Love Battery, Absolute Monarchs, Wayfinders (Mural Ampitheater) See Sound Check.
The Revenge, Justice & Treasure, Eugene Fauntleroy, Miss Shelrawka, Innerflight DJs (Lo-Fi) See Data Breaker.
VibraGun, the Dry Season, the Upside Down, Golden Gardens (Highline) Shoegaze rock is flowering again, with a vengeance, and Seattle's VibraGun—among other local luminaries like Erik Blood, Jetman Jet Team, and Black Nite Crash—have played a role in this resurgence. Led by ex–Fear of Dolls/Black Nite Crash guitarist/vocalist Joel Bergstrom, VibraGun definitely feed off the male/female dynamic of My Bloody Valentine at their Loveless peak (might as well take inspiration from the best), forging delicate maelstroms via the vocal interplay between Bergstrom and keyboardist Amber Joy Smith and woozy, magenta waves of distorted guitars. One hopes that there's a flood of new material coming in the wake of VibraGun's three-song debut, EP1. Austin, Texas, quartet the Dry Season—featuring the glistening, transportive vocals of Madelyn Carr—gradually build up gentle storm systems of psychedelic rock. Their sense of dynamics and drama is exquisite. DAVE SEGAL
Poliça, Supreme Cuts (Neumos) Poliça make grooving down-tempo tunes with singer Channy Leaneagh's woozy Auto-Tuned vocals as the central focus. Like Leaneagh and band cofounder Ryan Olson's previous stuff with Minneapolis slowdance "supergroup"/collective Gayngs, it's formulaic and at times repetitive, but executed well enough to remain mostly enjoyable. Openers Supreme Cuts get the edge here, though, for their moody, chopped-sample beats that constantly shift tempos and textures. Though their recent debut LP, Whispers in the Dark, is getting most of the (deserved) attention, the Chicago duo's previous Trouble 10-inch, remixes, and forays into rap production—see their upcoming collaborative album with Barbadian rapper Haleek Maul, Chrome Lips—show that their sound goes even deeper than that. MIKE RAMOS
Christian Pincock, Ivan Arteaga (Chapel Performance Space) In traditional orchestral music, the trombone is sometimes the sound of the supernatural. Its colossal, changeable voice can embody creatures nobody in the audience has met yet. When Christian Pincock plays it, he offers an equally edges-of-the-unknown adaptation: His playing brings together improvisation, noise, electronica, jazz, and contemporary classical on a computer-connected trombone that he's equipped with a system of sensors from which he's able to control the instrument's sounds, generate video, and mix the two. JEN GRAVES
Naomi Punk, M. Women, Black Hat (Cairo) Naomi Punk are from Olympia—their sound is slow art punk soaked in a warm reverb bathtub. Their newest LP, The Feeling, out on Couple Skate Records, is heavy and wonderful, like a melty cassette tape of irresistible melodies sung into a fan. M. Women are also on Couple Skate. (I believe a member of the band actually co-runs the label; you are allowed to sign your own band if your band is good, and it is.) Their songs are stormy and somewhat crabby grunge, but not in a bad way. Does that make sense? Seattle? Yes, it does. Black Hat create itchy ambient "dystopian high life sounds" for lying on the floor and contemplating black holes and time dilation. EMILY NOKES