Pretty Lights Electro | Eliot Lipp
w/ Bitch Please, Intermixture, DJ John Kutter, Skitch, and BLKMRKT
Sat. Feb. 16
8 p.m.
Music Farm

If you took a big dose of Atlanta hip-hop, an ounce of Big Gigantic, and the soundtrack to Blade Runner, blended them all together, mixed it with a Red Bull, and then took it for a joy-ride in a time-traveling Delorean, you might get something like Eliot Lipp’s music. Since breaking into the electronic scene in 2004, Eliot Lipp’s been touring at a breakneck pace spreading his retro-futuristic hip-hop music. And the years on the road have given him time to polish his live show. “I play more of the high-energy songs,” Lipp says. “I like to make people dance and watch people dance.” As his live shows have become more and more propulsive, his records have gotten better and better. “They’re a headphone experience. I like to give people the soundtrack to a moment,” he adds. Lipp’s latest album, Shark Rabbit Wolf Snake, is his best yet. With help from beat-makers Flosstradamus, the album features Lipp’s punchiest kick drums and thickest bass. “I was trying to make an electro-hip-hop record. Something I could play in the club that still had moody cinematic qualities,” Lipp says. The songs float from high-energy bangers to slow-motion sprawls of electro-harmony. Lipp’s favorite “Sunset” is a standout; it’s like Daft Punk meets Isaac Hayes on a particularly funky day. This week, Lipp will be in town for the Winter Masquerade Ball, a colossal, all-ages electro dance show at the Music Farm. —Davin Turkewitz SATURDAY

  • Jeff Farsai

w/ The Mike Dillon Band
Tues. Feb. 19
8 p.m.
Pour House

One of the most innovative, eclectic bands to emerge in the 1980s, Fishbone pioneered a blend of rap, ska, funk, and hard rock that was vaguely similar to their close friends the Red Hot Chili Peppers. Though Fishbone has never enjoyed the same level of success as the Peppers, they’ve remained a live powerhouse that challenges stylistic boundaries with a keen satirical wit. Frontman/saxophonist Angelo Moore rivals Looney Tunes’ Tasmanian Devil for sheer frenetic energy and the band falls in behind. The albums have come less frequently — only two LPs and two EPs in the last 17 years — but they’re still in fine form on 2011’s seven-song Crazy Glue EP. It ranges from the punk-funk of “Gettin’ in That Ass” to the sinewy ska-funk paean “Weed, Beer, Cigarettes” and the metal stomping “Flutterbutter.” The band finally received some proper due in 2010 when the critically feted bio-doc Everyday Sunshine was released, featuring narration by Laurence Fishburne. It won film awards around the world. Fishbone just keeps plugging through their 34th year, featuring three of the founding members. Meanwhile Moore has stayed busy, releasing several solo discs since the turn of the millennium, including last year’s The Angelo Show. —Chris Parker TUESDAY

w/ Adam Lee and the Dead Horse Sound Company
Sat. Feb. 16
10 p.m.
The Mill

Matt Woods is no stranger to trouble. As a purveyor of good ole outlaw country, he’s penned more than his fair share of tunes about murderers, boozers, and no-good ramblin’ men. So when trouble comes a’knockin’ on his front door, Woods does what you pretty much expect him to do. “I typically invite trouble in. At least that is the way I have been gathering material for new songs lately,” the Nashville singer-songwriter says. “I suppose at some point a man would be smart to head the other way and try to avoid it.” Well, we’re glad Woods hasn’t turned and run just yet. His latest release, The Matt Woods Manifesto, is a rowdy, rollicking clash of country rock and rockin’ country. “I spent a lot of time in higher-energy rock bands prior to doing my own thing, and after years on the road touring, I have adopted some of that punk-rock ethos. I am my own label, booking agent, manager, etc.,” Woods says. “Mix all of that in with growing up in Appalachia and listening to bluegrass as a kid, then moving into rock and punk as a teenager, and I guess that might be part of what directs those upbeat tunes.” —Chris Haire SATURDAY

  • Cameron Whitman

BETTER THAN INDIE ROCK | Alex Vans and the Hide Away
w/ The Tarlatans
Sun. Feb. 17
9 p.m.
The Royal American

These days, it seems like every little pop princess and hip-hop mogul has their own designer scent. Up until now, indie rocker Alex Vans hasn’t thought about what an Alex Vans cologne would smell like. “Maybe I’d try and capture the smells of a beer-soaked rock club and put it in a bottle. I’d call it l’eau du Pabst,” Vans says. That sly sense of humor is more than evident on Vans and the Hide Away’s latest disc, DJ Booth. Unlike a lot of rockers these days, Vans seems less interested in pursing a single sound and more into writing a variety of songs, from country blues stompers (“Financial Crisis Blues) to indie-pop ballads (the stellar “Saints”) to bluegrass-meets-Nirvana-by-way-of-Coltrane dirges (“Hide Away,” one of DJ Booth’s standout tracks.) “I have had so many different musical influences, from Miles Davis to Creedence to Radiohead, which has definitely shaped the varying style of my original material,” Vans says. “When I’m writing, I don’t sit down and say, ‘OK, now I’m gonna write a punk tune’ or ‘Now I’m gonna write something folky.’ I usually have a lyrical idea and let the music shape itself. It always turns out differently, but I try to make my voice and personality carry through each varying style.” And that he does. Pick up DJ Booth or catch Vans this week and judge for yourself. —Chris Haire SUNDAY

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