Well, here it is, and it's a jangly, effects-heavy collision of the original track and Clinic's mix of exotic noises, sweet chimes, and fuzzy sound waves. Not that the staccato xylophones, pedaled guitar blasts, and avalanches of static would seem out of place on the British outfit's early albums like Internal Wrangler or their self-titled debut. It's almost a blend of the new, fully electronic True Womanhood, and the band's old incarnation as a moody, scuzzed-out stormfront. Perhaps Clinic immersed themselves in True Womanood's back catalog of songs like "Magic Child" and "Dignitas."

Sympathy (Clinic Remix) by truewomanhood

The group included "Sympathy" in its July 29 show at the 9:30 Club, and the version of the track uploaded to Soundcloud yesterday will be followed up next week with a remix by the British post-punk band Clinic.

Sympathy by truewomanhood

MUSIC

George Clinton—billed without Parliament Funkadelic!—is in town, which should satisfy fans bummed by the funk icon's May cancellation of a show in Rockville. At 7 p.m. Friday at DAR Constitution Hall. $55-$75.

The latest Sofar video session takes place tonight at local event planners The Dunes' new Columbia Heights space. Five bands, mostly local, all reliable. At 8 p.m. Friday at The Dunes. $9, but $5 if you have a ticket stub from the above U.S. Royalty/True Womanhood show.

Better dance option than anything above: New Orleans bounce artist Vockah Redu is at Comet with Heavy Breathing and DJ sets from Ian Svenonius and Kid Congo Powers. At 10:30 p.m. Friday at Comet Ping Pong. $10.

Twelve years ago, Zapp’s founding members died in an apparent murder-suicide when Larry Troutman allegedly shot his younger brother Roger Troutman, then shot himself in a car a few blocks away. There were no witnesses and no clear motive, but family members have speculated their deaths were the result of a business deal gone awry. These days, Zapp is anchored by Lester and Terry Troutman, who will bring a version of the once-influential funk act to Fort Dupont Park tonight. It will be fascinating to see how the band has soldiered on without its main innovator. One of the most recognizable aspects of Zapp’s sound was Roger Troutman’s robotic talk box, famously heard in the band’s singles “Computer Love,” “More Bounce to the Ounce,” and “Dance Floor.” If you think T-Pain invented Auto-Tune six years ago, think again: If it weren’t for Zapp, today’s pop singers might have no pitch correction to hide behind. (Marcus J. Moore. At 8 p.m. Saturday at Fort Dupont Park. Free.

If you read this blog you know all about The Cornel West Theory, but the group has its record release show Saturday with a killer lineup of local hip-hop: Kokayi, Gods'Illa, and DJ Underdog. At 7 p.m. Saturday at U Street Music Hall. $10.

I guess I assumed Hammer No More the Fingers was a metal band but it turns out they play melodic guitar pop. How bout that. At 10 p.m. Saturday at Velvet Lounge. $8.

I don't exactly understand what D.C. Listening Lounge's Sound Scene event is—it promises "interactive audio installations, multimedia, and live bands"—but it does feature some good music from BLK w/ Bear and Black Snake in the Daisy Patch. At 8 p.m. at Goethe-Institut. Free.

D.C.'s Cephalopods, the current band of Black Eyes' Hugh McElroy, has an acoustic set in a museum. Expect something cool. At 1:30 p.m. Sunday at the Smithsonian American Art Museum. Free.

FILM

Tricia Olszewski would have you see Another Earth, a pseudo-sci-fi/pseudo romance whose notices have been positive and whose star and director are graduates of Georgetown.

THEATER

See Clybourne Park, obviously, but did you know that WCP's own Lydia DePillis is speaking at a post-performance panel on Sunday about the media's role as a chronicler of gentrification? Now you do.

FALLS CHURCH WAS  BUILT ON ROCK 'N' ROLL

Jefferson Starship Friday at the State Theatre.

We've had some technical difficulties, but the rest of our South by Southwest coverage is coming today.

The South by Southwest music conference grinded gears Friday with late breakfasts, an inadvertently caught but kinda badass Tejano band, Spin's raging conflict-of-interest party, an impenetrable Charles Bradley showcase, camera equipment falling on and injuring folks, surrendering to temptation during Kurt Vile, and watching Kisses at Lipstick.

It's important to note South by Southwest stemmed from the host city's alternative weekly, The Austin Chronicle, in 1987. For the last 30 years, the Chronicle has diligently worked the beat of a rising arts scene. After swimming in archives that don't live in digital databases, journalists Austin Powell and Doug Freeman finished editing The Austin Chronicle Music Anthology, a treasure chest of I was there, man profiles, reviews, and essays: Stevie Ray Vaughn, Daniel Johnston, Butthole Surfers, Roky Erickson, Willie Nelson, Townes Van Sandt, ...And You Will Know Us by the Trail of Dead, Spoon, Alejandro Escovedo, Okkervil River, The Black Angels.

Arts Desk spent the flight down glued to the Music Anthology's divided-by-decade, 300-plus pages, and looked forward to the book's corresponding South by panel early Friday morning downtown at the convention center. Logistics quelled the dream but this one should be a coffee table centerpiece if you dig the idea of a flippant, aggressively local, and forward-thinking weekly paper netting a greatest hits package.

By day three of four, Arts Desk had thus far ignored the scores of open bars lulling you inside, masking uninteresting tunes and quesadilla buffets. The Rhapsody Rocks party provided free pancakes, photobooths, and Jeremiah Weed Sweet Tea—carbonated cans of bourbon, sugar, phosphoric acid, and potassium citrate. They're revolting but it became increasingly fun to yell J. Weed! between sets.

Glasser, aka Los Angeles' Cameron Mesirow, is toned down in a white v-neck and the low stage made it hard to see her beyond 15 feet. She was listed as "tropical pop," which meant sunny electronic nuggets from last year's Ring. Kurt Vile, on the heels of a breakthrough album review, found himself playing higher than the poster indicated. He was steady and grimey, speaking in one-word would-be trending topics, like "Violated."

Deerhunter or TV On The Radio? Two free 5 p.m. sets were across the street from each other—yet the day was spiraling into frivolous wandering with fanboy shows Arts Desk knew the words to. TVOTR, Stubb's, and the Spin party it was. The Kills were a welcome added bonus, but people were networking and crowding the open bar. TVOTR, of the universal and tiring praise, was reliably wonderful. "Dancing Choose" stirred an early frenzy; they closed with "Wolf Like Me." The Brooklyn collective's romantic side is vastly underrated but that may change with "Will Do," the band's most structured ballad to date. The lead single from next month's Nine Types of Light, it logically implores for forbidden love: "You don't want to waste your life in the middle of a lovesick lullaby." There was a dude missing and a quick Google search revealed that bassist Gerard Smith was diagnosed with lung cancer a week ago. This is terrible.

After the early evening catharsis, the line to Odd Future was madness. It was also skewed by MTV2 fluff like Matt & Kim and Smith Westerns. No worries, there was an in at whatever is going on at Austin's Big Orange studio, the new full-time Daytrotter bureau. The grounds were a fort of individually-sized Doritos bags, tin tubs of Shiner, dogs hoping you drop a burger off the grill. There was no music, but with an hour to kill between unofficial parties and official showcases, it was time to suck it up and charge phones.

Punk staple Emo's once had a third, adjacent branch. The space now serves high-end Mexican food. By 2014, Austin's entire Red River punk district will be forced off the property, a casualty of the important but downer Waller Creek Tunnel Project. Red River Street will become a flowing creek that'll extend to Lady Bird Lake; Stubb's will double in size to accommodate decidedly bigger names, and vulture chains will make landlords offers they can't refuse. Austin will be San Antonio.

Whatever, Arts Desk wanted camarones a la diabla. During dinner, local Tejano crew Son de Rey began familiar bass and keyboard lines. The lack of pretension when they performed a Cumbia-tinged, Spanish cover of "Careless Whisper" was refreshing.

At 9:30 the lines were brutal. Even for hip-hop b-listers like Freddie Gibbs and Pharoahe Monch. Even for Duff McKagan, Filter, and Puddle of Mudd. Even for Men Without Hats. Even for Baltimore's Lower Dens and the Gorilla vs Bear/Mexican Summer showcase. Even for something called Ludachrist. The only D.C.-area artist with an official gig Friday was True Womanhood. But first, Daptone Records' latest analog-recording, revivalist soul stirrer, Charles Bradley and The Menahan Street Band. He was exciting: Bradley's first band broke up because they were drafted into Vietnam; new singles like "The World (Is Going Up In Flames)" recalled James Brown/Willie Hightower street soul. The bass lines were crazy good.

Then, more lines and no shows.

Arts Desk ended down the night at Lipstick, a lesbian bar that tonight features Kisses. The Los Angeles-based duo was called "Bernard Sumner jamming with Belle and Sebastian" by the Guardian. Cool stuff, but the band took the stage late and after singer Jesse Kivel nervously bugged the sound man by name between every song, the executive decision to call it a night was reached. Damn you, Son de Rey.

True Womanhood's newest is a cover of "Dark Rift," the title track off the 2009 album by the one-man trance machine Pictureplane. The original cut by the Denver-based artist was a five-minute tapestry of scattershot drum machines, jittery lyrics, and layers of synth patterns.

The version of "Dark Rift" True Womanhood uploaded this week wasn't its first crack at the song, but once the duo decided to go electronic itlaid down the "babysealclub" version with synths and drum machines. The four-minute track is a few octaves lower than Pictureplane's original and not quite as rapid, but it moves the band in a fascinating direction. The storminess of older tracks like "Shadow People" or "Magic Child" has receded, but True Womanhood's trademark gloominess still comes through in their intro to "Dark Rift" with a low, 13-second chant by Thomas Redmond that leads into the first verse.

Why did True Womanhood decide to go full-tilt electronic? Credit dubstep pioneer Skream, and Pokémon. Watching "trippy YouTube videos" of the cartoon franchise gave the band "a revelation," Noam Eisner told Arts Desk. Eisner recommended this example as part of the inspiration:

"It's really dumb but sometimes you just want to see trippy Pokémon, you know?" Eisner wrote in an e-mail.

LISTEN: "Dark Rift" (babysealclub version) by True Womanhood

True Womanhood performs with Small Sins Sunday at 8 p.m. at The Red Palace, 1210 H Street NE. $8/10. (202) 399-3201

On TBD, Maura Judkis talks to a pair of San Francisco curators working on a compendium of all blog posts, news items, and other errata related to the National Portrait Gallery's "Hide/Seek" exhibit and the censoring of David Wojnarowicz's film A Fire in My Belly. The project's goal is "bringing attention to other museums that deal openly with issues of gender and sexuality in art," Alison Maurer, one of the curators of HideSeek.org, told Judkis. Maurer and her co-curator, Julia Haas, are both former students of "Hide/Seek" curator Jonathan Katz.

Still in Utah, Ryan Kearney and a new friend checked out a documentary about a mishandled chimp who resorts to "humping everything."

Tabi Bonney has a new mixtape, Postcard From Abroad. Arts Desk warlord Jonathan L. Fischer likes most of it, namely the Cults-sampling "Outside," but he's less keen on the 50-second outtake "Freaky Cupcake." Fischer enjoys his cupcakes straight-laced and buttoned-down.

We Love DC likes, but doesn't love, the Arena Stage's new production of The Arabian Nights. "But it’s not all perfumed nights and sensuality. There’s some castration. Oh, and a lot of farting." Probably why WaPo's Peter Marks was more enthusiastic about the show on Monday.

Click Track's Allison Stewart takes a crack at U.S. Royalty's album Mirrors. Her verdict on the dandyish quartet? "It wants to be the soundtrack to a freshman backpacker's European summer vacation (as evidenced by the stately "Monte Carlo," which takes up where Coldplay's "Don't Panic" left off)...It wants to propel U.S. Royalty into the ranks of famous preppy crossover bands such as Passion Pit ("Equestrian," subtle and sublime), and it just might." So, like Joe Warminsky wrote last week, destined for car commercials and NBC promos.

And were your Twitter feeds inundated last night with quotes from or instant reactions to the State of the Union? Y'all should have been following True Womanhood, who offered the only 140-character respite with their brilliant hashtag #indierockporno. (Hot Carl de Paris!) Heroic shit, guys.

As made clear in my 1998 and 2010 articles, the Washington Area Music Association (WAMA) largely views any suggestions regarding changing the Wammies nomination process, or the organization itself, as simply sour grapes, naïve, or an undemocratic attempt to impose someone’s else’s opinion. Write WAMA a check, become a member, and we’ll listen to your opinion on nominations, they say, while WAMA critics wonder why they would want to join an organization that ignores widely heralded musicians, has a history of embarassing mistakes, and dispenses juvenile insults (see the reactions to the two prior pieces) in response to criticism that is meant to be constructive.

WAMA board members have told me in the past that they on occasion consult "experts" to fill the nominations slot, rather than simply relying on the suggestions from members. My point continues to be that WAMA needs more experts, and that WAMA needs to do a better job making their organization useful and helpful and demonstrating that it cares about all styles of music. WAMA members may still not vote for expert-suggested names, but getting more such names on the ballot would at least be a start. I am not talking about substituting my own view; I mean consulting various participants in the area music scene, including critics, promoters, bloggers, and academics. WAMA needs these experts because, frankly, numerous musicians and others do not see the organization or its Wammies as being valuable, and therefore do not want to join and nominate artists themselves. The list of well-regarded artists not nominated under the current process for the Wammies is simply too extensive to be dismissed in the manner that WAMA partisans have done for 25 years.

(An aside: WAMA should  update its website, which contains a number of out-of-date items including a link to a list of D.C. venues that contains the long-since-closed Warehouse Next Door, Capital City Pavilion, and Ellington's on Eighth, but not various facilities that are open.)

As for this year’s ballot, the Wammies have ignored all metal bands, including Northern Virginia's Salome, a favorite of The New York Times, The Washington Post, and the City Paper.  They have again neglected bluesy soul artists such as the Hardway Connection, Jim Bennett, and Little Margie.  The world music category contains virtually the same choices as last year while again overlooking Haitian band Rafrechi and all Ethiopian performers (despite this area including one of the largest Ethiopian populations in the U.S.).  Rapper Fat Trel may have the support of Wale and the Washington Post and the City Paper and be on the WKYS list of hot area hip-hop artists, but that's not enough to get nominated for a Wammie. The Latin list again contains no mariachi bands, including Mariachi Los Amigos, whose membership includes the Smithsonian’s Dan Sheehy, one of the organizers of the Smithsonian Folklife Festival.  The Latin roster also omits again Zeniza, Orquesta Romana, and Orquesta La Leyenda. Roots and country guitarist Jim Stephanson’s Say Go album was recorded with members of NRBQ and made a WFMU DJ’s top 10 for the year, but WAMA did not mention it.  Electronica vocalist nominee Bob Mould moved to San Francisco in 2009, and electronica vocalist nominee Ultra Nate is based in Baltimore. Electronica DJ act Nadastrom is wrongly listed as a performing act while DJs Dubfire & Sharam are listed together, when they have rarely DJed together since releasing solo projects several years ago. Where are electronica act Bluebrain and D.C. rock bands like Title Tracks, True Womanhood, Imperial China, and Medications, which The Washington Post, City Paper, DCist, Brightest Young Things, and other local media hailed as top acts last year? Michael West and others can surely name more ignored jazz participants, but it's obvious to even a non-fanatic of jazz like me that veteran players such as Bobby Felder, Jacques Johnson, Sr., and Nasar Abadey deserved to be mentioned.

Sure, it's nice that artists such as Warner Williams, the What ? Band, Joe Falero, Wale, Lena Seikaly, and others have been nominated in various genre categories, but when the water glass is so empty year after year, it’s hard to appreciate the water that's there.

The aggressive beat that opens "Minajah" will be familiar to anyone who's seen True Womanhood perform live, though rather than use the Abelton mixing software favored by many electronic artists, Redmond told the City Paper in an e-mail that they attempted to make electronic music using their instruments patched through an array of effects pedals. The resulting song is a success by that metric. At perhaps 107 or 108 beats per minute, "Minajah" moves as fast as anything they've recorded. Redmond's synthesizer and Elsner's drum set run through that 8-track mixer have no trouble mimicking computerized DJ stylings, including a split-second full stop about three minutes into the song.

A note about that synthesizer. When True Womanhood purchased the device at the Guitar Center store in Rockville last August, they encountered Stevie Wonder, who congratulated them on their choice of instrument and offered a friendly handshake. "His magic apparently rubbed off," Redmond tells Arts Desk. "We are not kidding...his hands smell like sandalwood."

LISTEN: "Minajah" by True Womanhood

Here they are, in no particular order:

Felt Letters – "600,000 Bands" (M'lady's Records): This song might have come out in 2009. The Ian Svenonius-fronted project definitely played it in 2008. But it was one of City Paper's first One Track Minds of the year, a maybe-joking-maybe-not death-rattle meditation on indie-rock oversaturation. "600,000 bands, each one makes a sound," Svenonius growls. "Well everyone wants you to listen to them, but you can't right now cuz you're listening to this."

Screen Vinyl Image – "New Visions" (Fan Death Records): Hopeful-sounding noise, harsh-light ambience in a goth-pop cast. The duo seems to be smoothing out its sound these days, but it's still the loudest band in the city.

Tabi Bonney – "Nuthin But a Hero" (iHipHop): In the music video, Tabi's looking dapper and riding a bicycle, but I wouldn't write this off as the official anthem of D.C.'s dandy scene. It's a song about seeking stardom and bringing someone you love with you—which might make for a staid, corny message if not for the song's string-driven, damn-near-transcendent beat.

Midnight Kids – "Night Walk" (self-released): From the ashes of longtime indie-rock fixtures The Apes came Midnight Kids, whose self-titled EP is all brown acid and black magic.

Hume – "Injera" (Sockets Records): The best song for when you're hanging out with your favorite shaman. I wrote all about it yesterday.

Painted Face – "Undreamt" (self-released): This song makes me think of The Labyrinth, mostly because it's an acknowledged tribute to Kate Bush, who, for some reason, makes me think of The Labrynth.

Dave Nada – "Moombahton" (T&A Records): I basically wrote a cover story about this song.

X.O. – "Black Broadway" (Studio 43): X.O.'s One.One.Ten is the best D.C. hip-hop album of 2010, and it's also the most downcast. With its maximalist, soul-sampling Oddisee beat, "Black Broadway" is the outlier, an aspirational hometown love letter.

True Womanhood – "Dignitas" (Environmental Aesthetics): I should really exclude this song, seeing as I'm friends with these guys. They get a one-time end-of-the-year pass. This dirge totally pulls of its Madchester-style middle section, even though it has no business doing so.

Carolyn Malachi – "Orion" (self-released): Like I wrote recently, I don't know how this song reached the ears of Grammy voters, but they nailed it when they nominated it for the prize. Also, it's about an astronaut and a mermaid.

Medications – "Long Day" (Dischord): Medications didn't record for five years and emerged a remade band. In fact, it emerged a pop band with punk and math-rock tendencies, and a taste for left turns—like "Long Day," which teases at aggression before easing into a gentle, Afro-poppish rumination.

The Cheniers – "Here Comes Trouble" (WINDIAN): Because it's about your friend who was more fun before he went sober.

Imperial China – "Go Where Airplanes Go" (Sockets): Dear bands who love post-hardcore: Follow this song's example and eschew the guitar.

America Hearts – "Be My Jones" (Yeah Gates!): Because nothing out of D.C. left me with a bigger smile this year.