Capitol Hill Block Party kicks off in a few; you can look for photos, blog and Twitter coverage soon after. But that's not the only live music you can catch in this city tonight. The Corner also goes down at the Jewelbox tonight. This show is a CD release party for IAME, with support from Neema, Sonny Bonoho, Fresh Ave, Mr. Hill, Bishop I and H-Bomb. As always, that starts at 10 p.m. and costs $5.
Baroness bassist Summer Welch
Baroness, Clutch, Lionize at the King Cat Theater, 7 p.m. , $23, all ages
Following a not-so-long but nonetheless distinguished tradition of heavy-as-shit bands with feminine names, this Savannah, Georgia four-piece finds the sweet spot between harsher, more modern brands of metal and the genre's tamer '70s prototypes. Arguably, though, Baroness hits an even more precise bulls-eye, and comes up with more compelling material, than its critically-hailed peers. (Insert references to fellow Georgia-based press darlings Mastodon and Torche here.) The epic song structure still represents a kind of Holy Grail among metal bands, and Baroness performs an unlikely coup by successfully taking you on long, rewarding journeys without making you feel like you had to burn calories and brain cells to get through them. And the band's songwriting skills elevate its work above mere genre exercise or retro guitar tone fetish. Still, Baroness exercises taste with good taste, which is to say it rips when it should -- and will make your ass work up a sweat. SABY REYES-KULKARNI
TU at the Mix, 9 p.m., $4.
TU at the Mix, 9 p.m., $4.
Referring to themselves as "the two quiet King Crimson players," TU combines the formidable skills and fiercely experimental vision of multi-instrumentalist (and Robert Fripp disciple) Trey Gunn - who played in Crimson from 1994 until 2003 and was known primarily for playing the Chapman Stick - and percussionist Pat Mastelotto, who also joined Crimson in the early '90s following his tenure in the '80s band Mr. Mister. As TU, they sculpt engrossing, complex, breathtaking instrumental soundscapes, oftentimes improvised, that nod to their progressive rock backgrounds, with forays into jazz-kissed IDM (not unlike, say, Squarepusher), reptilian prog-metal (which explains why they were once invited to open for Tool), and trippy, sample-flecked ambient and noise constructs. Musos will definitely cream their pants over this stuff, but TU's hardly alienating - there's enough melodic and compositional goodness here for all but the most closed-minded to grab onto. MICHAEL ALAN GOLDBERG
Astronautalis, Awol One, Ceschi and Filkoe at Lo-Fi Performance Gallery, 9 p.m., $7
Astronautalis' music seems to ebb and flow, high tide and low tide represented by soft, lo-fi indie rock and intelligently crafted melodic hip-hop. Along the trajectory described by both the push and pull, Astronautalis manages to work in a dizzying array of influences, from trance inducing ambient soundscapes to lazy, countrified guitar picking, to sultry R&B duets, resulting in one of the most eclectic sounds of any contemporary recording artist. This pulsing continuum is described not only across releases, but even across individual tracks, which frequently feature soft guitars strumming underneath a body rolling beat, glazed in ethereal synth wash, all supporting a flow that somehow feels as slow as molasses, seeming to ooze from Andy Bothwell's mouth, regardless of how sprightly the words might be. The most remarkable thing about this mish-mash is how organic it all sounds. If your ears weren't already attenuated to the differences between genres, there wouldn't be any tell-tale incongruity to discover. It's like Astronautalis has discovered exactly how the puzzle fits together to create a seamless picture, even though all of the pieces come from different boxes. NICHOLAS HALL