(Barboza) Blowfly’s shtick is getting sadder by the year—or maybe braver. Working at the lewdest level of sexual and scatological humor in his lyric writing, the 75-year-old Clarence Reid long ago left behind his respectable and brilliant songwriting and performing career as a ’60s soul man to inhabit the outrageous persona of Blowfly (credited by some as one of the key inspirations for rap). Decked out in glittery supervillain attire and wrestling mask, Blowfly spews verbal diarrhea that shows not an iota for decorum or political correctness while his backing band grinds out adequate funk and disco jams that would be better if they matched the frontman’s nastiness. That Reid’s still doing the Blowfly act proves he made some poor business decisions and needs the money. A viewing of the The Weird World of Blowfly doc confirms this, and one feels awful that things turned out this way. DAVE SEGAL
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(Snoqualmie Casino) When you see the words “Lynyrd Skynyrd,” what’s the first thing that pops into your head? If it’s their beyond-ubiquitous good ol’ boy epic “Sweet Home Alabama,” congratulations: you and 98 percent of humanity share a cultural touchstone. If it’s not, you’re either a liar, an older Southern rocker, or a vinyl-collecting connoisseur of golden-age rock the likes of which are fewer and further between these days. For all their Neil Young-baiting and stereotypical rebel swagger, Skynyrd put out a butt load of reliably raucous red, white & bluesy jams there in the ’70s, crafting a few masterpieces in the process, until a tragic plane crash killed primary songwriter Ronnie Von Zant in ‘77. The band broke up but reunited years later, to become a reliably crowd-pleasing act on the festival and casino circuit. Is latter-day Skynyrd more than that one inescapable rodeo anthem? Unknown, but chances are they scorch it live. KYLE FLECK
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(Kremwerk) Growing up on a healthy diet of C89.5’s On the Edge show, which featured seminal industrial acts like Front Line Assembly, KMFDM, and My Life with the Thrill Kill Kult, I have a twisted affinity for punishing drum machines, meathead synthesizers, and scrambled samples of doomsday preachers and serial killers. From the looks of it, Kremwerk's weekly Asphyxiation night with DJ Shane aims to continue and expand on the dark and unruly sonic universe of classic On the Edge, focusing particularly on the strain of post-industrial called "EBM" (electronic body music), acts such as Combichrist and VNV Nation. I just hope there's still room in the playlist for some Front 242. KYLE FLECK
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And here's all our recommended music events—tonight, tomorrow, this weekend, and beyond!