Pop

For those who like being fashionably late -- or snapping up eleventh hour deals -- the pop-up store organized by the Art + Design Collective is entering its final weekend. A selection of fine art photographs, contemporary artworks, vintage pop culture memorabilia and other art-related bijou is on offer from artists Takashi Murakami, Danny Clinch, Lynn Goldsmith, Kenny Scharf, Douglas Kirkland, Gered Mankowitz, Richard Miller, Terry O'Neill, Bert Stern, Cole Sternberg, Bob Willoughby and Stephen Verona.

The winter hibernation is nearing its end. Bleary-eyed musicians are crawling out of their windowless studios after months - and in some cases, years - of isolated dream-capturing. The bottomless espresso cup awaits, and a queue next to the stereo is stacked high with new sounds. The spring 2013 pop music season promises grand returns, highly anticipated debuts and assured follow-ups. Early in the season arrive both David Bowie's "The Next Day" and Justin Timberlake's "The 20/20 Experience.

As bad to the bone as George Thorogood and as raucously tuneful as the early Clash, Seattle's Supersuckers thrash through their third effort spewing an ode to Ozzy Osbourne one minute, then launching into a rough-shod soul appreciation the next. But ornery as they are, they've also got a heart, and it shows in the hummable harmonies of "Bad Dog" and the torchy, twangy ballad "Don't Go Blue."

When Soundboard first heard the insidious, summery jingle advertising Subway's new (and recession-friendly!) deal for $5 footlong subs, we had no choice but to admire its weird pop craftsmanship and go buy a bunch of sandwiches. But when we discovered that there is an extended dance remix available for download right now on Subway's website, we were forced to ask uncomfortable questions about the math that makes pop music functional. Are the sandwich-centric lyrics the only thing preventing this from being a respectable indie-pop or blog-house track?

*** The Deftones, "Adrenaline," Maverick/Warner Bros. On the outside, Sacramento's Deftones are all pummeling rhythms and high anxiety, but delving further into the music turns up some surprising nuances: traces of post-punk pop, tinges of rap, a pinch of industrial grit. Chino Moreno rants, sobs, croons and even works some Middle Eastern overtones into his vocals while Stephen Carpenter's guitar shifts from coarse outbursts to crisp Helmet-ine precision. A bracing blend of extremes.