7:30 p.m., Thursday, April 25, at The Independent. $25; theindependentsf.com
With influences ranging from garage rock, blues, funk, soul, and much more, White Denim is known for delivering their fanbase unpredictable and exciting rock, and their recent album Side Effects is no exception. Built around vocalist and guitarist James Petralli and bassist Steve Terebecki, the group began in Austin in 2005, where they released their raw and crunchy debut album, Explosion, in 2008. After amassing a sizable fanbase thanks to buzz on the internet, the band added another guitarist before releasing their fourth album D, which hears the group at their most polished and pleasant, taking notes from Built to Spill and The Grateful Dead. The group would go on to find further success with their following 2013 album, Corsicana Lemonade, before undergoing a lineup change with their drummer and guitarist in 2015. The group quickly reignited that next year with their most soulful effort yet, Stiff, which saw success on charts in the U.K. and U.S. The group would return with blues-heavy noise rock reminiscent of their earlier albums with last summer’s Performance, but would experiment with their sound further on March’s Side Effects, which hears the band let loose with proto-punk riffs and psychedelic effects.
Photo by Hans Huylebroeck
9 p.m., Saturday, April 20, at Public Works. $25; publicsf.com
Belgium’s Charlotte de Witte delivers relentless and dark techno, deliberately stripped to its core, and she’s established herself as a force behind the decks and in the studio. The DJ and producer fell in love by attending underground raves around her hometown of Ghent, initially influenced by electro before taking an interest in techno in the vein of Len Faki. De Witte won a Tomorrowland DJ contest in 2011, which landed her a studio residency where she developed her talent, going by the moniker “Raving George” in order to avoid sexist backlash from a male-dominated dance world. De Witte made her debut under her real name in 2015 with her vicious EP Weltschmerz and follow-up Sehnsucht, each on Tiga’s seminal label Turbo, propelling de Witte into one of the most exciting producers in techno. Her aggressive, brooding take on the genre has led her to appearances at clubs and festivals around the world — including a stop at this year’s Coachella.
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7 p.m., Sunday, April 21, at Great American Music Hall. $25; slimspresents.com
A London trio who specialize in colorful electronic pop and take equal inspiration from J-pop and Nintendo games, Kero Kero Bonito undertook a drastic creative evolution on their newest album Time ’n’ Place, incorporating psychedelic and shoegaze elements into their already vibrant sound. The group began when longtime friends and musicians Gus Lobban and Jamie Bulled sought to form a pop group, finding singer Sarah Midori Perry on an internet forum for expatriates and putting out their debut single, “Coursework Story,” in 2012. The trio went on to release a series of vibrant bubblegum electropop singles before releasing their 2016 debut album Bonito Generation, a sweet and bouncy dose of experimental pop elevated by Midori’s bubbly vocals and sprinkled with Japanese-spoken verses. Each of the groups members would go through a period of personal grief and challenges that would serve as the inspiration for their next album’s melancholic sound. Released last October, Time ’n’ Place retains echoes of the band’s previous pop-intensive material, but puts the focus on guitar-driven textures, experimenting with punk and psych rock influences that sound incomparable to any other group. The album feels genuinely sentimental and warm, providing the listener with blissful and highly singular guitar-pop.