How can you not succeed in music with a name like Titonton Duvanté? The rhythm of it alone is danceable. Beyond his nombre, though, Duvanté is an excellent DJ and producer. I caught a set by him when I was living in Cleveland in the '90s and was dazzled by his deck skills and selections (this was before CDJs and laptops dominated the disc-jockey-sphere). Check out Duvanté's 2000 lost-classic techno album Selections for Intercourse to get an idea of his rare ability to combine mind-boggling rhythmic intricacy and melodic filigree with intensely sensual atmospheres. Former Seattle/current Montana DJ/producer Kris Moon is a master of deep, brainy techno—and just about every other electronic genre that's ever been. The other opening DJ, Phaedrus (Netherlands-born Seattle transplant Joris Kamma), favors techno's weirder and more minimal specimens, but is anything but one-dimensional. Check out his Quarks Just Wanna Have Fun! podcast on Soundcloud. Another great booking by Peloton Musique's Aron Schoppert. DAVE SEGAL Kremwerk, 9 pm, $5 before 10/$10 after, 21+.


Back in 2010, I speculated in this space that young California producer Shlohmo might soon be "challeng[ing] Flying Lotus for textural sensuality and rhythmic verve." Shlohmo's Camping EP and Shlomoshun Deluxe album represented high points in West Coast bass music for that year, but it's probably stretching things to say he's on FlyLo's level in 2014. On last year's Laid Out EP, Shlohmo opted for a more soft-focus, R&B-slanted style, deploying romantic soul-man inflections and pitched-up vocal samples to get you horizontal. If he's lost some of the rhythmic inventiveness of yore, Shlohmo has significantly advanced his melody game. Check out "Same Time" from Bad Vibes for proof. With Jim-E Stack and Purple. DAVE SEGAL Neumos, 8 pm, $18 adv, 18+.


(Columbia City Theater) A side-project of TV on the Radio singer Tunde Adebimpe, the irritatingly named Higgins Waterproof Black Magic Band mostly jettisons that band's omnivorous genre-hopping in favor of a more straightforward (albeit dub-inflected) indie-rock style. As always, Adebimpe's voice is a thing of wonder, a radiant, soulful beam arcing over these surprisingly conservative compositions. It seems the group works better in fast-paced, Arcade Fire-like mode, as on "The Blast, the Boom," with its stadium-sized guitars and fist-pump-worthy chorus. The slower songs tend to feel as if they're missing a bit of spice, some unexpected element to keep the listener from drifting. Nonetheless, the material the band's produced thus far shows plenty of promise; whether Adebimpe ever jumps the TV on the Radio boat to focus on his Black Magic Band remains a dubious proposition. KYLE FLECK
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