We know D.C. Get our free newsletter to stay in the know.

TO OCT. 25

Most people with an interest in local music have read a pocket history that makes heavy use of one or more of the following terms: go-go, bluegrass, harDCore. But there’s much noisy, experimental, and just plain weird music being made in D.C. that isn’t celebrated because, well, it’s noisy, experimental, and just plain weird. The annual survey of this stuff, “Sonic Circuits,” concludes this week with lots of new music in several new (or newish) venues. On Saturday, Oct. 22, at the Tivoli Theatre, choreographer Jane Jerardi presents Efficiency, a dance and video piece that considers the contemporary quest for “free time.” The music is a collaboration between Britain’s Scanner and Richmond’s Stephen Vitiello, with images by filmmaker Patrick Power. On Monday, Oct. 24, at the Atlas Performing Arts Center, leading local audio-visual minimalist Richard Chartier (pictured) performs music that has been hailed for its rigor and masterly use of silence. Chartier doesn’t exactly have a high profile—which may suit his low-key music—but he’s released albums on labels in Germany, Japan, and Ireland, as well as in the United States. Also on that bill is Enoch 212, a noise-hop duo. The fest concludes Tuesday, Oct. 25, at DC9, with four post-postrock noise bands, including D.C.’s Facemat, whose September show at the Warehouse Next Door fed Windham Hill–like timbres into a wood-chipper. Also performing are three out-of-town acts, Portland’s the Planet The, New York’s USAISAMONSTER, and Rhode Island’s Kites. The festival runs through Tuesday, Oct. 25, at venues all over the city (see City List for details). For more information visit scdc.alkem.org. (Mark Jenkins)