant for slow-building atmospheres and solid rock song structure...even as they tear it to shreds. 18+. $16/$18 at the door. 8:00 p.m. 701 First Ave. N., Minneapolis; 612.332.1775. —Saby Reyes-Kulkarni

SUNDAY 10.21

7th St. Entry

The Raveonettes were created with strict rules in mind. All the music on their first release, Whip It On, was written in B flat minor, using no more than three chords for each track. The guitars and amps are all Fenders. The look: '50s film noir. The sound: Phil Spector harmonies, with Jesus and Mary Chain supermuff guitar scuzz. Initially, the blueprint seemed to be paying off. Whip It On stirred up enough buzz to get the band signed to Columbia Records. But after milking and manipulating the formula on a couple of modestly performing full-lengths, the Danish duo have relaxed their self-imposed restrictions and opened up their palette. Touring in support of their upcoming release Lust, Lust, Lust (due out in Europe November 5), expect a heavy dose of new material along with darkly tinged favorites like "Attack of the Ghostriders" and "Love in a Trashcan." With Nicole Atkins and the Sea & Gliss. $15. 8:00 p.m. 701 First Ave. N., Minneapolis; 612.332.1775. —Christopher Matthew Jensen

High on Fire
First Avenue

High on Fire play no-frills, denim-and-leather metal with fundamentalist zeal, an anachronism among extreme music's endless taxonomy of death, technical death, black, progressive black, doom, avant-doom, grind and/or metalcore. Guitarist Matt Pike's droning power-chord riffs, ornamented by slash-and-burn solos, are left over from his former band, the stoner/doom legends Sleep. Combined with the alternately tribal and martial rhythm section, the riffs rise to heights of incantatory phantasmagoria populated by yetis, demon armies, dragons, and Vikings. It all sounds silly, but the band's three albums (The Art of Self Defense, Surrounded by Thieves, and last year's Blessed Black Wings) hint at a coherent, if cryptic, personal mythology more than adolescent power fantasies. $13/$15 at the door. 8:00 p.m. 701 First Ave. N., Minneapolis; 612.332.1775. —Matthew Everett

MONDAY 10.22

Mount Eerie
First Amendment Arts

What is Phil Elverum running away from? Or: What has he run away from? A decade deep into a successful, accelerating indie career as the Microphones' sole constant member, the Anacortes, Washington-based musician/producer simply pulled the plug. Just like that: No more gray, lilting horrific/sensuous absurdities, thermonuclear thrashers, or collaborator-crammed concept albums about death. Instead, Elverum rechristened himself Mount Eerie and made like Dave Eggers after Might folded: He hung out his own label shingle, P.W. Elverum & Sun, Ltd, so he could issue books, 7-inch singles, and other odd sundries by friends and family members when not producing others or embarking on marathon tours to promote releases you're unlikely to find outside of his website. No Flashlight—Mount Eerie's 2005 debut—imploded everything that made Microphones so affecting, knocking Elverum from the underground radar. Our hypothesis: Dude couldn't stand the limelight and beat a hasty retreat into the shadows. Who can blame the guy? Production gigs and these train-wreck solo jaunts probably pay the bills, plus no one can take that amazing back catalog away from him. All ages. $7. 7:00 p.m. 1101 Stinson Blvd., Minneapolis; 612.379.4151. —Ray Cummings


Do Make Say Think
Varsity Theater

You, You're a History in Rust, the fifth studio album from Canadian instrumental experimentalists Do Make Say Think, opens with a sparse conversation between drums and piano, as if signaling the morning and calling the rest of the band to rise from its slumber. Gentle horns and woodwinds follow and slowly rise as though they're following the dawn. Once everyone seems to be in place, a lightly fingerpicked acoustic guitar introduces the first theme of the meandering, seven-minute "Bound to Be That Way." Like Do Make Say Think's previous albums, Rust features dual drum kits, which focus on melody as much as any of the traditionally tonal instruments. But the album also incorporates more well-thought-out arrangements, along with sparse vocal passages (courtesy of Akron/Family and Alex Lukashevsky), which shows that Do Make Say Think is not interested in resting on its laurels—even if said laurels have always been cinematic, complex, and unexpected. 18+. $13/$15 at the door. 7:00 p.m.1308 Fourth St. SE, Minneapolis; 612.604.0222. —Shae Moseley

Zap Mama
Fine Line Music Café

Zap Mama has undergone a dramatic evolution since its initial incarnation as an all-female a cappella quintet that knit a heady mix of African and European music together. It soon became evident that the group's galvanizing force was Marie Daulne, raised in Europe, the daughter of a Belgian father and Congolese mother, whose great epiphany occurred when, as a young adult, she became reacquainted with music of the pygmies she had heard as a child. Now Zap Mama is Daulne and whoever she surrounds herself with, which on her latest, Supermoon (Heads Up), is an international multitude including high-profile cameos from the likes of Meshell Ndegeocello, Michael Franti, and even David Gilmore, whose chunky guitar chords drive the electro-funk scorcher "Toma Taboo." Which brings up the other Zap Mama trend: Even though Supermoon, like other recent albums, is an often-exhilarating feast of cross-cultural elements ranging from the heart of Africa to Miles-ian jazz and the Caribbean, the overall fabric is a contemporary sheen of R&B/funk. Not that there's anything wrong with that, as Seinfeld said. $24/$26 at the door. 7:00 p.m. 318 First Ave. N., Minneapolis; 612.338.8100. —Rick Mason