Skarekrau Radio
Skarekrau Radio is the kind of band your mother would have warned you about if she'd had any idea such a band existed. The psychopathic rock collective is infamous for its onstage antics and shared affinity for playing its "warning orbs" (what the band calls shows) in the buff. Once you get past the costumes and the skin, there's still no end to the weird — Skarekrau breaks down free jazz, no-wave freakout and avant-garde rock rumblings with a rotating cast of vocalists screeching over the din like living hallucinations. (DB)

Bikini Acid
Bikini Acid's raw energy never fails to turn a crowd of wallflowers into a spastic dance party. Its instrumental meanderings bow to kraut originators Neu!, but the band possesses a psychedelic predilection for distortion and repetition like Chicago's CAVE. Drummer Caleb McMurry's graceful kit demolition is always a treat to see. He joins Josh Levi's militant bass to produce water-tight rhythms, while guitarist Mike Pitts' unpredictable shredding can either transfix or terrify. You have to catch one of them out or buy one of their cassettes at Apop Records until eight tracks become a thing again, because you'll probably never find a Bikini Acid album on the Internet. (DB)

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

Dust Bunny
Art-school blood brothers Dan Wamhoff and Chris McLaughlin play so well together you'd think they came out of the same womb strapped with matching Korg Electribes. The noisy duo punches out brain-draining sample soup that matches hip-hop chicanery with experimental deconstruction and innovation. McLaughlin's Electribe SX samples while Wamhoff's MX controls the synth sounds. It's a crunk hodgepodge of digital beats and analog bites, mixed, sequenced and molded live like sonic spinning taffy at just the punch of a few buttons and turn of a few knobs. With minimal vocals and plenty of hypnotic delay, Dust Bunny exists in the netherworld between rhythm and noise — ah, youth. (DB)

Kevin Harris
As the owner and resident of Floating Laboratories, Kevin Harris has been a galvanizing force in the experimental scene. For his solo, self-titled musical project, he is most interested in remaining on the fringe of creation. What you hear is as new an experience for Harris as it is for his audience, thanks in part to his semi-improvisation — but also because he is working with instruments and tracks he has either sourced himself or outright constructed from scratch. That makes his the exceedingly rare music that owes almost no sonic debt (though Harris certainly has ideological and aesthetic influences). The result is a sort of futuristic free jazz, where the thoroughly handmade tones and bleeps amount to a matter of principle. (KM)

Egg Chef
Underground darling Egg Chef is practically mandatory on any experimental bill in St. Louis. The Bellevillians defy genre classification, and it's impossible not to enjoy its high-octane performances and post-whatever sound. While it might not be for the average indie-rock fan on first listen, Egg Chef's brand of 400-BPM shit-kicking DIY makes sense live: When you see them in Hazmat suits, it's likely you'll start sweating just watching the band perform with its inimitable gusto. (DB)


The Humanoids
The history of punk music is as tumultuous as the angsty lyrics of so many of its purveyors. But not so the Humanoids: Since the band formed in 1998, it's grabbed the title of this town's favorite punk band time and again. Fans can always count on quick-hitting two- and three-minute songs that pack infectious, hard-rocking wallops. Its new album, Year of the Snake, builds upon the band's trademark sound and even gives a nod to punk's forebears with a well-placed cover of Wipers' "Youth of America." (RFT)
1:15 a.m., Hair of the Dog

The Disappeared
While it seems like the Disappeared and its posi-core punk hymnals have been around St. Louis forever, it has only been four short years of steady local gigs and sporadic Midwest tours. And after churning out a few sturdy EPs and seven-inches, the band is finally ready to present its first official full-length, Bridges, via St. Louis' own I Hate Punk Rock Records. They twist angular punk-metal riffage around sing-songy shout-alongs, bottomed-out bass lines and speed-punk drum blasts. Pulling from almost every distant corner of the expansive fabric that is today's punk and hardcore base, the band tips its cap to the old dogs before them while trudging ahead on its own path. (MD)
8:15 p.m., Hair of the Dog

The Fuck Off and Dies
It only takes hearing one song to figure out what the Fuck Off and Dies is about: comically juvenile, catchy pop/punk. Stuck-up punk purists might scoff, but it's their loss. The Fuck Off and Dies shows are a blast. Songs usually fly by at fast tempos, and the band is smart enough to kill many of them before they're a minute old — songs like "We're Fucking Awesome!" and "It's Fuckin' Sauget!" don't need to be any longer. (And yes, every song title contains some variation of the word "fuck.") Beneath all the silliness there's a solid foundation of hooks and energy that ensure the band's appeal isn't wholly ironic. (BM)

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