Sat

8/19

Sun

8/20

Mon

8/21

Tue

8/22

Wed

8/23

Thu

8/24

Fri

8/25

Today

Sat

8/19

Festivals

Speak Up, Rise Up

Photo: Cait Elliott / Justin Danforth

Ira Glass calls stories “machines for empathy.” The first-ever edition of the Speak Up, Rise Up festival ignites that machine, spotlighting storytellers of different backgrounds who have lived narratives that don’t often get told. Solo shows include Good at Cults (Saturday, August 19), in which Cait Elliott describes how she joined (and left) a cult, and Josh Johnson’s catalog of Awkward Hugs With Beautiful Women (Thursday, August 17). Group endeavors include In It Together: Stories of Strength in Diversity (Friday, August 18); Surprise Stories, a cage match–style storytelling game show (Saturday, August 19); and How Hard?, which relates tales from inside and around the prison system (Sunday, August 20). There are eighteen shows in all, and plenty of empathy to go around.

—Rob Staeger

 

Beach

Riis Bazaar Beach Pass

We’re approaching the heart of summer, and if you need an added incentive to get to the beach before Labor Day, here’s a good deal that’s going on all season long. You get two beers or glasses of wine; a cheeseburger and fries or a veggie dog and fries from Ed & Bev’s; and, for an extra $7, a beach chair for a little extra-comfy lounging. Plus, the deal provides a 10 percent discount on a ticket for the Rockaway Beach Bus — an option that may be appealing given the recent hiccups surrounding the city’s new ferry service from Wall Street to Rockaway. However you get there, after a couple of drinks and a bite, you’ll certainly be ready for a dip in the refreshing ocean, which is, of course, complimentary. Check the website for information on live music and other special events.

—Mary Bakija

Music

Warm Up

Somewhere during the two-decade run of MoMA P.S.1’s summer music series, the spread of global DJ culture turned what started as an artsy experimental showcase into the best place in New York to spot Bushwick artists and Murray Hill finance bros mingling happily in beat-driven bliss. By giving programmers from New York’s music scene free rein to each create a one-day dream lineup, Warm Up has managed to stay right on the bleeding edge of every subgenre of electronic sound. Selections are a mixture of high, low, heady, and fun; artists hail from around the world and across the music spectrum.

—Zoë Beery

Dance

Dance at Socrates

The sculpture park on the Queens side of the East River has opened itself, not just to free performances by visiting dance companies, but to week-long residencies, organized by Norte Maar, featuring two choreographers at a time. Their creative explorations culminate each weekend with mixed bills of their work. On Saturday, the artists-in-residence are Brandon Collwes, the former Merce Cunningham dancer now with Liz Gerring and Sally Silvers, and Eryn Renee Young of XAOC Contemporary Ballet, a seven-year-old neoclassical troupe. On August 19, witness performances by the “irrevocably queer” Nico Brown and Gleich Dances, directed by Norte Maar co-founder Julia Gleich.

—Elizabeth Zimmer

Food & Drink

Flushing Night Out

As commercial rents continue to rise across the city, small, independently owned businesses are getting pushed out again and again. But here’s a celebration in honor of those establishments that, against the odds, have managed to soldier on — those restaurants and shops that help compose the veritable fabric of the city. Support them while exploring the historic Flushing Quaker Meeting House, which was originally constructed in 1694. Food from area joints including Dumpling Galaxy, Sam’s Fried Ice Cream, and Karl’s Balls will be for sale, as will locally made crafts and other products. Plus, enjoy music from local artists the Legends of Motown Revue and Session Band.

—Mary Bakija

Music

Billy Hart Quartet

As a sideman, drummer Billy Hart played on some of the heaviest, headiest jazz albums of the late Sixties and early Seventies, including Karma by Pharoah Sanders, Herbie Hancock’s Mwandishi, and the Miles Davis psych-bop classic On the Corner. Yet, as a leader, there is a sense of warmth and beauty to his oeuvre that jibes more with Hart’s time with Stan Getz in the mid-Seventies — particularly when he’s in the company of his longtime quartet, rounded out by Ethan Iverson on piano, bassist Ben Street, and saxophonist Mark Turner. Six months after a successful run at the Jazz Standard, the BHQ head downtown to the Vanguard, a place where Billy has banged the drums countless times before. And since they’re three years removed from the release of their 2014 LP on ECM, One Is the Other, we can only hope this six-night residency (which also promises special-guest appearances) will debut some new material for their next record as well.

—Ron Hart

Music

Heathered Pearls + Physical Therapy + Beta Librae + Ciarra Black

Jakub Alexander, the producer known as Heathered Pearls, has a dual musical personality. He’s best known for his ambient, beatless electronic compositions, like those found on his enveloping 2012 album, Loyal. But since then, Alexander has explored the realms of dance music that you can actually dance to. His 2016 single, “Belville Renderings Part I,” was an homage to Detroit techno that manages to retain the nuance of Alexander’s ambient work. He’ll play this late-night show at Sunnyvale with fellow Brooklyn techno luminaries Physical Therapy and Ciarra Black.

Sophie Weiner

Sun

8/20

Art

Clark Filio: Betrayal and Vengeance

Photo: Courtesy the artist and Kimberly-Klark

Upon stepping into Kimberly-Klark — a collaborative art space located in the burgeoning Queens neighborhood of Ridgewood — one quivers at the eccentricity of the wall-to-wall carpet accentuating “Betrayal and Vengeance,” Brooklyn-based artist Clark Filio’s New York debut, comprising six variously sized oil-on-canvas paintings. The corporate-flavored environment suggested by the gaudy material blanketing the floor meets an echo in the exhibition’s largest piece, Blue Steel, in which a woman confidently aims her gun toward the viewer in a disheveled high-floor office space. (Other details from the quasi-dystopian scene, which nods to Kathryn Bigelow’s 1990 thriller of the same name about a fearless female cop, include a curiously broken CD on the floor and a futuristic, steel-colored urban backdrop.) Filio, who apprenticed under famed fantasy painter Rick Berry, perfects a balance between fiction and reality for which he often delves into the moving-image canon or other elements of the popular imagination. His unique synthesis is best embodied here in Phaseblade, a turbulent depiction of a genderless heroic figure that incorporates hints of superstardom, otherworldliness, and glamour.

Osman Can Yerebakan

Film

Wonder Women of the Martial Arts

Women who kick ass have long been in vogue, but the conversation surrounding these heroines is normally reserved for Western examples — just look at the attention paid to the recent releases of Wonder Woman and Atomic Blonde. The truth of the matter, however, is that women in the movies have been laying waste to no-good troublemakers (oftentimes brutish men) all around the globe since well before Sigourney Weaver’s Ellen Ripley ever raised her hand in combat in Alien. “Wonder Women of the Martial Arts,” the three-day edition of this year’s Subway Cinema Old School Kung Fu Fest taking place this weekend at the Metrograph, sheds light on a few of these women — among them Angela Mao, Cheng Pei-pei, and Kara Hui Ying-hung — in dazzling wuxia pictures from genre masters like King Hu and Lau Kar-leung. The crown jewel of the series, Hu’s A Touch of Zen (1971), is as beautiful as Chor Yuen’s Intimate Confessions of a Chinese Courtesan (1972), another highlight, is lurid. These films, as well as others on the program — Hu’s Come Drink With Me (1966), Corey Yuen’s Yes, Madam (1985) — encapsulate a sisterhood of the sword, reveling in the strength, athleticism, and guile of women who would cut down whoever might stand in their way.

—Willow Maclay

Film

The Man in the White Suit

The most quintessentially English films produced shortly after the Second World War came from Ealing Studios, and three of the most quintessentially Ealing films were directed by Alexander Mackendrick, a Bostonian by birth. Today, Mackendrick is most often cited for Sweet Smell of Success, but this 1951 comedy, in which a misfit scientist (Alec Guinness) clandestinely invents an indestructible fabric, is nothing if not Sweet Smell’s equal in its incisive critique of a rigged economy. By giving us a protagonist who’s likable and scrupulous but slightly nuts and blind to practical reality, the script (co-written by Mackendrick, John Dighton, and Roger MacDougall) is free to transmit withering commentary concerning labor and management without once coming across as anything other than pristinely good-humored. Ultimately, the film satirizes the vanity of a society that borrows ceaselessly on the promise of perfection but treats actual fulfillment as an abomination.

—Jaime N. Christley

 

Music

Mulatu Astatke + Emel Mathlouthi

With its rolling 6/8 grooves, bulbous orchestral arrangements, funky horn parts, and remarkable singers, Ethiopian pop music’s so-called golden age (1969– 74) bears scant resemblance to any other contemporary African sound. It also possesses unique harmonic depth, and 73-year-old Ethio-jazz legend Mulatu Astatke, more than any other Ethiopian composer or arranger, pioneered that magic. While remaining true to traditional instrumentation and techniques, Astatke served as a particularly inventive agent of change, smuggling seven extra notes into Ethiopian music’s pentatonic foundation. Tunisian protest singer Emel Mathlouthi, also on the bill, went global when she was filmed singing “Kelmti Horra” (“My Word Is Free”) during a street protest. Her new Ensen (Human) sounds like Joan Baez collaborating with MIA and continues her longtime goal of producing “music that sounded soft but wasn’t.” Alsarah & the Nubatones and DJ Sirak will also perform.

—Richard Gehr

 

Mon

8/21

Film

Rio Bravo

Photo: Courtesy Bros / Kobal / REX / Shutterstock

Not long into his Hollywood career, Howard Hawks got wise to the advantages of producing his own projects; that he was a top earner allowed his conditions of empowerment to endure well into the nascent independent-producer era of the Sixties. One of the biggest hits of his later career was the deceptively tranquil western Rio Bravo (1959), starring John Wayne and Dean Martin. The film’s miracle — one of them, at any rate — is the way its wire-tight plot unfurls as a long series of long scenes, like a collection of rolling tumbleweeds. Hawks punctuates developments in action and romance with simple joys like listening and looking — two fields in which Wayne was nonpareil. There has never been a more concerted onscreen effort to waste time, only to result in no time wasted whatsoever.

—Jaime N. Christley

Art

Anish Kapoor: Descension

Anish Kapoor, to his enormous credit, is the rare contemporary artist who begins not with concepts, but with style. Whatever ideas emerge from his art come later, from the look of the thing, the way it feels and how it hits the senses. Although Kapoor tends toward a clean, spare, graceful style, there is often something overwhelming to his work. That’s certainly the case with “Descension,” an endless whirlpool that disappears into the earth, now installed at Brooklyn Bridge Park. Much of its power comes from the tremendous and ominous hum it generates, which most people will notice before they even lay eyes on it. If there is a drawback, it’s the location: Brooklyn Bridge Park is anodyne and clean, which blunts some of Kapoor’s force. Still, the installation introduces a dose of aesthetic anxiety into any visitor’s day, which alone is commendable.

—Pac Pobric

Film

Summer Double Features

With temperatures sweltering, Film Forum offers solace to city denizens with over two dozen choice double features. While a number of the pairings fall under the theater’s specialty of pre-Code pleasures and auteurist complements (including Hitchcock, Ford, and Bresson), the programmers have also conjured a few clever curiosities that highlight the shifting of several specific New York City neighborhoods over time. Soho goes from drunkard’s row in the semi-documentary On the Bowery (1957) to a Kafkaesque nightmare of hipsters and punks in Martin Scorsese’s After Hours (1985). Coney Island likewise undergoes a signification transformation, beginning as a playground for the pratfalls of Harold Lloyd in Speedy (1928) and later becoming the inspiration for a child’s imagination in Little Fugitive (1953).

—Peter Labuza

Science

Total Solar Eclipse

Even though the narrow, so-called “path of totality” veers south as it crosses the United States, stretching from the Oregon Coast to South Carolina, New York will still get a great view of Monday’s spectacular cosmic event. Between the hours of one and four that afternoon, the moon will block out 75 percent of the sun, creating the effect of twilight at midday. Temperatures will drop and very confused birds will likely stop chirping during this rare occurrence; it hasn’t happened at this magnitude in North America since 1918. There’s no better place to witness the event than with other astro-enthusiasts at the Hayden Planetarium. Visit the Hall of the Universe for more information before a pop-up talk by Brian Levine, then join NASA outside for their live broadcast of the eclipse. Don’t forget to grab a pair of eclipse glasses for safe viewing, since it’s still generally bad to stare directly into the sun.

—Heather Baysa

Dance

Drive East

This peripatetic festival, produced by Navatman, mounts several shows a day of Indian music and dance, including gorgeous practitioners of classic Bharatanatyam, Odissi, Kuchipudi, Manipuri, and Kathak, as well as Rajasthani folk forms, Carnatic and Hindustani vocalists, and instrumentalists on the sitar, guitar, and tabla. Celebrated in India and abroad, these artists, ranging from the very young to the deeply experienced and including Korean practitioners of Indian forms, offer mostly hour-long performances that alternate musical soloists and dancers; an exploration of the website provides an education in itself. If I had to pick just one event, it might be the Kathak recital on August 27, featuring members of the Leela Dance Collective and superb tap dancer Dormeshia Sumbry-Edwards. Can’t get enough South Asian performing art? Avail yourself of a season pass, and see all 22 concerts for $450.

—Elizabeth Zimmer

Tue

8/22

Comedy

Brooklyn Comedy Festival

Photo: Trevor Noah at Glasslands in 2014 / Rafe Baron

Brooklyn’s alternative comedy scene can hardly be deemed “alternative” anymore, considering the fast ascension of some of this festival’s past luminaries. Trevor Noah hosts The Daily Show, Michael Che hosts Weekend Update, and Ilana Glazer and Hannibal Buress show the world New York City’s weirdness on Broad City. They all have this local fest in common, along with a grasp of the borough’s unmistakable sense of humor. Now in its fifth year, the Brooklyn Comedy Festival presents a week’s worth of stand-up, film, music, and performances designed to showcase established and new performers alike. Around a dozen venues host events as varied as a screening of the hypnotic dance-comedy Snowy Bing Bongs and a performance of Dave Hill’s bizarre-but-true Witch Taint: The Black Metal Dialogues, based on an email conversation between Hill and a label owner in Oslo. Also pop in for special editions of longtime favorites like “The Fancy Show” and Wyatt Cenac’s “Night Train,” and don’t miss the Queen and David Bowie sing-along at Union Hall on the 26th.

—Heather Baysa

Art

The Art of Spider-Man

If there’s one superhero you expect to see on a wall, it’s Spider-Man — and now, he’s all over the walls of the Society of Illustrators. Is the show good? Listen, bud: “The Art of Spider-Man” is the largest collection of original Spidey pages ever displayed, primarily focused on the sleek, elegant style of John Romita, but spanning the wall-crawler’s earlier, wiry days under the pen of co-creator Steve Ditko on through the intricate webwork of Todd McFarlane (who came on the Spidey scene in the late Eighties). Artists like Gil Kane, John Romita Jr., and Keith Pollard also provide scenes of the webhead facing off against his deadliest foes. Face it, tiger: If you’re a fan of the Friendly Neighborhood Spider-Man, you’ve just hit the jackpot.

—Rob Staeger

Music

Shelley Hirsch

Where most singers attempt to unify and enthrall audiences, vocal daredevil Shelley Hirsch exults in the fragmentary schizoid potential of human utterance. She speaks in tongues appropriate to recapturing distant memories, as with the autobiographical narrative O Little Town of East New York, and is one of the few masters of vocal free improvisation. Over the course of five afternoons, Hirsch will conclude her ongoing multidisciplinary undertaking book-bark-tree-skin-line with a series of performances situated around Josiah McElheny’s “Prismatic Park” sculptures in Madison Square Park. Her 35-minute creation pairs Hirsch with a multilingual choir of acolytes from her “Explore Your 1000 Voices” workshop. She will also elaborate the work with a live twelve-member ensemble and record interviews with parkgoers that will be integrated into the piece’s final iteration.

—Richard Gehr

Film

The Man in the White Suit

The most quintessentially English films produced shortly after the Second World War came from Ealing Studios, and three of the most quintessentially Ealing films were directed by Alexander Mackendrick, a Bostonian by birth. Today, Mackendrick is most often cited for Sweet Smell of Success, but this 1951 comedy, in which a misfit scientist (Alec Guinness) clandestinely invents an indestructible fabric, is nothing if not Sweet Smell’s equal in its incisive critique of a rigged economy. By giving us a protagonist who’s likable and scrupulous but slightly nuts and blind to practical reality, the script (co-written by Mackendrick, John Dighton, and Roger MacDougall) is free to transmit withering commentary concerning labor and management without once coming across as anything other than pristinely good-humored. Ultimately, the film satirizes the vanity of a society that borrows ceaselessly on the promise of perfection but treats actual fulfillment as an abomination.

—Jaime N. Christley

Wed

8/23

Art

Alvin W. Hall Jr: Chromes

Photo: Alvin W. Hall Jr. / Bushwick Community Darkroom

“Chromes,” an exhibition of photographs by Alvin W. Hall Jr. currently on view at the Bushwick Community Darkroom, reads like a delicate ode to mid-twentieth-century American suburbia. The colored vistas immortalize tiny, charming moments of domestic bliss: a pooch seated on a front porch, the pup’s torso somewhat obscured by a potted plant (“The Halls,” states the welcome mat); a woman carefully applying lipstick at her desk; a herd of three loved ones posing at the train station. Hall, who served aboard the U.S.S. Quincy during the Second World War, was also trained by the Navy as a photographer, bouncing after the war between stations across the globe. Hall later held a couple of civilian jobs, including as an insurance salesman; through it all, he maintained a steady habit of applying his professional photographic training to his more everyday role as a family man, a part that he must have taken great joy in, given the warm, vibrant energy of his snapshots. This show has been curated by Hall’s grandson, Cameron Blaylock, who discovered his relative’s visual archive following Hall’s death in the spring of this year.

—Danny King

Film

Bonjour Tristesse

Following the disappointing performance of Saint Joan (1957), Otto Preminger fired a second barrel in his endeavor to build newcomer Jean Seberg into the movie star he saw in his own eyes. The 1958 project was an adaptation of Bonjour Tristesse, the sensational debut novel by Françoise Sagan, a fanciful, turbulent, and melancholy memoir about a kid who grows up too fast. Though bookended by sequences of shimmering black-and-white, Preminger’s Bonjour Tristesse is largely filmed (by the legendary Georges Périnal) in tactile, nearly overwhelming color, its ultimately bittersweet tale rooted to the most spectacular points along the French Riviera. Seberg does not struggle to justify herself on camera (as she had done, suffering rank unfairness gallantly, in the Joan of Arc role), and the film is done no harm by the casual mastery delivered by Deborah Kerr and David Niven.

—Jaime N. Christley

Talks

An Evening With The Greatest Generation

There’s a healthy debate, but most Trekkies answer only to Picard. Patrick Stewart’s performance as the brainy captain, Data’s android humor, Worf ’s reaction shots, and Wesley Crusher’s scene-stealing sweaters all made Star Trek: The Next Generation one of the most memorable, if not the downright best, series in the franchise. Striking a sweet spot between camp and surprisingly heavy drama, the show was early-Nineties sci-fi at its contradictory best. Two fans, Benjamin Ahr Harrison and Adam Pranica, loved it so much they started a podcast: The Greatest Generation recaps the entire series — from an absurd pilot episode to holodeck adventures and the Borg. Their Prime Directive is this: Watch every episode to unpack the good, the bad, the hilarious, and the epic. Hear the duo nerd out about Next Gen in person at this live version of the podcast.

—Heather Baysa

Dance

Olga Pericet

Whether she’s rocking flamenco’s traditional batucada or jockeying with a set of antlers, wrapping herself in fringe or shedding a jeweled vest, the remarkable dancer and choreographer Olga Pericet is always thinking outside the traditional boxes of Spanish dance. Petite and powerful, and a highlight of last spring’s Flamenco Festival at City Center, she interrupts months of international touring to spend three weeks in the intimate precincts of Manhattan’s tiny Spanish theater in a Gramercy Park townhouse, performing to live music and with her innate intensity. Spark your staycation and encounter this powerful avant-garde performer and her gifted ensemble up close.

—Elizabeth Zimmer

Music

Burnt Sugar the Arkestra Chamber

An ever-changing, multiethnic meditation disguised as a band, Burnt Sugar the Arkestra Chamber manifests a genre-destroying fantasy of ecstatic collective grooves and lucid individual poetics that blend into a jazz-rock multiverse of smart, sexy, and soulful sounds. This early-evening show will “caramelize” powerfully pertinent Sixties liberationist music from Max Roach, Oscar Brown, and Abbey Lincoln’s We Insist! Freedom Now Suite, along with Roach’s Percussion Bitter Sweet and It’s Time. At ten, the jazzing, funking, progging, and collectively improvising big band will time-trip during a set that laptop-guitarist-conductionist (and onetime Voice staffer) Greg Tate — who founded the group in 1999 with bassist Jared Michael Nickerson — describes as “BSA’s Groiddest Schizznits,” with bonus selections from the Ark’s excellent new collection of sci-fi funk, All You Zombies Dig the Luminosity.

—Richard Gehr

Music

Derrick Hodge

Few artists in the modern pop era have existed in the slipstream between jazz and r&b as seamlessly as bassist extraordinaire Derrick Hodge. His work with Gerald LeVert, Jill Scott, and Common is as renowned as his time in the ensembles of Clark Terry, Terence Blanchard, and longtime pal Robert Glasper. With The Second, his acclaimed sophomore LP as bandleader, the Philly-born four-string phenom created an album that owes as much to Madlib’s Yesterdays New Quintet as it does to the Bruce Lundvall era of his label, Blue Note Records. This week, Hodge performs at the Blue Note, playing material from The Second across two sets with his touring trio, rounded out by Mike Aaberg (keyboards) and Mike Mitchell (drums). This music was made to be played live, especially given the elasticity of such essential jams as the electro-smooth “Going” and the fluid “Clock Strike Zero.” To see Hodge meld these movements into the trio format is an opportunity not to be missed.

—Ron Hart

Thu

8/24

Comedy

Dave Chappelle

Photo: Lester Cohen

After walking away from his very successful and groundbreaking Comedy Central sketch show, which ran from 2003–2006, Dave Chappelle remained out of the spotlight. Yet the release this March of two well-received stand-up specials on Netflix, Deep in the Heart of Texas and The Age of Spin, marked his long-awaited return to television. Now the comedian known for his brash and thought-provoking humor is taking to the Radio City Music Hall stage for a fourteen-show August residency. Chappelle has enlisted several fellow comedic luminaries — among them Chris Rock, Ali Wong, and Trevor Noah — to join him onstage as special guests. The nearly month-long stand will also include musical performances from the likes of Chance the Rapper, Lauryn Hill, Childish Gambino, Lil Wayne, Yasiin Bey, Erykah Badu, and the Roots.

Amara Thomas

Music

Charlie Parker Jazz Festival

It always celebrates Bird, but the 2017 iteration of the Charlie Parker Jazz Festival should also tip the hat to itself a bit. Sustaining a quarter-century of free annual music programing is certainly a praiseworthy achievement, and this year’s program is actually fatter than usual. (Maybe the teeming lineup is trying to parallel the impact of the iconic saxophonist’s bop lingo.) From students and vets doing the With Strings material to an interview (and gig) with Parker pal Lee Konitz to a jam session, film screening, and tap dance show, choices abound both uptown and down-. The weekend concerts are especially key: Bill Saxton’s brusque beauty, Art Baron’s wily scholarship, the deep swing of drummers Louis Hayes and Terri Lyne Carrington. But don’t miss the virtuosity of Anat Cohen, and cross those fingers that the sass of Tia Fuller somehow shares onstage airspace with the blues of Lou Donaldson. As far as Josh Redman goes, well, he clocked the maestro’s “Moose the Mooche” and “Salt Peanuts” on his earliest joints years ago, so he’s always been up for a little ornithology.

—Jim Macnie

Fri

8/25

Nightlife

Nicky Siano’s Native New Yorker

Photo: Justin Gardner

The term disco wasn’t yet in vogue when sixteen-year-old Nicky Siano started DJ’ing in New York City clubs in 1971. A year later, with the help of his friend Robin Lord and his brother, Joe, Siano would open what many consider to be the first disco club: the Gallery. Siano went on to revolutionize the art of DJ’ing and club life in the city and the world over through his uniquely immersive experiences at the Gallery, his early DJ residency at Studio 54, and his collaborations with pop and experimental-music great Arthur Russell. Now, nearly fifty years after the birth of it all, Siano teams up with the Good Room and Miss Rebecca (of the Bowery Electric’s “Mobile Mondays”) for the latest edition of “Nicky Siano’s Native New Yorker,” a glorious throwback to the opulent, irresistible nights of Siano’s Seventies heyday. This is “always the party we put our hearts and souls into,” Siano tells the Voice.

Amelia Rina

Music

The Mattson 2

While many have noted the special harmonic convergence enjoyed by sibling singers, the genetic affinity between blood-bonded instrumentalists is somewhat harder to pin down. Southern California instrumental duo the Mattson 2, however, have exhibited an uncommon musical mind-meld since the release of their 2009 debut. Identical twins Jared (guitar) and Jonathan (drums) Mattson mostly improvise a cooler West Coast version of the post-rocking, improv-friendly Chicago Underground collective, blurring the lines between lite jazz, psychedelia, and the sort of instrumental rock that wouldn’t be out of place on the Twin Peaks soundtrack (with a sartorial style that brings to mind D.C.’s Thievery Corporation). Jared’s looping guitar lines also recall the cosmic minimalism of German groove-master Manuel Göttsching as the Mattsons extend the West Coast monozygotic precedent set by Nels and Alex Cline.

—Richard Gehr