(Star Theater, 13 NW 6th) Read our article on Milk Music.

(The Know, 2026 NE Alberta) The beats of Montgomery Word seem crafted precisely to inspire fantastical lucid dreams during an afternoon nap. In his self-applied descriptions, Word invokes Robitussin and codeine, which isn't inaccurate, but these sleepy pharmaceuticals belie a focused work ethic. Telephone, Word's first full-length sonic collage, came out in August, and now he's released Nite Lyf. There's much to like in its 16 tracks. The music's druggy indolence camouflages Word's strengths as an electronic musician: judicious editing and a masterful sense of just-enough. Layers of lo-fi fuzz and samples range from pretty to strange, from dreamy to bizarre, but every piece seems precisely crafted. Most importantly, the songs are so entertaining that it's sometimes easy to forget they're experimental. Though Nite Lyf resembles a mixtape in a lot of ways, the mood is consistently otherworldly and laidback. REBECCA WILSON

(Rose Garden, 1 Center Ct) Have you ever flipped through the stations when they're showing an André Rieu concert on PBS? That shit is insane. The waltz-master (read: schmaltz-master) and his gigantic orchestra have put the "light" back in light classical, playing hilariously drippy, gloppy treacle ranging from Johann Strauss II's user-friendly "Blue Danube" to over-the-top choral versions of songs like "When the Saints Go Marching In" and "What a Wonderful World." Rieu makes Lawrence Welk sound like G.G. Allin. He also has a flamboyance that you can comfortably misread as showmanship, carrying on the dubious tradition of Mantovani and Liberace. This is the musical equivalent of eating an entire canister of whipped cream, and the kind of show my (very square) grandparents wouldn't be caught dead at. Are those ruffians in Il Divo too tough for you? Rieu's got your back. NED LANNAMANN