In Up & Coming:

999: Wizard Prison, This Blinding Light, Special Ops

(Josephine) Seattle's This Blinding Light purvey enlightened-brute psych rock that wallows in the fuzzy murk while aspiring for a higher state of consciousness. Their heavy, mantric riffing recalls Spacemen 3 and Loop's earliest recordings (Sound of Confusion, The World in Your Eyes, Heaven's End), which strove to launch the Stooges into deep space. Fellow local envelope-pushers Wizard Prison feature revered sound engineer and recent Data Breaker star Scott Colburn (aka Jabon). They plumb darker, more amorphous depths than TBL, coming off like staunch Nurse with Wound disciples, with a healthy appetite for enigmatic drift and unsettling soundscaping. Wizard Prison's all-gates-open steez makes for some weirdly compelling audio surrealism. DAVE SEGAL

Easy Star All-Stars, Dub Championz, Marmalade

(Neumos) What on earth will the Easy Star All-Stars bring us next, now that they've rendered dub versions of Pink Floyd (Dub Side of the Moon), Radiohead (OK Computer redone as, what else, Radiodread), and now the Beatles (Easy Star's Lonely Hearts Dub Band)? Seriously, they should let the fans vote. I'm rooting for Another Green World, which they won't even have to change the title of. Dub Band is the least of their three redubbing-the-classics trilogy, but it does contain a few nice moments, such as Sugar Minott's craggy "When I'm Sixty-Four" and especially the ska-flavored "She's Leaving Home," sung by Kirsty Rock. MICHAELANGELO MATOS

Widower, Shane Tutmarc, the Weight, Country Lips

(Comet) There's no shortage of half-assed singer-songwriters hoping to be the next Gram Parsons or Bob Dylan. Though cut from the Americana cloth, the Weight openly condemn the weekend-warrior acoustic-guitar slinger. And with good reason—their 2004 album Ten Mile Grace was an earnest gut-wrenching affair, a surprisingly sincere country album made by punks that sounds more KMPS than KEXP. But with frontman Joseph Plunket's recent relocation from the Deep South to Brooklyn, there is reason to fear the band might've lost their twang, drawl, and unvarnished authentic charm. Sure enough, their latest album, The Weight Are Men, isn't quite the sad Southern jukebox collection of their debut, but it still comes across as far more genuine than your average faux-folk indie act. BRIAN COOK

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