Sarah Meadows
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A ghoulish bike-operated horse-and-buggy full of Amish zombies trudging through urban mud pits is something you kinda have to see to believe. If you've witnessed the Kensington Kinetic Sculpture Derby over the last few years, and have an idea that would kick Zombish ass, you've got till May 22 to complete your human-powered people-mover; for ideas, head to Philadelphia Brewing Co. on March 13 for a meet-and-greet/brainstorm (kensingtonkinetic.org). Oh, and if your float epically fails, you may still be in the running for Best Breakdown.
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Lovely and insane, Scout Niblett's minimalist rock 'n' roll is, perhaps, not for everybody. Take the brand-new The Calcination of Scout Niblett (Drag City): Accompanied by low electric guitar, our heroine rocks us gently with strange lyrics and a strong, lonely voice. But every once in a while, the snare cracks like a gunshot and everything goes a little nuts for a bit. "I throw thunderbolts with the best of them," she sings. Yes you do.
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Pompadour'd soul goddess Janelle Monáe (who plays Johnny Brenda's March 17 and 18) is far beyond the banging-bodied chanteuse only good for singing hooks and good looks (although she can swing that, too). The Outkast protégé has Broadway training and a penchant for four-part suites about robots. Add that to rumors that her live show out-weirded former tour mates Of Montreal, and Monáe officially becomes more interesting than you and everyone you know.
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On record (especially on last year's jam-filled breakout, See Mystery Lights), Portland's caps-mandatory YACHT (who play Making Time Friday at Voyeur, igetrvng.com) nail the nexus of LCD Soundsystem's art-dweeb party-punk and The Blow's earnestly dippy nursery-rhyme pop. On stage, where their icon-heavy two-tone visual style takes prominence — and secret machines free up the duo to hammer home weirdo, pseudo-cultic sloganeering — the vibe's more inscrutable and campy than cuddly or funky, but you shouldn't let that cramp your wiggling.
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