Holy hot shit, music fan, where are you gonna go tonight?

Bun B of the Underground Kingz is at Neumo’s with Framework and D.Black. Here’s and excerpt of Sam Mickens’ UGK piece in this week’s music section:

Unlike today’s cred-flaunting hardcore rap stars, the legitimacy and volume of UGK’s personal criminal activities were never as important as the eloquence and honesty they instilled in their work. They were artists, after all, some of the greatest-ever purveyors of hiphop as folk music; over the years their content remained a tight-focused account of the good and ills of their lifestyles, their peers, and their neighborhoods, while the form of their output continued to progress. Pimp C’s production, both men’s lyricism, as well as the other musical elements they integrated into the ever-self-definitive UGK sound, moved prodigiously with the times, while never overstepping the core aesthetic or hard-bitten quality control of the group.

Read the whole thing here.

This show gets a little extra love—Larry Mizell sings Framework’s praises in this week’s My Philosophy:

So I know you’re already planning on seeing you some Bun B on Friday, April 4, but the real story is who’s opening up for this Dyme Def–hosted shindig: none other than D.Black (currently goin’ hard in the studio) and Framework. That’s right, true believers, ya boy Framework rocking the Neumo’s stage. Frame’s 2005 album, Hello World, was an indisputable local classic (shit, the ads for it at the time even said that)—a nerves-of-steel South End street opera over some of BeanOne’s finest production to date.

Ghostland Observatory are playing a sold out show at the Showbox at the Market. In this week’s paper, Eric Grandy gave the band’s new album a 1/2 star. Buuuurn.

That the Austin duo can pull back-to-back nights at the Showbox, consecutive years at Sasquatch!, and a top-10 ranking on KEXP’s charts just proves the hideous power of the bell curve and everything your mom ever told you about life not being fair. This is dance music for the mediocre hump—robot rock for the flyover states. You remember that commercial where the real, authentic cowboys can’t believe you’d eat salsa that was made in NEW YORK CITY!? Well, this is like that: Why the hell would you eat Ghostland Observatory’s mild Texan electroclash when you can just as easily get the real thing?

From this week’s Up & Comings:

Das Llamas, Black Whale, Counselor
(Jules Maes) I’m definitely curious to check in on Das Llamas in a live setting. They just wrapped up recording a new slew of songs for an unspecified future release and apparently the new material is pretty sharp. Word on the street states that the eight new songs continue the angular and agitated spirit of their previous recordings, pairing four-on-the-floor drumbeats and jarring guitar hooks that bring to mind bands like Brainiac or Monorchid. Opening the show is the suitably matched postpunk/goth racket of Bellingham’s Counselor. This band combination would lead to an evening of Factory Records–inspired skronk and moan if not for the addition of shimmering pop melodies provided by Black Whale. BRIAN COOK

Orgone, Funkscribe’s Family Affair, DJ Colin
(Nectar) Orgone’s 2007 debut, The Killion Floor, is yet another superfluous chapter in the deep-funk revival. Comprising ace session players from Los Angeles, Orgone know how to crank out excellent tones and grooves full of crunchy guitar licks and snappy drum patterns. But for all of their improvisational strengths, the band can’t seem to focus on writing a memorable song, instrumental or otherwise. (An exception is Noelle Scaggs’s disco-funk delight “Dialed Up.”) And you can tell what’s missing from these wonkish jam sessions when they cover a truly great funk track, like KC and the Sunshine Band’s “I Get Lifted.” Give Orgone credit, though: Their concerts make for great dance parties. With the audience pushing them on, the band stack up one tight groove after another, producing hot sparks that are more impressive than their recorded material. MOSI REEVES

Switch, Fourcolorzack, Pretty Titty
(War Room) The only path to redemption for a producer like Switch, whose technical DJ skills don’t quite match up to his studio acumen, is to overshadow his shortcomings behind the decks with great track selection. Luckily, the UK producer’s catalog is deep enough that he can play a set almost exclusively of his own material and still deliver handily in that regard, his tracks willing even the haughtiest critics to dance over the rough spots in the mix. He was last here in 2007 for Decibel Festival’s crazed opening-night party, and tonight Sing Sing’s beer-swilling, stage-swarming audience should bring out the best in Switch’s abilities. DONTE PARKS

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