The Notwist likes bears

A few things you might want to check out tonight:

Lori Goldston will be at Chapel Performance Space tonight; things start


It's Thursday Night. Get Out Of The House!

The Notwist likes bears

A few things you might want to check out tonight:

Lori Goldston will be at Chapel Performance Space tonight; things start at 8 p.m., and the show costs $5-$15. It's also all-ages. Erik Neumann sheds some light on this Seattle staple:

You may not know who cellist Lori Goldston is, but chances are you've already heard her play. A staple Seattle musician, Goldston has performed with K Records artist Mirah, local experimental quintet Ribbons, in her own Balkan influenced group, the Black Cat Orchestra, and most notably on Nirvana's 1993 Unplugged album. Usually in pop music, the cello is used to add a dash of color or texture to a song, to accentuate what's already there. But every now and then with Goldston you get to hear the instrument's full range and depth. In a recent performance at the Seattle Children's Theater with Mirah, Goldston's cello parts soared upwards in a hurricane of bow work, finger picking and percussion. She's also capable of passages so serenely beautiful that it's a wonder she should ever play accompanied. At the Chapel she'll be performing with Greg Campbell and Eric Richards in what she describes as pieces that "explore the interconnections between a wide range of idioms, in this case, black metal, early music, American folk, Near Eastern rock, and minimalism." Goldston performs intermittently these days, but describes this as the beginning of a potentially larger, long term project.

The Notwist, Neumos, 8 p.m., $15

Michael Alan Goldberg on the Notwist (whose name is difficult from me to separate from the "and Themselves" from the band's anticon collaboration):

Listening to the recent output by German quartet the Notwist--which marks its 20th anniversary next year--you'd never for a second believe the band got its start two decades ago as something between hardcore punk and thrashy jazz-metal. Sometime in the mid-'90s, however, the founding Acher brothers (singer-guitarist Markus and bassist Michael) began to embrace both gentler, more elegantly arranged indie-pop and the kind of electronics favored by the more playful, melancholy side of IDM and techno. So much so that these days they're practically indistinguishable from the Postal Service, with Markus' wispy, wounded vocals draped over delicate guitars, gauzy beats, and downcast piano flourishes for an effect that's simultaneously inviting and disquieting.

Kamelot, Edguy, Waking Hour, El Corazon, 7 p.m., $30

Another pick from Andrew, our resident metal expert:

Kamelot has always embraced a baroque European aesthetic, and since 1998, the Florida-based band has had a real Norwegian, singer Roy Khan, at the helm. Khan sounds a lot like Geoff Tate, which, in addition to the group's keyboard-generated symphonics, means that this concert might bear some sonic resemblance to Queensryche's orchestra gig back in August. However, Kamelot's broadsword slices significantly deeper into the progressive realm, both in terms of virtuosity and fantastical content. For 2005's Faust retelling The Black Halo, Kamelot demonstrated its clout in the heavy-music community by enlisting the ostensibly demonic Shagrath (from Dimmu Borgir) to voice the God-loving archangel Mephisto. Last year's The Ghost Opera retained the grandiose theatrical feel without the aid of a concept-album framework. The live tracks on the Ghost Opera reissue confirm that Kamelot presents its material with as much dramatic flair as any Camelot cast. If only Lancelot and Guinevere could've heard these tunes: Headbanging to power metal would surely help star-crossed lovers release their frustrations.

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