“It’s cucumber mojito,” he says.

But D.C. music venues aren’t sure what to do with people like Hart. The District, like municipalities all over the country, is still figuring out how to handle e-cigarettes, the increasingly popular smoking alternative that health officials don’t know much about yet.

The devices haven’t been formally stricken from bars and nightclubs like cigarettes were in 2007, but District legislators have tried: In 2013, Council members Yvette Alexander and David Grosso co-introduced legislation to treat e-cigarettes like tobacco products. That bill went nowhere.

In the meantime, researchers continue to uncover troubling as well as promising science on e-cigarettes, and nearby Montgomery County is considering banning them from public places. This week, U.S. Surgeon General Dr. Vivek Murthy said health officials are in “desperate need of clarity” on vapes.

As long as e-cigarettes occupy a legal grey area in D.C., people like Hart are free to use them wherever they want — except in places that have taken it upon themselves to ban them, like Madam’s Organ on 18th Street NW.

The Adams Morgan nightspot put the kibosh on vapes a few months ago, says owner Bill Duggan. He says he was creeped out by what he didn’t know about them.

“I had a friend of mine smoking one of those in my bar,” Duggan says. “And I was like, ‘What is in that?’ And he’s like, ‘I don’t know.’ I’m like, ‘Well, if you don’t know, don’t smoke it around me.'”

9:30 Club doesn’t permit e-cigarettes, says a spokesperson. Hart says he’s vaped at Verizon Center, but officially, e-cigarettes are banned there, too, according to Monumental Sports & Entertainment’s Sheila Francis. Francis writes in an email that the devices fall under “our standard no-smoking policy.”

“I had a friend of mine smoking [an e-cigarette] in my bar. And I was like, ‘What is in that?’ And he’s like, ‘I don’t know.’ I’m like, ‘Well, if you don’t know, don’t smoke it around me.’” —Bill Duggan, Madam’s Organ

But if Hart wanted to, he could still bring his e-cigarette into Echostage. The megaclub on Queens Chapel Road NE still allows the devices inside. “I see them a lot,” writes venue owner Antonis Karagounis in an email. “I would say 5 percent of people use them. I don’t smoke, but they don’t bother me, personally.”

At vape-friendly places like Echostage, concertgoers irked by e-cigarettes’ vapor clouds are forced to revert to tactics used by nonsmokers in the days before widespread smoking bans: Move elsewhere, or ask the puffers to stop. In a Tumblr post headlined “Please Stop Vaping at Punk Shows,” writer Bryne Yancey takes the latter approach.

“Vaping at a show is just as bad as stagediving feet first,” Yancey writes. “It reeks of a severe lack of self-awareness and a severe surplus of belligerent entitlement.”

When I ask DIY show promoter Jacob Knibb how he feels about e-cigarette use at shows, he says his promotion group Select DC has no official policy. But he suggests that e-cigarette users face hazards beyond potential health risks.

“E-cigarettes and vaporizers are great if you want to come across as a futuristic bounty hunter,” Knibb writes in a Facebook message. “That’s a hard look to pull off well, and most people end up looking painfully obnoxious.”

Knibb is tapping into another potential outcome of using e-cigarettes: mockery from one’s peers. A growing consensus among non-vapers is that the devices make people look like, well, dorks. E-cigarettes have been called “fedoras for the mouth.” In 2012, Gawker ran a blog post titled, “Electronic Cigarettes Will Never Be Cool.” They seem too health-conscious to be rebellious, writer Hamilton Nolan reasoned. Plus, they have a glowing light at the end. Lame.

Hart says he’s never been asked to stop vaping at a concert. But he has gotten curious questions from people interested in experimenting with e-cigarettes. “It’s always been, ‘Hey, I’m trying to quit, too,'” he says.

Meanwhile, Duggan stands by his decision to eliminate e-cigs from Madam’s Organ. Until they’re declared perfectly safe, he’s happy to keep them away from his non-vaping customers.

“That’s the good news about having your own business. You can make up your own policies,” Duggan says. “It’s good to be king.”

Photo by The Best Electronic Cigarette Review used under a Creative Commons license.

Some operators of these small venues don’t realize they’re subject to the guidelines established by the Americans With Disabilities Act. (For more on this, check out Kerr’s piece.) On top of that, many of them don’t publicize whether or not they’re accessible.

Showgoer and record label owner Sean Gray has a partial solution to that problem: Make a list of D.C.’s accessible venues. He’s started a new Tumblr called “Is This Venue Accessible?”

“I have a disability and going to shows (DIY or otherwise) has been something I’ve been doing for half of my life now,” Gray writes on the blog. “But because of the lack of accessibility in some of these venues and/or the lack of information, I have been unable to experience many shows as well.” In an email, he points to two recent shows—last night’s Select DC-booked gig at Back Alley Theater and tonight’s Coke Bust show at The Pinch—as prime examples.

“Maybe if there’s actual data, people will care,” Gray writes.

Gray is asking the public to send information about venue accessibility to Contact.ITVA@gmail.com. Got a favorite venue you know is accessible? One that isn’t? Let him know.

Here’s the beginning of Gray’s D.C. venue list, including detailed information on accessibility for ground floors, upper floors and bathrooms. The nascent list includes big clubs like Rock & Roll Hotel and 9:30 Club. Gray hopes to eventually add information about underground music spaces, too, particularly because those are the ones most likely to be inaccessible.

Photo by Flickr user danielderrick used under a Creative Commons license.

Jowe Head and The Fleeting Glimpses, Foul Swoops, Luke Reddick, and DJ Paul Krolian
Thursday, April 17 at CD Cellar, by donation

British musician Jowe Head is best known for his time in the Brit noise-pop band Swell Maps in the 1970s and then the indie-pop band Television Personalities in the 1980s. He’ll be opening for the legendary Loop in Baltimore Friday night, but we’re exceedingly lucky to have him play a special D.C.-area show on Thursday night with a backing band of D.C. musicians called The Fleeting Glimpses, featuring members of The Plums, Harness Flux, and America Hearts. Joining Jowe Head at this show are the energetic Foul Swoops and Luke Reddick from Dudes and Post-Nasal Drip.

Kill Lincoln, Boardroom Heroes, Still Alive, Collapser
Friday, April 18 at Rock & Roll Hotel, $12

Ska-punk band Kill Lincoln certainly keeps busy: the local septet plays regularly around town, and this show is the kickoff for a national tour. They promise to play a bunch of new songs at this show, where they’ll play alongside D.C. pop-punk band Boardroom Heroes, Chicago ska band Still Alive, and local punks Collapser.

Warning: This song includes explicit lyrics.

Black Panties, The Sniffs, Radiator Greys
Friday, April 18 at the Pinch, $7

It’s always fun to see a show at a dive bar with good food: wander upstairs between bands for the Pinch’s famous duck fries and a beer. Head downstairs to see St. Louis garage-punkers Black Panties, D.C. pop-punk band The Sniffs, and Radiator Greys, atmospheric noise from Select DC’s Josh Levi.

Warning: This song includes explicit lyrics.

Broccoli City Festival
Saturday, April 19 at St. Elizabeths Gateway Pavilion, $29 to $45

I’m not clear on why chicken and waffles and lobster rolls are being sold at a festival that’s supposed to be about healthy living, but setting that aside, the ostensibly eco-friendly fest Broccoli City is a fine place to catch big names in hip-hop (including Cam’ron, whose trip to D.C. will hopefully go better than his time here in 2005, when he was shot three times) alongside up-and-coming acts with local roots, like R&B artist Kelela and Virginia MC GoldLink. Go for the fresh rhymes, stay for the fresh juices. (Ally Schweitzer)

Cloud Cult
Saturday, April 19 at Sixth & I Historic Synagogue, $18 to $20

Experimental indie rockers Cloud Cult hail from Duluth, Minn. (fun fact: also the birthplace of Bob Dylan and the home of slo-core rockers Low). The eight-member band features string players, horn players, and a visual artist (!), and this “An Evening with…” show will feature two full sets of the band’s music, one acoustic and one electric—so expect a wide breadth of songs from the group’s two-decade career.

Andrew W.K., Adam Warrock, Rare Candy
Saturday, April 19 at Black Cat, $20

D.C.’s new comic-con Awesome Con is this weekend, but you don’t have to be into comics to enjoy this after-show, featuring performances by Andrew W.K., “overly enthusiastic hip-hop” artist Adam WarRock, and Baltimore’s synth-rock video-game tribute band Rare Candy. Note that AWK will also be giving a lecture at the Con, as well as signing autographs—hopefully slightly more engaging than his last area appearance, when he DJed rock songs before Black Sabbath’s show last summer.

The Pietasters, Caz and the Day Laborers
Saturday, April 19 at DC Brau, $12

Shows at bars can be great, but a show at a brewery means you’re getting beer right from the source. DC Brau celebrated its third anniversary this week, and the party continues with a performance by D.C. ska band The Pietasters and rocksteady group Caz and the Day Laborers. Last year, the Brau collaborated with Colorado’s Ska Brewing on a Pietasters beer called the Tasters Choice, a coffee doppelbock. DC Brau hasn’t said publicly whether they’ll be brewing more of the Tasters Choice, but we wouldn’t be surprised if they brought out a special batch of it for this show.

Pentagram, Satan’s Satyrs, Coke Bust, Unholy Thoughts
Saturday, April 19 at the Mary Graydon Center at American University, $20

Doom-metal legends Pentagram are playing their first show in the District proper since their infamous 2005 Black Cat show where vocalist Bobby Liebling overdosed backstage and collapsed during the band’s first song. Liebling has appeared to be a little more under control at recent shows (although he does wear some ridiculous shirts on stage). Also performing are the blues-rock inspired Satan’s Satyrs, hardcore punks Coke Bust, and Richmond’s hardcore Unholy Thoughts. Note that American University is a dry campus, so no drinking or smoking at this show.

Omar S, Chris Burns, R&B
Sunday, April 20 at Dirty Bar, $13 in advance

Detroit producer Omar S has made his FXHE imprint one of the best American dance labels out there, and he’s done that while remaining somewhat isolationist and stubbornly attached to doing things his way. If that state of mind is what keeps producing records as great as 2011’s “It Can Be Done But Only I Can Do It“—a killer, if occasionally X-rated encapsulation of his warehouse-ready sound—well, stay grumpy forever, Omar S. (Ally Schweitzer)

These and other show listings can be found on ShowListDC.

Damaged City Fest
Thursday, April 10 to Sunday, April 13 at the Dougout, St. Stephen’s Church, The Pinch, and Dance Institute of Washington

The Damaged City Fest, D.C.’s DIY punk extravaganza, returns for its second year this weekend, boasting a jam-packed lineup at St. Stephen’s in Columbia Heights on Friday night and all day Saturday, plus a pre-show tonight at The Dougout, after-shows at the Pinch and a Sunday matinee at the Dance Institute of Washington. The lineup is insanely packed, from California powerviolence pioneers Infest to D.C.’s Priests and Give, but the real draw—especially for locals—is a reunion of Government Issue‘s 1980 lineup, featuring John Stabb, Jon Barry, and Brian Gay, performing early demos and the “Legless Bull” EP. Presales are now all sold out, but there will be a few tickets available at the door (tip: get there early!).

Title Tracks, Passing Phases, Cane & the Sticks
Friday, April 11 at Comet Ping Pong, $10-plus donation

After the passing of Windian Records founder Travis Jackson in January, there have been a number of benefit shows for his wife and 1-year-old son. This is another (so donate freely at the door!), featuring John Davis’ power-pop project Title Tracks, pop-punkers Passing Phases, and fuzzy rockers Cane & the Sticks.

Vanguard Festival
Saturday, April 12 at Union Arts, $20

Put on by the noise-embracing collective Select DC, the inaugural Vanguard Festival brings together artists, producers and DJs to showcase “outstanding explorations, tastes, and talent.” Highlights include electronics guru John Wiese (who in addition to his own projects has also toured with Sunn O))) and performed with Wolf Eyes), Earcave/Peoples Potential Unlimited founder Andrew Morgan (who put together this exclusive mix for Bandwidth), ex-Black Eyes member Ital, and local electronic duo Protect-U.

Tereu Tereu, J. Flax & the Heart Attacks, Mattress Financial
Saturday, April 12 at the Beehive, by donation

If you missed Tereu Tereu‘s headlining show at the Black Cat a few months ago, here’s your chance to see this offbeat rock band play a much more intimate venue. Also performing are Norfolk surf-punkers J. Flax & the Heart Attacks and a Two Inch Astronaut solo project called Mattress Financial.

Over N Out, The Oddities, Threads, Arkestry
Saturday, April 12 at the Electric Maid, $5

Despite having a fairly active concert calendar, the Electric Maid always seems to slip under the radar. Reacquaint yourself with the Takoma Park space for this pop-punk/emo/hardcore lineup featuring Baltimore’s Over N Out, D.C.’s The Oddities, West Virginia’s The Threads, and D.C.’s Arkestry.

GoldLink and Lakim
Saturday, April 12 at U Street Music Hall, $15

Who is GoldLink? While the Virginia-based MC has released a string of increasingly promising recordings—culminating recently with his new EP “The God Complex”—he’s remained anonymous. In a recent interview with Bandwidth, the “future bounce” artist wouldn’t divulge his plans for Saturday’s release show, which you’d think would involve donning a mask à la MF Doom. Then again, maybe this will mark the first time he lets fans see behind the veil. (Ally Schweitzer)

Warning: This track contains explicit lyrics.

Carcass, The Black Dahlia Murder, Gorguts, Noisem and Coke Bust
Sunday, April 13 at The Fillmore Silver Spring, $26.50

This tour, sponsored by Decibel Magazine, puts together two death-metal bands who released comeback albums last year: Carcass, whose “Surgical Steel” was the group’s first album in 17 years, and Canada’s Gorguts, whose excellent “Colored Sands” broke the group’s 12-year silence. Michigan melodic death-metal band The Black Dahlia Murder and Baltimore’s death/thrash youngsters Noisem are also along for the ride. As an added bonus, if you don’t get enough Coke Bust at the Damaged City after-party Friday at the Pinch, this is your chance to see them again on a significantly larger stage.

Beds, Sellout Youth, Curse Words
Wednesday, April 16 at CD Cellar Arlington, by donation

Shows at a record store are always awesome because you have time to browse between bands. This show is a benefit for the DIY festival Fest Too, happening in June at the Lab in Alexandria, and the bands performing are Sterling, Va., emo-punk outfit Beds (who are apparently basketball fans, given that one track on their “Michael Jordan” EP is called “Dunking on Patrick Ewing”), Alexandria’s garagey Sellout Youth and D.C. punks Curse Words.

Cloud Nothings, Ryley Walker
Wednesday, April 16 at Black Cat, $15

Cloud Nothings’ “I’m Not Part Of Me” is one of this year’s catchiest rock anthems. But instead of sticking it on the A side, the band made it the final track on its recent third album, “Here and Nowhere Else” (out now on D.C.’s own Carpark Records). Getting there is no slog—the album is full of good cuts—but once you’re there, you’ll probably understand why they made you wait. (Ally Schweitzer)

These and other show listings can be found on ShowListDC.

Shortly after 10 p.m., the next act started setting up. But it wasn’t a rock band, or anything as pedestrian as that—it was Olivia Neutron-John, a newcomer to the D.C. area who plays an intense and minimal strain of synthpop on a Casio. The rest of the performers occupied a similar vein: dark techno, much of it industrial-tinged. The headliner that night would be Secret Boyfriend, an experimentalist who toys with the boundaries between electronic and acoustic music, and who released a record that a reviewer for Resident Advisor called possibly “the most abstruse thing Blackest Ever Black has ever released.”

The lineup that night came courtesy of Select DC, a young duo bent on bringing more abstruse electronic music to the District.

Recent D.C. transplants Josh Levi, 27, and 24-year-old Jacob Knibb—who lives in the Petworth house—met on Facebook in January 2013 and bonded over their mutual desire to see more weird or overlooked synthesized music in the city. Levi booked bands back home in St. Louis, Mo., and Knibb had been into punk and noise while growing up in Chesapeake, Va. Two months after they met online, they booked their first show together. That event brought electronic music-makers Ital (D.C. expat Daniel Martin-McCormick) and Container (Providence’s Ren Schofield) to Comet Ping Pong.

Despite the excitement surrounding Ital in 2012, the Comet show flopped, by Knibb’s account. He says attendance was low, and they didn’t make enough money to meet the tour manager’s guarantee. But the curation set the tone for the other shows Select DC would later book: independent, dark, and vaguely punk synthesized music, usually performed in noncommercial venues and people’s houses.

It’s not a money-maker, but that’s not the point.

“Josh and I are mainly interested in creating opportunities for marginalized performers whose work generally resemble noise, techno, house, minimal synth, American primitive, industrial, avant-garde electronic, or some mutant hybridization of styles,” writes Knibb, who has his own musical project, Rosemary Arp. (Levi plays solo as Radiator Greys.) “I say ‘marginalized’ because they don’t represent a typical band/DJ dynamic or their sound doesn’t fit within the current interests of other venues or promoters. I wanted to create an ‘Other’ outlet for the people who didn’t fit in with an established D.C. scene.”

The pair has booked about 20 events so far, their most recent one a noise night at Ghion restaurant near U Street NW. April 12 at Union Arts DC, they embark on their biggest gig yet: a nightlong production called the Vanguard Festival.

“Vanguard Festival came together by chance when a number of artists contacted us about shows on the same date. It gave us an opportunity to put together a huge bill of acts we wanted to see, and whom we want to expose to the greater DMV area,” Levi writes. So far, the lineup includes a mix of noisemakers like Los Angeles’ John Wiese and Philadelphia’s Embarker alongside dance-friendlier artists like Claire and—again—Ital. Numerous acts on the bill, from DJs to live performers, are local.

Of course, noise isn’t underrepresented in D.C., not by a long shot. Just look at the annual Sonic Circuits Festival and the related shows it helps put on throughout the year. The broadest definition of electronic music has a home here, too, though dance clubs like U Street Music Hall and Flash tend to focus on more accessible house and techno—the kind of thing more likely to pack floors and sell liquor. (Though Select DC has worked with Flash before.)

Select DC exists mainly to plug the holes unfilled by commercial venues and larger promoters. “Many of my friends who have hit me up for shows in the D.C. area have either had a rough D.C. show five-plus years ago, or have never played the District before,” Levi writes.

With its DIY ethos, Select DC clearly sprouts from punk-rock soils, but not just when it comes to eschewing commercialism: Knibb and Levi also try to support women musicians working in an otherwise very male genre. Levi points to a December show the pair booked for Providence’s Unicorn Hard-On (Valerie Martino). “Having her play to an audience mostly comprised of women” was critical, he says. “We are huge proponents of promoting female musicians in such a male-dominated arena.”

While Select DC remains a strictly underground operation, Knibb says their small community of followers probably know what to expect from him and Levi at this point. “I think we’ve gotten a reputation for being the weird, noisy dance people in the city.”

A sampling of some of the artists Select DC has brought or will bring to D.C.:

Select DC is on Facebook, Twitter, and Tumblr.