We are a band from Europe. Who are we? We have a whispy female lead singer. Who are we? We are considered indie rock. Who are we? We are often characterized by distorted synth sounds and sampled drum machines. Who are we? People often call us lounge-y, psychedelic, and space rock. Who are we? Stereolab, right? Wrong. This is the type of game that English collective Broadcast has to go through each time someone hears their music and attempts to provide an accurate description. While Stereolab is a decent place to start, there are just as many differences between the groups as there are similarities. Broadcast could ultimately be filed as electronic rock lo-fi. Nintendo-midi-sounding keyboards and chandeliering guitars play out the high side, with simple 4/4 kit beats to accent over distorted drum machine sounds and buzzsaw synth on the other. With their latest release, Tender Buttons (Warp), Broadcast comes off as their own group, one more buoyant than any S-word would ever be. (Appearing with Gravenhurt and The Like Young at Abbey Pub on Nov. 4) --text: Josh Zanger

In 1986, the Dead Kennedys were charged with "distribution of harmful matter to minors." I can hardly think of a more ringing endorsement. I spent high school drinking King Cobra, listening to Fresh Fruit for Rotting Vegetables and pumping my fist decrying politicians who were ousted before I could speak. They hate what every punk hates: preppies, Nazis, and Ronald Reagan. That said, the Dead Kennedys were in a league of their own in the early '80s hardcore scene. They were smart, sarcastic, literate even. How you regard their current reunion probably depends on how you feel about Jello Biafra, who won't be on hand to sing his old lyrics, and 50-year-olds playing punk shows in general. Although the band should find ample material in the current administration, they haven't released an album since 1986's Bedtime for Democracy, so expect all your favorite punk rock jukebox songs. (Headlining day one of Riot Fest 2005 at the Congress Theater on Nov. 4. The Misfits headline day two on Nov. 5) --text: Eric Lab Ratt

A big congratulations to Leadfoot, the recent Twangoff competition semifinal winners. The high energy bluegrass/rock/jam/funk band revved up the audience and judges at the July semifinal where they put the peddle to the metal and drove on to the scheduled January Twangoff finals at Martyrs'. Leadfoot's pulsating fusion of musical styles has branded this group as the one to watch. With Steve Haberichter on mandolin, Anthony Massaro and Mike Vanier on acoustic guitars, Bob Hoggatt on electric bass, and Joe Arteaga on drums and percussion, Leadfoot's diverse sound has snared a diverse patchwork of fans - ranging from people who reportedly listen only to rap to people who don't even like bluegrass. (Appearing with Drew Emmitt Band at Martyrs' on Nov. 5) --text: Alexis J. Pride

For Sally Seltmann, New Buffalo is a beautifully crafted solo project where true art and honesty flourish as much as they coexist. On her recently-released full-length debut, The Last Beautiful Day (Arts & Crafts), Seltmann excused husband Darren Seltmann (The Avalanches) from production - as he helped with her 2001 EP About Last Night - and decided to approach the record almost entirely on her own. With the exception of brief appearances by Beth Orton and Jim White (Dirty Three), Seltmann overtakes the duty of keys, bass, guitar, drums, programming, and of course vocals. As an Australian, Seltmann communicates the purity of her native landscape by filtering its atmospheric qualities through her music. Her sound is something cozy, yet massive, and entirely colorful. Endless in interpretation, her music shares within it an organic vibe providing inspiration for empty emotions. Bottom line: Anyone who touts Marilyn Monroe and Nina Simone as her biggest influences gets my love based on class alone. (Appearing with Ben Lee at Double Door on Nov. 4) --text: Cliff Berru

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