Tonight's Healthy Times Fun Club line-up is a solid one. Not only are crass local favorites Butts playing, but the Terrordactyls and Consignment are also in on the, uh, "fun." Portland band Besties round out the roster, and while they may not be too well-known this side of the state line (Mercury readers might know better), they certainly deserve to be.

Besties is the side-project of Orca Team's Leif Anders, and trades in a similarly retro-soaked sound (in Orca Team, Anders shreds on bass; in Besties, he plays guitar). Anders, along with cohorts Cody Seals (drums) and Sarah Proctor (bass), doles out beguiling pop ditties with a much surfier bent than Orca Team's demure jams. At times, Besties sound like the lovestruck musings of an ambrosia-drunk Joe Meek, and the liner notes to their No Friends cassette crack wise about the band's sonic proximity to pop and surf greats of yore ("thanks to everyone who comes to shows and tells us we sound like another band").

If you're not yet sold on Besties, have a listen to this live recording from a 2010 set they played at all-ages venue the Artistery, which was, unfortunately, recently shuttered:

Show tonight starts at 8 PM, donations (probably $5) accepted at the door.

Gadi Mizrahi, Pezzner, Deepvibez

(Electric Tea Garden) Brooklyn DJ/producer Gadi Mizrahi—co-boss of the burgeoning Wolf + Lamb label—has fostered a suave strain of tech-house that's as stripped down as it is elegant. At his much-loved "Marcy Hotel" underground dance parties (which he's transported to club meccas like London's Fabric and Berlin's Watergate), Mizrahi's championed excellent like-minded artists such as Seth Troxler, Lee Curtiss, and Nicolas Jaar. "The idea behind these parties... is intimacy," Mizrahi told Miami New Times. "The music that's played there is usually deeper than you'll hear in a club." Locals Pezzner and Deepvibez should ideally complement Mizrahi's set with their own sleek, sensual takes on tech-house. The promoters for this show should hand out prophylactics at the door. DAVE SEGAL

See Data Breaker.

RIPYNT - "Off This Cloud" - Headlock Muzak by Pale Soul

Fatal Lucciauno, the Absolute Monarchs, NighTraiN, Ripynt

(Comet) I try my best to catch everything that deserves attention and words of praise, but always something, somehow, someway manages to pass through the holes of my net. One such thing was Ripynt's 2009 album RIP: Re-Inventing Poetics, a full, direct, and charged work of Everett hiphop. Indeed, the album contains much of the same raw energy, at the level of the beats and raps, that made Framework's 2005 album Hello Worlda local classic. How in the world did I miss RIP? Maybe it was eclipsed by the year it appeared, 2009, the incredible year of Go! Machine and Shabazz Palaces. Whatever the case, I will not let Ripynt's next album pass me in silence. CHARLES MUDEDE

Say Hi, the Globes, Cataldo

(Neumos) Of course, tonight is all about Say Hi, who are celebrating the release of their seventh full-length, Um, Uh Oh (which is great). But this evening's show is also a chance to congratulate opening local band the Globes, who signed to Barsuk Records last October. It's easy to see why Barsuk scooped them up—their most recent EP, Sinter Songs, would impress fans of Menomena with its layers of wiry, haunting guitar work and echoing, dark vocals. But the Globes have proved in the past, on their self-titled EP, that they can also write striking indie-pop songs with big guitar riffs and memorable choruses. It's hard to decide which they do better, though, so let's hope they'll showcase both sides of their music repertoire on their debut full-length, due out this spring. MEGAN SELING See also album review.

Interpol, School of Seven Bells

(Showbox Sodo) I can distinctly remember the first time I heard Interpol. There was no outcry of Joy Division plagiarism (sorry, dudes, aside from the voice, I'm still not hearing it), no visual component to the band (the suits, the hair, DUDES, WHY THE HAIR?), just the bold, alluring cover of Turn on the Bright Lights and the hypnotic spin of "Untitled" and me at a listening station in the otherwise lifeless University District Cellophane Square (RIP). Musically, it's still a great album, even if it's marred by subsequent revelations of the band's other-than-musical missteps, including what colleague Michaelangelo Matos rightly noted as "the worst lyrics in rock music." Live, Interpol are competent if a little lackluster—or at least they were before Carlos Dengler left. Proceed at your own risk. GRANT BRISSEY

As always, more music here.