I don't know why I've failed to mention this before, but you can always go check out the rest of our listings if nothing here catches your eye. And don't forget, you still have time to win tickets to tonight's Destroyer show at the Croc!
Napalm Death, Kataklysm, Toxic Holocaust, Coliseum, Trap Them, Crush Your Enemies at Studio Seven, 7 p.m., $20, all ages
Few bands are capable of taking an anti-violent political stance with as much fury as the venerable grind institution Napalm Death. And fewer still have matched Napalm's blunt courage in confronting the terrifying realities of American fascism under the Bush regime. Universally recognized as the band that invented grindcore, it's astounding to consider how Napalm Death in its '80s infancy must have appeared to have a life expectancy not much longer than its infamous one-second song "You Suffer." Lo and behold, the band has not only survived, but creatively thrived when it could easily have gone on auto-pilot or, uh... burned out. These days, following an experimental period in the '90s, Napalm has chosen to refine, rather than expand on, its established sound, but by no means has the music lost its energy. New album Time Waits For No Slave conveys as much agitation as when an entirely different lineup, then teenagers, railed with all their might against the evils of corporations. Back then, the convincing aggression in Napalm's music covered up the band's naiveté. Now, coming from the perspective of an adult concerned with the world around him, vocalist Barney Greenway's lyrics hit even harder. And Greenway's outspoken stance against the Nazi presence in metal, among other things, comes as a beacon of hope for fans who are sick (and rightfully wary) of the whole skinhead/violence factor at shows. SABY REYES-KULKARNIDestroyer, Azita at the Crocodile, 8 p.m., $12
Destroyer songwriter Dan Bejar's flowery, narrative prose wraps the nut of a song's message in a thick layer of surrealism, one that renders his meaning almost as difficult to decipher as an e.e. cummings poem. In tandem with Bejar's nasal sing-speaking, it's safe to say that Destroyer is an acquired taste. But like an appreciation for fine wine, it's a taste that, once acquired, not only brings the same measure of pleasure on the first go-round as the two hundredth, but those subsequent listens (or "sips," if you like) often unmask new linguistic subtleties--puns, pop culture references, what have you--that you might've missed on the first few dozen rotations. But it's the instrumentals that help Destroyer's compositional style retain its exciting freshness, even though there's been little sonic evolution over the thirteen years that Bejar's been releasing records. From the unbelievable organ solo in "Queen of Language" (from 2000's Thief) to the breakdown on Trouble In Dreams closer "Libby's First Sunrise," Dan Bejar's music is as layered and as intellectually absorbing as his lyrics are. While it's best to experience Bejar in person after you've become familiar with his music, Bejar appears solo on this particular tour, which means it'll be a little easier than normal to pick out the buried meanings and subtle jabs hidden in Bejar's bizarre wordplay.