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PEARL & THE OYSTERS Sometimes, while you’re walking to the store to buy milk and smokes, fate intervenes and throws a mackerel at your head. Rude, yes, but Fate is generally correct in her assumption that an intervention was needed, because right then, when all stars spinning around your skull suddenly align, it becomes clear what you should do with your life.

One such twist of fate might have sent Pearl and the Oysters on their path to interstellar grooviness. As they explain it themselves in their official biography: “After winning a free trip to the Ostreoid Asteroid Resort (from whence PEARL & THE OYSTERS came their name) on the back of a dehydrated cereal box, a joyous society of galactic gleaners began making music together under the Neptunian moniker: Pearl And The Oysters.”

The more verifiable account, given by Juliette Davis in an email to PureHoney, is that she and Joachim Pollock left France togethber for America more than three years ago as Pollock pursued a Ph.D. in Brazilian music. In the midst of all that, a four-piece band was formed in 2017 in the duo’s adopted college town of Gainesville.

And after sampling the delicate ear tapas that Pearl and the Oysters are serving on the half shell, there should be no argument about their roots: They are 100 percent Neptunian mollusks making music of calcium carbonate in crystalline form. In their textural, shape-shifting dream pop, you can hear Europe, Brazil, America and other, less earthbound musical geographies.

And just as we’ve gotten to know these travelers to the Alachua multiverse, they are leaving. “The founding duo … is moving to Los Angeles at the beginning of January,” Davis writes.

Maybe the dry air and desert of the infinite west is more conducive. Perhaps it’s time for them to return to their Ostreoid Asteroid Resort to take their final form. The bottom line is, this is your very own mackerel of destiny urging you to see these wonders before they disappear! Don’t feel too guilty about the impending move; sometimes these things happen. But go support them while you can.

Pearl and the Oysters with the Dewars and Dirtbike, play 8pm November 12 at Voltaire in WPB and November 13 at Gramps. ~ Tim Moffatt

QUINTRON AND MISS PUSSYCAT If the Cramps, Devo and the B-52’s got it on in the Big Easy and bore a baby resembling Roky Erickson, that strange child would grow up to be Quintron and Miss Pussycat. The duo is one part puppet show, and all rock ’n’ roll, genre-straddling party music seething in the Everclear that New Orleans likes to soak its cherries in.

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It’s a matrimonial blend — yes, they’re married — of his musical mad science and her underground lounge style, refined over years into an auditory Spanish fly called “Swamp-tech.” To create it, he’s used field recordings of frogs and other nature sounds mixed with a Hammond B3, maracas and QUINTRON AND MISS PUSSYCAT various homemade instrument contraptions.

To illustrate and project it, she creates and deploys entire casts of puppets, like she did for the video for their electro-hardcore banger, “Face Down in the Gutter.”

Together, with their dance beats, staging and sartorial taste, they mind-expand an audience’s conception of what entertainment can be.

A new Quintron-only instrumental album, “Erotomania: Quintron at the Chamberlin,” is due this month on Orlando’s own Mind Meld label. The Chamberlin is not a venue. It’s a vintage keyboard — “invented in Wisconsin by Harry Chamberlin in 1949,” an album cheat sheet notes — and a predecessor to a mainstay of prog-rock: the Mellotron, a keyboard-triggered bank of tape loops with an eerie, violin-ish warp.

Chamberlin’s home-entertainment instrument was both pioneering and a product of another time. “Rumor has it that the musicians whom Harry Chamberlin hired for these backing rhythm tapes were members of the Lawrence Welk Orchestra,” says the “Erotomania” explainer.

Never let it be said there isn’t a good story, or history, when Quintron & Miss Pussycat are in the house. The first “Erotomania” track posted to Bandcamp, “Bohemian Caverns,” acts on a uniquely Quintronian urge: to embed Welk’s prim, pre-rock stylings into a steamy retro seduction track — like someone uncovering Eisenhower America’s suppressed desires.

When not on tour Quintron and Miss Pussycat can be found at their home venue, the Spellcaster Lodge in New Orleans. So whatever happens here, forward mail and paternity claims there.

Quintron and Miss Pussycat, with Three Brained Robot, The GutterTones, perform 8pm November 17 at Voltaire in WPB and November 16 at Gramps. ~ Tim Moffatt

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PENNYWISE Intrinsic to the ’90s surf/skate punk scene spawned by southern California, Hermosa Beach rockers Pennywise live the ethos of their latest album, “Never Gonna Die.” Melodic with roots firmly dug into the early soil of California hardcore, their immediately recognizable sound has been imitated by many and seldom improved upon.

Formed in 1988 and named after the iconic evil clown of Stephen King’s “It,” Pennywise have remained true to themselves and stuck to the songwriting basics that continue to earn them fans. Singer Jim Lindberg, guitarist Fletcher Dragge and drummer Byron McMackin — founding members all — have carried on with a turn toward positivity, coupled with Lindberg’s anti-authoritarian and transcendental lyrics, after the suicide in 1996 of founding bassist Jason Thirsk. The band has passed the incredible 30-year mark of existence.

PENNYWISE

But it hasn’t always been as easy as gliding through a perfect barrel. Lindberg has quit the band over creative differences more than once. The first time with Thirsk taking on vocal duties while Randy Bradbury, Thirsk’s eventual replacement, played bass. Lindberg also wrote “Punk Rock Dad,” a 2007 memoir that inspired a 2011 documentary, “The Other F Word,” both about aging and parenthood in punk.

Deliberate in their recorded output and relentless in touring, the band finds itself collectively in a good place. With twelve solid albums, a handful of EPs and too many compilation tracks to count, Pennywise are as relevant today as ever.

Their logo, the stylized encircled “PW” is either a quick graffiti tag or a gaunt figure with outstretched, welcoming arms. It has remained a central design aesthetic in most of their album art and in their latest release, a blue target amidst black and white sketch motifs from previous album covers. Almost like Vonnegut gathering his wayward literary children within the pages of “Breakfast of Champions,” Pennywise bring forth the best assets of their past for this album.

The result isn’t groundbreaking; they say as much on the closing track, “Something New:” “How long will it take us to finally make something new?”

Yet what they’ve always done is exactly what works, and why they’ll never die.

Pennywise perform 7pm Thursday Nov 7 at Revolution Live in Fort Lauderdale with Stiff Little Fingers, The Bronx and The Attack. ~ Abel Folgar

CLOUD NOTHINGS Daniel Topete

Since his days in college posting homemade recordings under fictional band names, Dylan Baldi of Cloud Nothings has combined the search for perfection in song with defense against personal demons — his and ours. The result is a collection of heart-piercing melodies and devastating hooks we can all take up as protection.

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It might be a product of his outcast teens — “I was really weird in high school and I didn’t have a lot of friends,” he told his tiny interrogator on YouTube’s adorable “Kids Interview Bands” channel a couple of years back. It might be a self-effacing midwestern-ness, bolstered by an underdog mindset that comes naturally to northern Ohio, home of struggling sports franchises and a humbled industrial base. Baldi has probably heard the “Hello, Cleveland!” joke more times than he cares to remember.

CLOUD NOTHINGS

Whatever the origins, as Cloud Nothings jumped from MySpace to reality, Baldi the singer, guitarist, songwriter and bandleader grew into one of the sharpest songwriters and smartest chroniclers anywhere in punk of 21st Century letdown.

With “Last Building Burning,” he has outdone himself. Cloud Nothings’ latest album churns darker and denser, and slashes harder, than the four previous albums from 2011-2017 that marked the band and its frontman as urgent messengers. The first track, “On an Edge,” announces the album with a fury that is less submerged and more forward than ever. When Baldi screams, “Can’t remember a name,” and the instrumental section is at a dead-run thrash, the air of crisis may be personal or universal, but the warning is clear and stark.

The power-pop moves that echo the immortal Buzzcocks are still there in the frenetic plea of “Leave Him Now,” but the gut punches of “In Shame” and “Echo of the World” vent spleen worthy of Against All Authority or Leatherface at their most fed up. In the slow, tattered arpeggios of So Right and So Clean, and then the adrenalized release of the album’s closer, “Another Way of Life,” we get a tart, sarcastic sadness and then a bolt of recognition that attitude alone won’t save us. Change is required.

Cloud Nothings, with The Appleseed Cast and Cursive, play an all-ages show 7pm Saturday November 16 at The Ground in Miami. ~ Sean Piccoli

WEDNESDAY, OCTOBER 30

VOLTAIRE: LOLA TRIED, Electric Supply Co, Heller Floor, Bitter Blue Jays, Coral Canyons

FRIDAY, NOVEMBER 1

VOLTAIRE: TRANSKAM (Japan), Grima, Violet Silhouette, Soul Particles

RESPECTABLE STREET: Dia De Los Muerte party CWS: Samantha Russell DADA: Del Pelson KILL YOUR IDOL: Bermuda Beach FILLMORE MB: Nina Pastori and Pitingo REVLIVE: The Neighbourhood, Slow Hollows & Claud GREEN BAR: Marcus Amaya ARTS GARAGE: Reclaimed Art Exhibit Opening Reception, Cowboys and Frenchmen CRAZY UNCLE MIKE’S: Bruja Album Release GRANDVIEW PUBLIC MKT: Brett Staska ELIZABETH AVE: Sash, Priya, Sierra Lane, Balatovis BREWHOUSE GALLERY: Ben Child’s Killbillies

SATURDAY, NOVEMBER 2

CWS: Marcus Amaya REVLIVE: Unlimited Devotion & Crazy Fingers DADA: Markis Hernandez Trio HULLABALOO: Joey George VOLTAIRE: Kizzy & Company FILLMORE MB: Fito Paez KILL YOUR IDOL: Immersed Music RESPECTABLE STREET: The Black Market THE GROUND: Asian Doll (Asian Da Brat) The UFC Tour ELIZABETH AVE: Sash, Priya, Sierra Lane, Balatovis GRANDVIEW PUBLIC MKT: The Copper Tones BREWHOUSE GALLERY: Boondock Sinners

SUNDAY, NOVEMBER 10

FILLMORE MB: The Raconteurs CWS: Sierra Lane (A.M.) / Funk Brunch REVLIVE: Scarypoolparty KILL YOUR IDOL: Gameshow Sundays 1306: Anthony Ramos (Hamilton, A Star Is Born) PROPAGANDA: Andres, Patternist, Hometown Losers ARTS GARAGE: Nigel Mack and the Blues Attack

TUESDAY, NOVEMBER 12

VOLTAIRE: PEARL & THE OYSTERS, DirtBike, The Dewars, TBA

WEDNESDAY, NOVEMBER 13

REVLIVE: King Princess DADA: Peter Clark VOLTAIRE: LIVE KILL YOUR IDOL: Jessica Morale RESPECTABLE STREET: Highly Rated Reggae GRAMPS: Pearl & The Oysters, Ben Katzman’s DeGreaser, BodyHeat, DJ Booty ARTS GARAGE: Ghost Town Blues Band

THURSDAY, NOVEMBER 14

KILL YOUR IDOL: Colossal Karaoke CWS: Spider Cherry VOLTAIRE: Calentura GRANDVIEW PUBLIC MKT: Markóz Latin Jam

FRIDAY, NOVEMBER 15 VOLTAIRE: SOULFAM

CWS: Nyne2Five DADA: Intendencia KILL YOUR IDOL: AmericanGrime RESPECTABLE STREET: Minimal Synth Dance Night REVLIVE: Static-X with Devildriver, Dope, Raven Black SUNDAY, NOVEMBER 3 PUBLIC MKT: Shawn David Allen RESPECTABLE STREET: My Life With The Thrill Kill Cult GRANDVIEW GREEN BAR: Mac Coe CWS: Nyne2Five (A.M.) / Funk Brunch (P.M.) BREWHOUSE GALLERY: Jakob Takos DADA: Karaoke KELSEY THEATER: Shock Illusionist Dan Sperry KILL YOUR IDOL: Gameshow Sundays ARTS GARAGE: Gabe Stillman Band SATURDAY, NOVEMBER 16 BREWHOUSE GALLERY: A Sunday Kinda Blues Jam

WEDNESDAY, NOVEMBER 6

FILLMORE MB: Thievery Corporation

DADA: Keep It Civil VOLTAIRE: NuVibes KILL YOUR IDOL: Lipstick Alley Inc RESPECTABLE STREET: Highly Rated Reggae

THURSDAY, NOVEMBER 7

REVLIVE: Pennywise, Stiff Little Fingers, The Bronx, The Attack

KILL YOUR IDOL: Colossal Karaoke CWS: Mike Garulli VOLTAIRE: Calentura ELIZABETH AVE: Lauren Gayoso, Izzy Rose, American Indie Style, Dakota Dawkins, Sandman Sleeps, Priya BREWHOUSE GALLERY: Comedy Night for the Arc KELSEY THEATER: The Funeral : Comedy

FRIDAY, NOVEMBER 8

VOLTAIRE: JM & the Sweets and Friends

CWS: Rosario Craig Band DADA: HVY CRM KILL YOUR IDOL: Subterranean Sounds REVLIVE: Watch What Crappens ARTS GARAGE: The Lauren Anderson Band FILLMORE MB: Diego El Cigala GRANDVIEW PUBLIC MKT: Indigo Dreamers GREEN BAR: Bonn E Maiy BREWHOUSE GALLERY: MRK III KELSEY THEATER: Who’s Bad, Michael Jackson Tribute

SATURDAY, NOVEMBER 9

THE PROJECTS IN FAT VILLAGE: SMALL PRESS FAIR 2019: Zines, Print, Books 6-10pm

RESPECTABLE STREET: Leather Strip, Cyanide Regime VOLTAIRE: Sushi Sessions w Dubble James, YUM YUM DJs DADA: Bitter Blue Jays HULLABALOO: Nick Manzino FILLMORE MB: Many Garcia KILL YOUR IDOL: Breaks Yo CWS: Homegrown Sinners REVLIVE: Saved By The 90’s ARTS GARAGE: Emily Asher’s Garden Party O’MALLEY’S: Counterparts, Stray From The Path, Varials GRANDVIEW PUBLIC MKT: The Goodnicks BREWHOUSE GALLERY: Loyal Opposition

ELIZABETH AVE STATION: Station Music Fest feat Jacuzzi Boys, Sandman Sleeps, The Kimberlys, The Haunt, Hurricane Party REVLIVE: Pink Talking Fish, Runaway Gin

MATHEWS BREWERY: Bark Back Benefit CWS: Joey Calderaio

THE GROUND: Cursive, Cloud Nothings, The Appleseed Cast

DADA: The State Of HULLABALOO: The Leafy Greens FILLMORE MB: Jay Park VOLTAIRE: DunRight DJs KILL YOUR IDOL: Keep It Deep PROPAGANDA: Death of a Deity, Masticator ARTS GARAGE: Coco Montoya GRANDVIEW PUBLIC MKT: Keep it Civil BREWHOUSE GALLERY: Rust Market, Birdman’s Clambake KELSEY THEATER: Henry Cho : Comedy

SUNDAY, NOVEMBER 17

VOLTAIRE: QUINTRON AND MISS PUSSYCAT THE THREE BRAINED ROBOT, The Guttertones, TBA CWS: Marcus Amaya (A.M.) / Funk Brunch (P.M.) ARTS GARAGE: The Monroe Doctrine

MONDAY, NOVEMBER 18

VOLTAIRE: SUGAR CANDY MOUNTAIN KIBI JAMES, Electric Supply Company, American Sigh, Turtle Grenade

REVLIVE: Ice Nine Kills with Make Them Suffer, Awake At Last, Fit For A King & Light the Torch

TUESDAY, NOVEMBER 19

FILLMORE MB: Brockhampton CHURCHILLS: Sugar Candy Mountain, Kibi James, Reels ,Vagnaut, Ruffans, Electric Supply Co.

WEDNESDAY, NOVEMBER 20

DADA: Joey Calderaio KILL YOUR IDOL: Play Bridges RESPECTABLE STREET: Highly Rated Reggae O’MALLEY’S: Dizzy Wright & Rittz

THURSDAY, NOVEMBER 21

RESPECTABLE STREET: Immortal Technique CWS: Mitch Herrick VOLTAIRE: Calentura GRANDVIEW PUBLIC MKT: Grupo Chevere

FRIDAY, NOVEMBER 22

VOLTAIRE: Mona Lisa Tribe, The Helmsmen Danno & More

CWS: Fusik REVLIVE: Appetite for Destruction (Guns N’ Ros DADA: Of One Mind RESPECTABLE STREET: Bowron’s 90’s Hip-Hop ARTS GARAGE: Libby York FILLMORE MB: Jonathan Van Ness GRANDVIEW PUBLIC MKT: Catlin & Cameron KELSEY THEATER: Queenz | The Drag Experie BREWHOUSE GALLERY: Americana Jones

SATURDAY, NOVEMBER 23

SUBCULTURE ALLEY: 1909 FEST ft Citizen PRD Music, Keep it Civil, MRK III, The Helm American Sigh

RESPECTABLE STREET: Keep Flying, Young Cu CWS: Spider Cherry VOLTAIRE: Sushi Sessions w Jesse Ricca Project, REVOLUTION LIVE: Conan Gray DADA: Xotic Yeyo HULLABALOO: Sierra Lane ARTS GARAGE: Jabari Grover FILLMORE MB: Lulu Santos ELIZABETH AVE: Allegra Miles, Sierra Lane, Ja Piquette, Moodswing KELSEY THEATER: American Floyd : Pink Floyd

SUNDAY, NOVEMBER 24

CWS: Justin Enco (A.M.) / Funk Brunch (P.M. DADA: Karaoke KILL YOUR IDOL: Gameshow Sundays ARTS GARAGE: Duwayne Burnside

WEDNESDAY, NOVEMBER 27

DADA: Chris Myth & Kunga VOLTAIRE: RAW KILL YOUR IDOL: Rux Vendetta RESPECTABLE STREET: Highly Rated Reggae CWS: Spred The Dub

THURSDAY, NOVEMBER 28

KILL YOUR IDOL: Karaoke Circus VOLTAIRE: Calentura RESPECTABLE STREET: Yo! Flaunt Jams

FRIDAY, NOVEMBER 29

VOLTAIRE: Holy Dances, Analog, Bitter Blu Brett Staska

CWS: Rosario Craig Band DADA: Matchstick Johnny, Mojo Hands RESPECTABLE STREET: MASS ARTS GARAGE: First Annual Mighty Maxgivin GRANDVIEW PUBLIC MARKET: Billy Craver

SATURDAY, NOVEMBER 30

CWS: Poor Life Decisions HULLABALOO: The Ricca Project KILL YOUR IDOL: The Wire VOLTAIRE: Haus of Quota Drag Show RESPECTABLE STREET: Seven Serpents, We’re As the Sky Awaits GRANDVIEW PUBLIC MKT: Allegra Miles, Sierr

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TRANSKAM Leave it to the Japanese to distill the power of minimalism down to a single syllable: “Ma.” Similar but not identical to the old saw that “less is more,” ma reveres the space between objects as opposed to the objects themselves. Perhaps this is where Transkam, a minimalistic, instrumental three-piece from Tokyo, derive their sense of self, proving that through simplicity, earth-shattering, industrial, melodic, psychedelic rock ’n’ roll can thrive.

TRANSKAM

Six years along, Transkam remain true to their unembellished beginnings, yet “the sound layer is more multiplexed than ever, more psychedelic, because we like it,” drummer Yana tells PureHoney in a translated interview.

Though vocals are absent from Transkam’s work, emotion is not, and there’s ample room for listener interpretation. Yana explains instrumental music as “minimal and easy to understand,” and he adds by way of elaboration, “Barely is the best.” Indeed it is: In Transkam’s music you can feel the tumultuous chaos, the grimacing anger, the overwhelming joy, the loving comfort, all in a single awe-inspiring build or riff.

Their most recent release, 2018’s “EP2,” is an immersive three-track head trip.

Like its predecessor, the debut 2016 LP “Blueshade of the Omegasound,” it pays attention not just to beats and notes, but to the intervals and the acoustic space between instruments. Transkam’s next album is set to drop during their fall U.S. tour, and when asked if the band had anything further in the works, Yana offered a simple affirmative but no details. Just like “ma,” the thing unsaid has a power of its own.

Westerners don’t necessarily know it but Tokyo’s contemporary music scene is popping. Transkam draws personnel from three different bands: Yana from hardcore Numbs, bassist Yukiyo from psych-rock Tacobonds, and guitarist Tune from synth-punk Alan Smithee’s MAD Universe. But Transkam may be the bestknown of the city’s rock exports.

Asked about Transkam’s long-term goals, Yana says, “Making songs that are more convincing to us.” As for what they want those songs to communicate, Yana’s summary is both simple and expansive: “[An] unreal trip, love and peace.”

Transkam return to Voltaire WPB at 8pm Friday, November1 w. Grima, Violet Silhouette and Soul Particles and Oct 31 at Invasive Species ~ Freddie Zandt

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SUGAR CANDY MOUNTAIN, KIBI JAMES Yasamine June

Oakland, California’s Sugar Candy Mountain are a surfside fever dream of a time and place that never quite existed. But you will find that imaginary bygone coast — “all psychedelic pop Wall-of Sound and beach balladry,” to quote their bio — on their records.

And there it’s as real as the sun on your face.

Because some descriptions are so evocative they capture their subject spot-on, we bow to the band’s own self-portrait: “If Brian Wilson had dropped acid on the beach in Brazil and decided to record an album with Os Mutantes and The Flaming Lips.”

SUGAR CANDY MOUNTAIN

The core duo of Ash Reiter and Will Halsey has willed this folded bit of spacetime into existence since their arrival in 2011 with a homemade, self-titled debut. Halsey was already an established West Coast musician with a long list of credits and contacts. Connecting with indie singer, songwriter and eponymous bandleader Reiter, who emerged as this project’s alter ego, really brought it to life.

From lo-fi beginnings, they’ve ramped up the recording fidelity quotient and the range of instrumentation over three subsequent albums, culminating in 2018’s synth-adjacent “Do Right.” In the studio and on the road, they draw great collaborators from the ranks of Papercuts, Calexico, Big Search, fpodbpod and Everyone Is Dirty. But even at their most electric, electronic and populated, a sense of a world found off the transmission grid, away from the masses, underlies Sugar Candy Mountain’s music.

“We have a lot of luck writing in natural settings,” Reiter told Amadeus magazine in 2017, “so when we need inspiration we’ll take a trip to the river or the mountains and bring a guitar along.” They’ve also recorded in one of their places where their musical soul resides — São Paolo, for some of the tracking for 2013’s “Mystic Hits.”

Their latest single, “My Clown,” is a surround-sound cover of swinging ‘60s London head-trippers July. A new LP from these nature-minded psych and pop revivalists is due next summer, and ahead of that anticipated act of creation the band is doing a southeast run of dates before embarking on an epic tour of Europe.

It’s the kind of dizzying culture shock that could only come from a beachy West Coast psych band roaming unfamiliar terrain on both sides of the Atlantic.

Joining Sugar Candy Mountain on their southeastern trek are Kibi James, an Atlanta-based four piece whose love of world music lends an otherworldly beauty to their ethereal indie pop.

Take Cibo Matto harmonies and the wayfaring style of Manu Chao, frappé with a dose of tropidelic, and you might be close to cracking the group’s secret code.

They are in the early going: Immersive Atlanta noted that two of the band’s members picked up instruments for the first time only last year. They have a twosong demo available on Bandcamp, but they’ve been able to slingshot their way onto this tour, and another with Neon Indian, based on little but their live performances. Their debut EP, due this month, was recorded at Sugar Candy Mountain’s home studio in Crockett, California.

KIBI JAMES

That may seem — actually is — incredible given the lack of recorded output. But it’s a testament to the talent of the group, which stakes a wry claim to the title of “Atlanta’s sweethearts,” that they’ve been able to accomplish so much already with a short paper trail.

This live pairing will be a rush of psych, beach and Tropicalia vibes with globetrotting flair, not likely to happen again soon. Sugar Candy Mountain will have their hands full with album-making, and Reiter and Halsey are also having a child together. Starting a family will unavoidably prompt some time off, and we at PureHoney would never begrudge a sweet-sounding band a break from the rigors of the road. A Sugar Candy Mountain needs the right temperature and elements to survive in an overheated world. Suffice it to say this combination of talents on tour is fleeting and inspired.

But the future is bright for all parties. This summer Kibi James performed an hourlong live set on “Bloodfeast,” one of Atlanta-based Adult Swim’s regular music and arts streamcasts — a sign that tastemakers in Kibi James’ hometown who are also some of the most influential culture programmers anywhere are rooting for this band.

Sugar Candy Mountain with touring support Kibi James perform with Electric Supply Company, American Sigh and Turtle Grenade at 8pm on November 18, at Voltaire in WPB and Nov 19 at Churchills. ~ Tim Moffatt

MY LIFE WITH THE THRILL KILL KULT Perfect storms may leave brutal devastation in their wake but there is something beautifully natural in their formation and existence.

How could anyone deny such a destructive force its right to be?

As it obliterates in nature, it does so as well in music. Specifically, in the “musical” output of Groovie Mann and Buzz McCoy – the sole regulars of the perfect storm known as My Life with the Thrill Kill Kult.

Formed in 1987 in Chicago by Mann (aka Frankie Nardiello) and McCoy (aka Marston Daley) and forever linked to the Windy City’s Wax Trax! Records stable, the founders have surrounded themselves with a rotating Kult cast, and as many people as can possibly fit a stage while ostensibly filling musical roles in the band’s aggro carnival of industrial excess. Challenging all social mores with the chutzpah and stamina of bored teenagers, their art has been unbridled and in your face, in earnest, since forever.

MY LIFE WITH THE THRILL KILL KULT

Industrial pioneers with a sense of melody, TKK have earned the respect and admiration of filmmakers like Ralph Bakshi and Paul Verhoeven and the ire of decency and censorship groups like the PMRC. Their inclusion in Alex Proyas’ 1994 film, “The Crow,” brought them a form of mainstream appeal, with the tragedy befalling the film’s star, Brandon Lee, furthering the band’s cult status and connection to a fallen idol.

But what is often overlooked, is the “American Psycho” ambience of its mainstays: Mann and McCoy, two attractive, seemingly harmless white guys — an artist and a musician, respectively — who first set out to make a film inspired by the trash cinema of John Waters and Russ Meyers based on their shared contempt for normal society and a bizarre humor which holds no one and nothing sacrosanct.

They could’ve made a killing as models. But then the world would’ve been deprived of “Sexplosions!”, the blasphemy of “Kooler Than Jesus,” “Confessions of a Knife” and countless other artful demolitions. Their latest album, “In the House of Strange Affairs,” continues a legacy of discord with somber danceability. But it is live on stage where TKK really excel in all of their destructive fullness.

My Life with the Thill Kill Kult perform 8pm Sunday November 3 with Curse Mackey at Respectable Street in West Palm Beach. ~ Abel Folgar

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THIEVERY CORPORATION There is nothing greedy or criminal in how Thievery Corporation go about their business. The EDM duo of Rob Garza and Eric Hilton typically releases fresh albums every two to three years, and tours far and wide. Twenty four years along, Thievery’s aesthetic — multicultural, conscious and anchored in dance — has followers wherever it goes.

THIEVERY CORPORATION

Their latest release, “Treasures from the Temple,” is heavily influenced by Caribbean music but their fondness for Brazilian and Middle Eastern sound, and their electronic bent, still shine through. “Treasures” also harkens back to the pioneering 1960s bossa nova adventures of Stan Getz-and João Gilberto.

Garza and Hilton began performing as Thievery in 1995, and really blew up when their song “Lebanese Blonde” appeared in the 2004 Zach Braff film “Garden State.” Past albums boast cameos by such powerhouses as David Byrne, Wayne Coyne and Perry Farrell. But Thievery also stick with the people who have been with them from the start: A pair of trance-enhancing new tracks, “Destroy the Wicked” and “Water Under the Bridge,” feature return engagements by reggae singer Notch and Argentine chanteuse Natalia Clavier, respectively.

Hip hop and jazz are also very present on “Treasures,” and in lyrics reflective of a wokeness that Thievery practiced long before the term had been coined.

Over the soulful slow jam of “History,” Mr. Lif raps, “I can’t be black without historic systematic oppression / I can’t look at a cop without second-guessin’ / These are confessions of the heaviness and stress I hold daily / but still light on my feet like Alvin Ailey.”

First-timers at a Thievery show won’t only be seeing two guys behind laptops: Live musicians and vocalists populate the stage and vibe with Garza’s and Hilton’s curated sounds. From 1996’s “Scene at the Open Market,” featuring Brazil’s Bebel Gilberto, to 2008’s “Forgotten People,” with its Indian sitar, to the international flair of “Treasures,” global human connection is truly at the heart of their work. As Mr. Lif relates, “I’m just a mortal man talking with you / We all cling to the things we hold true.”

Thievery Corporation with Karl Denson’s Tiny Universe perform 8pm Wednesday Nov 6. at the Fillmore Miami Beach. ~ Olivia Feldman