From Up & Coming:

Built to Spill, Disco Doom, Finn Riggins

(Showbox at the Market) Built to Spill's recent performances—whether revisiting the entirety of Perfect from Now On or structuring their set lists based on their fans' requests—have found the indie veterans dwelling on their back catalog. So if you've seen the band in the last 18 months, you've probably caught an uncharacteristically nostalgic angle of Doug Martsch and company. It's unfortunate—while Ancient Melodies of the Future and You in Reverse have yet to achieve the cult status of their early albums, it doesn't mean they're not incredible records. With last month's release of their seventh studio full-length, There Is No Enemy, it's likely the majority of tonight's set will feature newer material. And that should be every bit as exciting as hearing the band play "Car" again. BRIAN COOK

Mount Eerie, Cars & Trains, Naomi Punk, Secret Colors

(UW HUB) Tonight, the UW's student-run, web-only radio station RainyDawg Radio (KEXP and KUOW use up all of the university's actual airwave allotment) hosts its third annual local-music showcase. Headlining is Anacortes's Mount Eerie (aka Phil Elverum), whose latest album, Wind's Poem, finds Elverum using slow, muddy metal riffing as almost ambient backdrops for his usual soft-edged singing. Opening is Seattle act Secret Colors (aka Matt Lawson), whose latest release, Infinite Wandering, is straight-up ambient, no riffing about it. In between are Portland one-man band Cars & Trains, who accents singer-songwriter acoustics with twee, twitchy electronic touches, and locals Naomi Punk, who play slo-mo, sun-bleached rock with the vocals reverberating in from way back in the mix. ERIC GRANDY

Girls Rock! Benefit: Goodness, the Redwood Plan, Eighteen Individual Eyes, Alicia Dara

(High Dive) An invaluable defense against the ever-present sexism of the music business and the world in general, Girls Rock! is the nonprofit devoted to "building positive self-esteem in girls and encouraging creative expression through music." Tonight's benefit helps guarantee the continuance of the Girls Rock! mission—including the legendary Rock 'n' Roll Camp for Girls—and features a quartet of femme-powered acts, from Lilith-friendly folk pop (Carrie Akre's Goodness, Alicia Dara) to post-riot-grrrl-y spike pop (Lesli Wood's the Redwood Plan, Eighteen Individual Eyes). DAVID SCHMADER

Android Hero, Lozen, Madraso, Dog Shredder

(Sunset) Though the name is new, Dog Shredder are essentially the continuation of defunct Bellingham trio Cicadas. Aside from a new bass player and moniker, the gist is pretty much the same: They aim to play the most blaring, technical, breakneck instrumental thrash you've ever heard. Though sheer musicianship is at the forefront, Dog Shredder are more than just a group of guys who excel at their instruments—they're striving to write monumental prog masterpieces, and their chops and their intentions work together most harmoniously. They've recently added the raddest prog song of all time, Yes's "Heart of the Sunrise," to their repertoire. Dog Shredder possess that rare combination of lofty ambitions and phenomenal skill that is downright unfuckwithable. JEFF KIRBY

Eek-A-Mouse

(Neumos) Bong bong bitty bong bong. The ganja smuggler himself, roots superstar Eek-A-Mouse, is here to stay. Reggae fans worldwide have loved the Mouse's comic, OG singjay stylings since he first hit in 1980—particularly in live settings, where his six-foot-six frame, lunatic toasting, and gift for hilariously inventive gibberish (even by reggae standards) can charm the hemp pants off of any crowd. Eek's sharp storytelling can be heard in the classic "Ganja Smuggling," which details that job's unglamorous lifestyle, or the wondrous "Peeni Walli," the touching story of a man getting hit by a motorcycle. Beyond all that, the Mouse is a cultural innovator: Internets sensation Reh Dogg bit his entire uncomfortable steez from Eek's epically awesome "Schizophrenic" video. Wa-Do-Dem. LARRY MIZELL JR.

Jazzanova, SunTzu Sound, DJ Riz, DJ Struggle & D'Jeronimo

(Chop Suey) We cannot separate Berlin's Jazzonova from the '90s (the group formed in 1995) in the same way that we cannot separate Kruder & Dorfmeister from that time. Personally, I have always experienced their music as a kind of beat-tourism. Their tracks transport me to a variety of places and situations. For example, the dubby "Bohemian Sunset" is set in the tropics, with its passionate birds and restless reptiles. The broken beats of "No Use" take me to an urban club that features a soul singer from one of America's northern cities. "Introspection" ushers me to the underground of an even larger and more mysterious city. As for the group's masterpiece, "Coffee Talk," I'm transported to a whole other planet, namely Venus, with its warm mists and velvety skies. Each place I visit, I always find the ground of a fresh beat that has either a hint of hiphop or a touch of bossa nova. CHARLES MUDEDE

Wolfmother, Thenewno2, Heartless Bastards

(Paramount) Borrowing from early rock giants is a tricky task. Nods to guitar titans like Blue Cheer and Deep Purple can earn you points with the old guard, pop-culture historians, and music nerds, but the not-so-subtle referencing can render you a novelty act—a band with a great record collection, but one lacking any concept of what's relevant in the present age. Wolfmother are a perfect example. Their vintage pre-metal groove is solid, but the context is troubling. These kinds of songs don't pose the same threat they did 30 years ago, rendering their more visceral attributes inert. But perhaps they're merely aiming to be a pop band with a little classic-rock grit, in which case they're better off selling their albums at Starbucks. BRIAN COOK

Kids and Animals, New Faces, Black Whales, Conservative Dad, Colonies, Post Harbor

(Vera) Tonight's show is a release party for both Kids and Animals and Conservative Dad. For the past year, Conservative Dad have been experimenting with their sound and releasing quarterly EPs of the results, from heavier rock to catchy pop; tonight they issue the last EP of the year. Kids and Animals still have a lot of growing up to do, but their self-titled debut shows promise. Their youth is apparent in the silly lyrics of songs like "46th Street" and there are obvious nods throughout the record to Lonesome Crowded West—era Modest Mouse, but they're also obviously competent musicians; they haven't picked a bad muse. Once they find their own direction, K&A have the potential to be an indie-rock force of their own. MEGAN SELING

And there's always more in our complete music calendar listings