Mass Appeal
DJ Mahf's Mass Appeal has held down its spot at Atomic Cowboy for years. His work with Earthworms and Steddy P prove he's more than just a party-starter; he's as capable a technical DJ as they come. There's not as much wizardry at Mass Appeal. The goal is to get people dancing, obviously, and Mahf's knowledge of deep-cut hip-hop, funk, soul and plenty more make him well qualified for that particular task. After spending most of the spring on an interstate tour with Steddy P in support of its third collaborative album, Mahf is back at Atomic Cowboy just in time for the summer jam season. (KM)

The Wrek Sessions
The Wrek Sessions makes up in reckless momentum what it lacks in proper spelling. The Monday-night dance party at 2720 Cherokee, fronted by electronica sharks Mohawk and Heezy, features a rotating cast of local guests on the boards. Whatever crew shows up for a given evening samples a broad catalog of genres, including dubstep, electronica, drum-and-bass and experimental house music. The results are broadcast live from the venue for online listeners at If your Monday nights are short on dancing, you need only to check yourself before you Wrek yourself. (KW)
10 p.m., Flamingo Bowl (Main Room)

In its half-decade of existence, Rapture has become the go-to party if you're wearing black and buckles or just looking for something a little heavier than you'll find almost anywhere else in St. Louis. It's been seven months since DJ Skeletal (a.k.a. Joel Lovins) moved the underworld festivities from the Complex to the Urban Lounge on South Grand Boulevard, taking DJ Sainte (a.k.a. Jen Griggs) as his cohost. Rapture has settled into its Monday time slot nicely, keeping the cover low ($3) and the music loud. (KM)
7 p.m., Lola's Absinthe Bar

Sleepy Kitty Arts

Location Info



500 N. 14th St.
St. Louis, MO 63103

Category: Bars and Clubs

Region: St. Louis - Downtown

Lucas Park Grille

1234 Washington Ave.
St. Louis, MO 63103

Category: Bars and Clubs

Region: St. Louis - Washington Avenue


Britches formed in mid-2009 and a few months ago released a demo called, er, Demo. The death sweats of early Sonic Youth and Xiu Xiu's skeletal noise sculptures are a starting touchstone, but the trio skillfully uses silence and restraint to magnify the dread of its chaotic moments. Among its best songs is "White Noise," a grayscale pastiche of beauty and horror: Chiming melodies and grandfather-clock percussion devolve into marching stomps, macabre chants and gravel-embedded-in-knee riffs. (AZ)
6:15 p.m., Rue 13

Catholic Guilt
Though the name may lead you to believe it's some sort of pop-punk write-off, Catholic Guilt is anything but. Amid barriers of distorted squeals, squalls and drum fits, CG pummels through atmospheric drug-induced dirges that will leave your innards swirling and eardrums helpless. Relying on flickering guitar spurts and an arsenal of peddles, Catholic Guilt eases into its noise-ridden flare with calm-before-the-storm patience, which eventually spills into serious-as-a-heart-attack screaming and sonic bombast.
—Michael Dauphin

Ghost Ice
When Jeremy Kannapell flips open his battered black train case and the banzai noise attack begins, the world falls away. He appears possessed while he plays, body wracked with tics as if he is being electrocuted by his own sound: abradant, ghastly, like being sucked through the most beautiful stereo-panned black hole there ever was. Ghost Ice doesn't record, which is the only thing we can be mad at him for, but it's probably a blessing because almost every musician who listens to him considers chucking his pedals in abject defeat. Kannapell has been called one of the top noise artists in the country, and still he opens nearly every show he plays — a testament to his inexhaustible modesty. Ghost Ice the entity puts your head in a trash compactor, and then Jeremy Kannapell the Person thanks you, like you did him a favor by showing up to watch him bum around with some sounds. It's like getting a pat on the head from God. (DB)

Spelling Bee
Spelling Bee's Joe Hess and Mabel Suen are two of this city's hardest-working musicians. Over the past couple of years, the duo has sharpened its corrosive, light-speed sound by doing everything from opening for feedback gurus Lightning Bolt to playing out of town any weekend it can. Operating at antipodal points on the aural spectrum, Spelling Bee is able to construct a monumental trademark sound with its use of trebly guitar drenched in reverb and relentless drum triggers and percussion. When it's not cutting its teeth onstage or in the studio, you can find Spelling Bee raiding the airwaves or spreading the forbidden gospel across the country, redefining the DIY ethos. (JL)

The Conformists
The Conformists is here to confuse you. Having led the local avant-rock pack for over a decade, it remains St. Louis' favorite wolf in sheep's clothing. Holding vigil at the feet of Shellac and U.S. Maple, the band teeters on the edge of your mind with a calculated exercise in repetition and disjointed melody. The result is a kaleidoscopic mix of rigid bass and escalating tempos matched by the plangent tone of singer Mike Benker. Its most recent release, None Hundred, is the band's most realized material to date, exuding a confidence marked by powerful songwriting and masterful technical discipline. (JL)
7 p.m., The Side Bar

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