Sole and Skyrider Band's official video for "Stupid Things Implode On Themselves." Yes, it's supposed to be creepy.

Yes, Q-Tip canceled. Sad. But you could


Tonight's Show Recommendations

Sole and Skyrider Band's official video for "Stupid Things Implode On Themselves." Yes, it's supposed to be creepy.

Yes, Q-Tip canceled. Sad. But you could just as easily attend one of these other excellent musical events:

Sole & the Skyrider Band, the Scripts at Chop Suey, 8 p.m., $12, all ages

I wrote this last time Sole & Skyrider came around...if you missed that show, you might consider showing up to this one.

Longtime anticon devotees should already know about Sole, a disillusioned emcee who helped spawn the groundbreaking experimental hip-hop collective. Only some anticon artists resemble the upbeat dance-party hip-hop that dominates the airwaves; other artists bear little, if any, relation to hip-hop as most people understand it. Sole, with his hyperspeed rhymes and trippy, abstract beats, lies somewhere in between those extremes. Like all anticon artists, Sole collaborates often in conjunction with his solo work, and his latest partnership with the Skyrider Band integrates his own haunted, apocalyptic prophesizing with their complex, bluesy rock compositions. Sole was so excited about the project, in fact, that he scrapped ten already-written songs so that he could write completely new material with the Skyrider Band. But Sole's latest project is actually a collection of remixed 90s hip hop jams a la mansbestfriend (another incarnation of Sole) which you can probably procure at the show this evening.

The Heartless Bastards, the Broken West, Battle Hymns at Tractor Tavern, 9 p.m., $12

I can't remember who compared The Heartless Bastards to the Black Keys, but if you hear the same from someone you know, be warned, because I don't think the two sound much alike at all, similar though their influences may be. The Black Keys sound like a dirty South blues band; the Heartless Bastards sound like a rock and roll band fronted by a lady (Erika Wennerstrom) who grew up listening to lots and lots of Aretha. They play with Los Angeles group The Broken West, whose name makes 'em sound like they'd be a country band, but surprise! They're not. But the dreamy indie rock thing they do is rather nice. They just put out a new record, Now Or Heaven, on Merge a few months ago.

The Faint, Natalie Portman's Shaved Head at Showbox at the Market, 8 p.m., $22, all ages

Honestly, I was disappointed by the Faint's last couple albums (because they sound like the band's earlier stuff, except not as good.) The Wire, however, is not the place for criticism, so I did not get into my specific feelings about it in print. But I think the show will probably still be worth attending. This is what ran this week:

When The Faint first began making records, the synth-happy band couldn't escape comparisons to New Wave, punk rock, and the 1980s. No journalist wrote about them without mentioning the Reagan era and the band's similarity to Depeche Mode and friends. The Faint was, and is, ticked off about this pervasive typecasting. But unfortunately for them, it's very difficult not to make the '80s connection. The heavy synthesizers, the robotic vocals, the anti-establishment punk-rock sensibility set to New Wave-style electronica--there's no denying this hybrid sound rose from the ashes of a different era. After breaking with longtime label Saddle Creek, the Omaha-based band put out its first album in four years, Fasciinatiion, on its own label, blank.wav. The disc sounds suspiciously similar to the band's earlier work, which will be just fine with fans. The Faint's pulsing, manic live shows are an orgiastic spectacle of bodies in motion and bright background visuals. Close your eyes, ignore the snotty hipsters who flock to see the band, and it's as though you're in another decade. Just don't tell the band I said that.

The Breeders at Neumos, 8 p.m., $25 (and you still have a little under two hours to enter the Easy Street Records' ticket giveaway!)

Mike Mahoney, folks:

In 1993, the Pixies' dissolution freed bassist Kim Deal to address her songwriting jones, pick up the guitar and focus full-time on her side project, The Breeders. Tanya Donelly's departure to form Belly placed the writing duties squarely on Kim's shoulders, and she responded spectacularly on the breakthrough Last Splash. Kim and identical twin Kelley were the driving force behind a vibrant, playful album that turned girl-group conventions upside-down, featured the insanely catchy singles "Cannonball" and "One Divine Hammer" and went platinum. After a European tour opening for Nirvana and a featured spot in Lollapalooza '94, they were on the cusp of the kind of stardom that had eluded the Pixies. But it all fell apart in '95 when Kelley was busted for heroin possession, forcing the band's breakup. The Breeders reunited in 2002, recording the inconsistent Title TK. Shortly thereafter, Kim entered drug and alcohol rehab (she no longer drinks). Six years (and a Pixies reunion) later, the Deals are back for their first Seattle show in seven years, with a new album, Mountain Battles, that shows signs they've rediscovered some of their mid-'90s magic.

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