James Blake, Teengirl Fantasy

(Showbox at the Market) See Data Breaker and Underage.

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Carissa's Wierd - Meredith & Iris by hardlyartrecords

Carissa's Wierd, Royal Eyes, Mattheu Canvas

(Neumos) See Stranger Suggests.

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Escalator Fest III: Fungal Abyss, Diminished Men, Rose Windows, Macrocosm, Ayahuasca Travellers

(Lo-Fi) See preview.

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Lou Champagne LP Party

(Vermillion) See Data Breaker.

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High On Your Love by Kings Go Forth

Kings Go Forth, Eldridge Gravy and the Court Supreme, DJ BlesOne

(Crocodile) Bumbershoot 2010: I was browsing Flatstock in the Fisher Pavilion. Had just scored a killer Ice Cube poster that I've still yet to frame. My lady was talking to me about something, but I suddenly couldn't concentrate because of the badass sounds emanating from the Fisher Green stage. I excused myself and literally ran to the lawn (admittedly not a long run), where I found Kings Go Forth—I had to ask a dozen people before I found out their name—absolutely killing shit. It sounded like Mandrill meets Tower of Power meets Earth, Wind & Fire meets the Mizell Brothers (sorry, I really thought so), and I was instantly smitten. If you don't have their album The Outsiders Are Back (released on Luaka Bop in 2010), you need to get on that, stat. They are the realest of deals in a world full of microwave-reheated soul/funk revivalism. LARRY MIZELL JR.

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Return to Forever IV, Zappa Plays Zappa

(Paramount) It's gonna be a whirlwind of gray ponytails and paunches at Paramount tonight, as the region's prog-rock/fusion freaks converge to discuss Mothers of Invention and Chick Corea trivia and revel in the flamboyantly odd music of these revered legacy-bearers. Zappa Plays Zappa—led by Frank's deft ax-meister son Dweezil—are about as good as it gets for homages to iconoclastic, avant-rock guitar heroes. Let's hope they do "Return of the Son of Monster Magnet." Return to Forever IV (bah to that roman numeral) field a stellar lineup: Corea (keys), Lenny White (drums), Stan Clarke (bass), Jean-Luc Ponty (violin), and Frank Gambale (guitar). The New York Times' Jon Pareles described the live show as sounding "deliberately 1970s... [The] set roved widely, putting most pieces through multigenre transformations." Take that as a good omen. DAVE SEGAL