Skream
Skream, based in London, helped to pioneer dubstep's dark, pitiless sound, evocative of bleak urban landscapes. Though he reportedly marred his last Seattle performance with some mixing gaffes, Skream is one of dubstep's foremost producers and pioneers. His own productions radiate swarming, stalking bass frequencies and sinister atmospherics infused with soulfulness. How will Skream's chest-caving dubstep seem in Pioneer Square? Odd—but this unlikely setting could enhance Skream's powerfully disorienting selections. (Trinity, 111 Yesler Way, 447-4140. 10 pm, $12 adv/$15 DOS, 21+.) DAVE SEGAL

Telepathe, Nite Jewel, Joey Casio
(Chop Suey) Brooklyn duo Telepathe's beguiling, swirly electro pop conflates Williamsburg boho 'tude with early-'80s synth-wielding and romantic glamstanding. TV on the Radio's David Sitek produced their new album, Dance Mother, which displays more melodic finesse and much tighter rhythms than what Telepathe recently exhibited at Neumos (that show, frankly, was a shambles). Think of them as Gang Gang Dance's more conventional siblings. Another female twosome, L.A.'s Nite Jewel mirror many of Telepathe's dreamy/dance-y tendencies. Their coy, concise electro ditties soundtrack champagne living on Kool-Aid money. The transition from Nite Jewel to Telepathe on Chop Suey's stage will be damn near seamless. DAVE SEGAL

Bat for Lashes, Hecuba
(Crocodile) Bat for Lashes (Natasha Khan) creates lavish goth rock that doesn't irk, a major accomplishment in 2009. Her marvelous voice possesses a well-tempered power and beauty, not unlike Sinéad O'Connor in her prime. Bat for Lashes' latest album, Two Suns, sounds as expensive as a Hollywood blockbuster, but the songs are classically artful and pretty, ripe for Tori Amos's disaffected fan base to embrace. The one time I caught L.A. duo Hecuba (Isabelle Albuquerque and Jon Beasley) on their home turf, they ran through a baffling array of styles, sounding like six different bands in 45 minutes, messing with genres with inspired gusto. Their new mini-album, Paradise, tones down their stylistic promiscuity into sophisticated, subdued electro lieder. It's good, but not as fun as Hecuba's previous Sir EP, with its Raymond Scott/Laurie Anderson shadings. DAVE SEGAL

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