The Best Concerts To See in L.A. This Week: Oct 29-Nov 2

By LA Weekly Mon., Oct. 29 2012 at 3:30 AM

Categories: Los Angeles Concerts

Gothic Tropic -- See Thursday

Monday, October 29

The Monolators, et al.
THE ECHO
In a week already oozing with Halloween events, this particular Monday oozes very competitively with four decades of alt-classics via five much-loved local bands. Most intriguing is the warhorse indie-pop band Monolators' Bee Gees set. Will they do the highly prized '60s psych songs? The '70s disco classixxx? Both at once? Really, it comes down to Travolta-style chest hair or collector credibility -- and how could you even choose? Also on deck are Del Scorcho, a special set of South Bay punx doing Weezer; singer-songwriter Sara Radle (ex-Rentals) and a roaring full-band Ramones rendition; an Animal Collective set with members of Seasons and Torches; and a happily unexpected Elastica set by a combo of maximum R&Bers the Do-It To-Its and The Shirley Rolls. Discount if you come in costume ... or is that penalty fee if you don't? --Chris Ziegler

Tuesday, October 30

Miike Snow
HOLLYWOOD PALLADIUM
Miike Snow saved some hit songs from their time writing for Britney Spears to make a smash of their self-titled debut -- and some leftover for its follow-up, Happy to You. Made up of leftovers though the latest may be, it still maintains its predecessor's inherent pop sensibility and clear lyrical intonation. A steady listen rather than a boring base spiked with singles, Happy to You embraces EDM with rave influences on the early-'90s Italian piano house of "The Devil's Work" and "Paddling Out." Snare drums march through "The Wave" and drive militantly through "Bavarian #1 (Say Your Will)," while jabbing keys feature heavily on "God Help This Divorce." --Lily Moayeri

Avalon Omega
SILVER LAKE LOUNGE
Tiny yet tremendous, the youthful electro-groove thrill brat Avalon Omega is a dramatically self-possessed artist. This defiantly untamed soul works an exhilarating brand of shiny rap-crackle-pop, one that's infused with the gaudy color and atmosphere of a wildly charged creative vision unique to herself. The Omega sound skips and skitters across the cerebellum, flinging generous handfuls of break-beat glitter and techno fairy dust that burst into shimmering clouds of aural extravagance. The effect is nigh on mesmerizing. This Atwater avatar of cool's kinetic presentation, taken with her star-spangled high guttersnipe wardrobe and such original delicacies as "Outer Space Girl" and "Two Twenty Two," collide with emphatic, refreshing results. Fine, reckless fun. --Jonny Whiteside