(Triple Door) David Bowie’s smart, glamorous rock and pop commandeered a substantial chunk of the popular imagination from the late ’60s to the mid ’80s. He wrote some of the most indelible, poignant melodies (“Life on Mars?” “Space Oddity,” “Changes”) and rambunctious rockers (“Rebel Rebel,” “Suffragette City”) of the times, and managed to sneak some weird-ass songs into the charts—and even onto Soul Train (see “Fame” and “Golden Years”). The local tribute group Bowievision—featuring members of Dudley Manlove Quartet and Purr Gato, plus saxophonist Brian Bermudez—replicate as faithfully as they can the chameleonic British singer/songwriter’s hits, with a light show and video backdrops for bonus dazzlement. As far as I can tell, though, Bowievision strictly stick to the radio smashes, so it’s unlikely you’ll get spacey oddities like “V-2 Schneider” or “Art Decade” or a zippy instrumental like “Speed of Life.” DAVE SEGAL
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(Heartland) The lineup for this thing demonstrates more succinctly than I ever could how vital Heartland was in cultivating and nourishing Seattle’s underage DIY scene. We’ve got everything from rising indie-rock stars Posse and cuddlecore badasses Peeping Tomboys to the giddy synth pop of Punishment and psych swirls of Swamp Meat. Since it's an all-day "festival," feel free to come and go as you please, but there's guaranteed to be some raucous, can't-miss performances with a roster like this. KYLE FLECK
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Techno music is easy to make, say the skeptics and rockists. Perhaps. But great techno is damn hard to create. You’re dealing with the venerable 4/4 rhythm grid, the kicks and hi-hats, maybe an 808 and a 303, a few samples and perhaps a synthesizer or two. The building blocks are pretty basic and the tonal palette fairly restricted. Plus, this shit’s been going since the early stages of Reagan’s first term. As someone who’s been listening to techno from the beginning, I’ve noticed a handful of labels have arisen that guarantee the highest quality control. One such company is Sandwell District, which fostered some of the most brutally brilliant techno ever by Regis, Female, Function, and others from 2002-2011. One of its main US operatives was Silent Servant (LA producer Juan Mendez), a master of bullshit-free minimal techno with a rugged yet nuanced industrial edge. His 2012 album on Hospital Productions, Negative Fascination, continues Mendez’s predilection for black-skied, scything techno, but it’s not without a seductive undertow—even with titles like “Utopian Disaster (End).” This is going to be incredible. Kudos to High & Tight for the booking. With Josef Gaard and Tyler Morrison. DAVE SEGAL
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