Collins to work toward increasing visitation to Arkansas by groups and promoting the state's appeal
Vino's, 9 p.m., $5.
Imagine if Trent Reznor had recorded “Pretty Hate Machine” and subsequent albums fueled not on Colombian Marching Powder and booze, but Pixie Stix, Twizzlers and Kool-Aid instead. According to Anavan's MySpace page, the L.A. trio's sound is “experimental/ electro/hardcore,” but the experimental and hardcore elements are hard to find on the track “The Perfect Sound,” which resembles something more akin to a mid-1980s MTV dance anthem. Robotically inspired, it seems much more apt to be played behind a Mitsubishi commercial instead of onstage at Vino's. But pressing on into “Traumatology” we see some promise in the likely mix of rock, dance, new wave and pop, but a bit more edgy. “Timekiller” bears some resemblance to Devo, and most of the band's self-titled 2006 debut is as fueled by prog-noir as it is by no-wave clatter, meaning it churns out spastic numbers that rock strangely enough, while blasting out bleeps and bloops. Dazzler, also from L.A., brings its new-wave, alt-indie sound to the bill as well, with emphasis on live instrumentation and groove-oriented songs, completing what should be a unique evening at Vino's. PP
9 p.m., Underground Pub. $10.
The members of Notion believe in the band's sophomore release, “The Peak,” something fierce. They're counting on the strength of their songs, performed live on Friday, to create such an impression on those in the audience that not only will they buy a copy of the album, they'll turn evangelical about it, taking to the streets, preaching the gospel of Notion to strangers. Or at least that's what I'm guessing based on the band's promise to cover beer for everyone in attendance during its set. It might not be too much of a stretch. Particularly for fans of self-titled debuts. Like that album, “The Peak” finds the band — that's Sean Lyndsey (drums, vocals), Noel Moniot (guitar, vocals), Brian Wolverton (bass, vocals), Shaun Hartman (guitar, lead vocals) — not sitting still, stylistically, for very long. Here a blazing modern rocker, there a pop anthem. Hell, there's even some Bootsy-style bass lines in the mix. All gets grounded by lead singer Hartman's big rock 'n' roll vocals. Think Jeff Buckley with more oomph. Popular local acts Flash Larue and Four on the Floor open to what's sure to be a packed house. LM.
11:30 p.m., Downtown Music. $5.
Of all the local rap cliques, few if any have been as active as long as Tho'd Ent. Since 2000, the crew's released a slew of mixtapes, selling, they say, more than 10,000 units independently. On Friday, the extended family gathers to celebrate the release of “Who Tho'd 2,” a compilation featuring singles from each of Tho'd's artists. That includes Cat Daddy, Goon Squad, DolaMike, Stee-Feezy, D-Dirt, BlackSand, Big P, PlayaLaid and Tho'd Up Texas (which, I suppose works thematically, but really?). All will be on-hand for the CD release. Expect a lot of group call and response: “Who Tho'd?! We Tho'd!!” (“tho'd,” by the way, is a variation on “throwed,” slang for drunk or high or otherwise lifted). Expect, too, street-rap-typical lyrics covering topics like money, crime, cars, clothes and gold-digging women. Among the crew, Cat Daddy, a short, broad-shouldered woman with close-cropped hair and many tattoos, stands out in particular. And not just because she's the lone woman in Tho'd. When she raps, with what sounds like the beginning of a smoker's rasp, she often sounds like she's making confession. It's as arresting as it is heartfelt live. LM.
9 p.m., Maxine's, Hot Springs. $5.
Spa City is calling, garage rock fans. Before the night's over, you might have a favorite new band. From In the Red Records, the one-time home of the likes of Jay Reatard and the Black Lips, Davila 666 approaches music similarly to its label mates. That is, the band takes a base that encompasses most of the pinnacles of garage rock and proto-punk — Iggy, the New York Dolls, the Dead Boys, Richard Hell — adds a generous helping of Phil Spector and then tries to deconstruct all that already primitive music even further. It's lo-fi rock at its best — a mash of big beats, big chords and hooks that never seem to quit. Oh yeah, and it's all in Spanish. The band's based out of San Juan, where bomba, reggaeton and salsa reign supreme. In fact, before Davila 666, front man Carlito Davila and bassist A.J. Davila (in Ramones fashion, most all of the band's members use the last name Davila) teamed as a Latin rap act. Carlito didn't get introduced to the music that so clearly informs his band until a stint in Seattle in the late '90s working at a record store. You'd never know. And even if you don't speak a lick of Espanol, you still won't be able to get those hooks out of your head. Bad Sports and Japanese Game Show open. LM.
MOLLY HATCHET/ BLACKFOOT
8 p.m., Magic Springs. $35.99-$45.99.
Taking its name from a hooker who allegedly mutilated and decapitated her clients, Molly Hatchet formed in 1971 in Jacksonville, Fla., melding loud, hard rock boogie with guitar-jam-oriented Southern rock. After its first album reached platinum status, its second, and more successful, release, “Flirtin With Disaster,” featured the title track the band would become known for in the following decades. Various incarnations and less-successful albums later, the group is still churning out Southern-fried rock, and is back on the road with longtime tour mate Blackfoot, mostly known for its smash hit, “Train, Train.” As both bands could be labeled Skynyrd contemporaries, in the late 1970s and early 1980s they became lost in the post-MTV era of visually-oriented bands. But recent years have served 1970s arena rockers quite well with tour packages such as this one. With both acts featuring most of their original members, this next-to-last installment of the Timberwood Concert Series should invoke classic Barton Coliseum gigs, minus the beloved designated burn-fests up high in section P. PP
10 p.m., White Water Tavern. $5.
Of all the out-of-state bands who've found a home in Little Rock at White Water Tavern, few if any have been embraced like the Magpies. Formerly known as Roger Hoover and the Whiskeyhounds, the Cleveland-based four-piece specializes in what it calls “indiefolkrockrevivalism,” a rowdy blend of big guitars, bluesy organ and lead singer Hoover's hollerin'. Or preaching, as it were. Saturday finds the band exploring essential barroom themes — death, heartbreak, redemption, drunkenness — not just in songs that'll be familiar to the faithful, but in new ones, too. The official release party for the band's latest, “Strangers,” doesn't come until late September, but because White Water serves as a sort of home away from home for the band, they're anxious to put it in friendly hands. So look for plenty of that material — comprised of songs Hoover wrote before teaming up with the Magpies — to get a full-tilt live workout. LM.