The Breeders Tickets

The Breeders are not the Pixies. Frank Black is not squelching at the top of his lungs, but Kim Deal is still there and the bass riffs still rock as hard as they did back in the day. Formed during the last few years of the Pixies in the early '90s, the Breeders are to Kim Deal what Yoko Ono was to the Beatles — a little musical worm that ended up eating itself. Deal will never capture the same magic with the Breeders as she did with the Pixies, but at times she comes pretty damn close. Touring in support of Mountain Battles (4AD), the Breeders' first release since Title TK in 2002, the band is as loose as it’s ever been…and I mean that in a good way. Deal is both bruised and beautiful on the new album and her expressive voice details each thought, conviction and declaration as boldly and as urgently as ever. (Appearing with The Montana Boys at Metro on May 31) --text: James H. Ewert Jr.--photo: Chris Glass

“Indie” music generally means anything credible and thoughtful, and the term "rock" is so vast that it’s almost meaningless. So, by default, Langhorne Slim’s hollering, bluegrass-tinged, finger-plucking sound fits the loose indie rock label. His 2005 gem, "I Will", is sheer bluegrass, but this should not serve as a deterrent. Langhorne claims dual residency in New York and California, but his music evokes the wandering rambler of Middle America. The 3-piece is headed on a spring jaunt touring the just-released self-title disc, which blends Langhorne’s blessed voice and the clash of crashing drums within a pure folk-rock format which melds beautifully. Like previous efforts, Langhorne’s lyrics preach seeking reality and true happiness. Being one of the top acts in the booming folk scene of this young millennium, Langhorne Slim is not a band to miss. (Appearing with The Builders & the Butchers at Schubas on May 28 and at the Hideout on May 29) --text: Joseph O'Fallon

By adding a coat of Elephant 6-style bedroom psychedelia, Atlanta-based indie rock quartet Snowden makes sadness danceable. Indeed, Jordan Jeffares, the group’s singer, recorded most of what would eventually become the band’s debut album, Anti Anti, in his bedroom. From there, Jeffares’ brother put him in touch with three other musicians who would form the core of the group. The band then recorded the album in a proper studio and the end result runs the gamut from dry, Dismemberment Plan-style new wave on songs like the title track and "Black Eyes" to slower, more reflective shoegaze-y tracks like "Sisters." Despite the different tempos and styles of these tracks, one thing they all have in common is reverb, reverb, and more reverb. That said, the echo-y sound of Snowden will translate well in a small club environment, where every sonic reverberation can be fully felt and absorbed. (Appearing with Colour Revolt at Subterranean on May 23) --text: Jon Graef--photo: Kevin Griggs

Some like to call this Montreal-based instrumental chamber-rock group pretentious, but come on, if you could make music that is just hands-down better than most music being produced today while chewing gum and reading a book like Thee Silver Mount Zion can, you’d probably be a little pretentious too. Depending on which live setting in which you see Thee Silver Mount Zion, it’s usually best to bring a chair — if not for your legs to rest than for you to sit down in confounded mental bliss after being spellbound by their captivating live show. At a Silver Mount Zion show expect something that builds slowly, climaxes brilliantly and closes painfully too soon. If you like Constellation Records labelmates Godspeed You! Black Emperor or like-minded bands such as Mogwai and Explosions in the Sky, you’ll worship at the base of Thee Silver Mount Zion. (Appearing with Dead Science and Josh Abrams at Logan Square Auditorium on May 31) --text: James H. Ewert Jr.--photo: Mark Slutsky

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