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Music woth leaving the house to hear this week

Get Out 

Music woth leaving the house to hear this week

Chatham County Line, Old Habits
Lincoln Theatre
Thursday, Sept. 30

Chatham County Line's Dave Wilson says he started developing the basis of what he calls "new traditional" bluegrass the first time he plugged in: "My first guitar was an electric guitar, and so I was always trying to electrify things and come up with something new." Raleigh bluegrass band Old Habits share the bill. Old Habits--bassist Craig Thompson, fiddler Brian English, mandolinist Bennett Thompson, and banjo player and dobroist Lin Peterson--plays a mix of traditional and newgrass music, citing examples from Del McCoury to Sam Bush and Tony Rice. Earlier in the evening, at 7 p.m., mountain climber Conrad Anke, will present a slideshow, "Exploration in the 20th Century," detailing his exploits climbing the world's most challenging peaks. Anker is best known for his book detailing his discovery of the body of 1920s Mt. Everest explorer George Malloy in a '99 expedition. --GB

Angry Johnny & the Killbillies
Sadlack's
Thursday, Sept. 30

The music of Easthampton, Massachusetts' Angry Johnny and his three backing Killbillies is the aural equivalent of sneaking into a run-down drive-in, all juiced up on Milwaukee's Best, to catch a B-movie marathon. Imagine the sound of guitars, banjos and mandolins coming through those old hang-on-your-car-window speakers at punkabilly speed, and you're 99 percent there. And the thing is, beneath the moonshine and the mayhem and the mistakenly chainsawed meter men, these guys can play. This one saddles up at 7 p.m. --Rick Cornell

Trent Dabbs
Martin St. Music Hall
Oct. 1
and
Local 506
Oct. 6

If I told you that he was a white, twenty-something singer/songwriter from Your Town, USA with a bent for arrangements built around the acoustic guitar, you'd stop reading right now, immediately thinking of the cliche All-American boys like John Mayer, Josh Kelley or Matt Nathanson. But, if I told you he was a handsome youth with an equally handsome voice, a non-idolatrous kinship to Jeff Buckley and Nick Drake and the ability to pen lyrics like "a perfect day can die on a telephone wire," you'd probably want to know more. Find out this week at Local 506 and Martin St. Music Hall. --GC

Tishamingo
The Pour House
Friday, Oct. 1

Although they're regulars on the jam band circuit, Tishamingo doesn't like to be called a jam band. Rock will do nicely, but without the Southern prefix. Country rock nails it down about as close as the boys will let you get to 'em with a label. If you want to get preachy about it, just shout out that it rolls the best of country and rock into a howling fireball that sears the listener with a healing flame. Glory, hallelujah. --GB

Yonrico Scott Band, Scrapomatic
Lincoln Theatre
Friday, Oct. 1

Essentially the Derek Trucks Band sans its six-string whiz kid of a namesake, The Yonrico Scott Band presents Kofi Burbridge, Todd Smallie and the wizened Scott re-arranging Trucks numbers, standards and a few originals in funked-up form of three-part harmonies and foot-stompin' vamps. The other piece of DTB, vocalist Mike Mattison, will also be on hand with his side project, Scrapomatic. And, with Trucks slinging the axe for the Allman Brothers Band at Alltel Pavilion earlier in the evening, some full-band fireworks may be in the works on Cabarrus Street. --GC

Ian Moore and Amy Farris
The Pour House
Sunday, Oct. 3

Austin music scene grad Ian Moore has moved from his roots-rock guitar hero beginnings to a more muted, much tougher-to-pigeonhole stance, with pop lushness and soul yearning sharing the 40-watt spotlight. Songwriter/vocalist/fiddle player Amy Farris also hails from Austin, and after years touring and recording with everybody from Ray Price and the Derailers to Kelly Willis and Alejandro Escovedo, she's out in support of her own self and her debut album, Anyway. And, yep, Anyway was produced by Dave Alvin, one of the newest Yep Rockers. --RC

Explosions in the Sky
Local 506
Sunday, Oct. 3

There's a point eight minutes into "The Only Moment We Were Alone"--the second track from Explosions in the Sky's The Earth Is Not a Cold Dead Place--where all hope of resolution seems to crack, where the slinking guitar trickles down into empty space, a pit of question. Moments later, a faint brass roll eclipses that silence, and the sound comes back ten-fold--the snare cracks, the bass pummels and the guitars roar, split dead-center between a heightened, roaming melody and a rambunctious, overdriven wall of distortion. It's those booming, calculated, visceral bombs that these four Texas boys thrive on, twisting the shimmering subtleties of serpentine electric guitar figures into winding, eight-minute beauties that are as life-affirming as they are shuddering. And, live, it's an experience best remembered through earplugs. --GC

Blonde Redhead, Liars
Cat's Cradle
Monday, Oct. 4

That anyone bought The Liars' unlistenable second album, They Were Wrong, So We Drowned, is a testament to the sheepish nature of the indie underground. A mash up of Enigma's chanting monks and an art-punk take on Lou Reed's Metal Machine Music, you'll find more melody in Eraserhead, and certainly more enjoyment. The dance-punk sound of their interesting first album has disappeared as quickly as Electroclash did. Or maybe as quickly as the left turn Blonde Redhead made from dissonant Sonic Youth-styled noise epics to shimmering, ethereal ambient pop in the vein of the Cocteau Twins. There hasn't been a more abrupt, less savory change since Pat Boone sang metal. But don't take my word for it. --CP

Afroman
Lincoln Theatre
Tuesday, Oct. 5

Here's hoping the reefer-addled novelty-hit champion of "Because I Got High" finds longer lasting success than Sir Mix-A-Lot (last spotted in a California apartment complex yelling at Trans Am to keep it down--true story). If anyone can, it's Afroman, who, freed from the six-album deal he signed with Universal in the wake of his Napster-assisted hit, is out hustling the street on his own again. His latest is a two-album set (don't ask what he's been smoking), which continues his Biz Markie/Too Short-influenced playful, literate raps on pop culture such as "Sag Your Pants," "Colt .45" and "Drive Better Drunk." He can really sing, and his mastery of R&B-influenced arrangements will serve him well if anyone looks deeper than his 2001 hit. --CP

Mariza
Stewart Theater
Tuesday, Oct. 5

Fado has been called the Porteguese blues, a tag that doesn't do justice to either music style. Literally translated as "fate," fado, born in the working-class taverns of 19th century Lisbon, is by nature melancholic, mournful and beautiful. Mariza is the diva of the new fado movement taking the music into new realms by mixing in jazz and electronica. While the purists may scoff, she's managed to do more to bring fado to the world than any other singer. Show starts at 8 p.m.; pre-show discussion at 6:45 p.m.

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