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The guide to the week's concerts 

This week's guide contains:

YES, PLEASE: Jon Shain Trio, Jim Avett, Make, Gollum, Man Will Destroy Himself, Tera Melos, Phobia, Kevin Seconds, David Bazan, Mynabirds, Boyzone, Tinsel Teeth

VS.: Jenny and Johnny vs. Lady Antebellum

VS.: Film School vs. Strapping Fieldhands

INTRODUCING: Antibubbles



On Tribes, the new seven-song release from singer/ songwriter/ patriarch/ a whole bunch of other things Jim Avett, there's some agile guest guitar-picking courtesy of Jon Shain. So it makes sense that Avett would share a bill with Shain and his gifted trio, bringing together one of N.C.'s longest-active musicians (belying his two-album catalog) with one of the state's most versatile. Avett will open the evening with songwriter-style country music that veers left into folk and right into gospel, while Shain and crew will follow with music that's all over the road, from rock to ragtime and blues to bluegrass. $10/ 8 p.m. & 9:30 p.m. —Rick Cornell


Tonally, these three acts live in an expansive textural landscape, awash with distorted overtones. Two of them use these sonic properties to bludgeon, the other, as a canvas. Chapel Hill's MAKE, one of several impossible-to-Google bands that frequent the Reservoir, plays like a Neurot Records mixtape. With moody, atmospheric guitars, patient yet punishing drums and protracted compositions that develop like underexposed film, MAKE emphasizes the "metal" in "post-metal." Think Neurosis' crushing floods of melancholy with a slight stoner element. Gollum and Man Will Destroy Himself are more aggressive, playing hardcore that's been pushed down a flight of metal stairs. Free/ 10 p.m. —Corbie Hill


It's impossible to divorce Sacramento trio Tera Melos from their math/ post-rock roots. Following a path blazed by forebears such as Don Caballero and Polvo, they forge a volatile, disjunct sound with a herky-jerky pulse potholed by arpeggiated bursts and stabs of guitar. Their approach is artier, and they focus as much on the swells of melody as the spasmodic intervals. The vocals reinforce that approach with an intermittent, swooning, reverbed tenor croon worthy of a baroque rock act but consigned to a corner toward the back of the mix. $5/ 9 p.m. —Chris Parker

09.26 PHOBIA @ VOLUME 11

I've heard of people listening to grindcore to go to sleep. The ultrafast tempos, they say, tend to blur songs together into some kind of white noise. Those people aren't listening to the right grindcore. California foursome Phobia's punk-rooted grind edges above the pack with decipherable riffs, a vocalist with more than one setting and even momentary guitar leads. Their soon-to-be-released EP, Unrelenting (how's that for truth in advertising?), might clear 17 songs in about 14 minutes, but each second counts. Phobia's eyeblink songs will be some contrast to the openers: Atlanta's Sons of Tonatiuh and Raleigh's Squall, both of whom offer thick, heavy mid-tempo slogs, and Raleigh hardcore band Stripmines, whose rage smolders before it explodes. $8/ 9 p.m. —Bryan Reed


Add Seconds to the cadre of former punks who've forged a "second life" as an acoustic troubadour. His seminal Sacramento hardcore band, 7 Seconds, began in the late '70s, and he started solo strumming in the late '80s/ early '90s, predating his peers in his embrace of the coffeehouse folk approach. It's become Seconds' main form of artistic expression the last few years. He favors a ringing melodic folk style (abetted at times by harmonica) expressing philosophical reflection with a tuneful tenor that's acres away from his bracing punk legacy. What's consistent is the passionate, resolute spirit that shines throughout his five releases. The Hell No opens. $8/ 9 p.m. —Chris Parker


After splitting from chief collaborator T.W. Walsh in 2006 to go it alone, former Pedro the Lion principal David Bazan spent his solo years scrutinizing his faith more than ever. Rife with existentialism and self-examination, last year's Curse Your Branches ranks alongside the best that Pedro ever recorded, while Bazan's fervent fans continue to regard the controversial character as more prophet than pariah, despite his doubts. His backing trio—including former Pedro drummer Blake Wescott—has collaborated with such notables as R.E.M., Damien Jurado, Say Hi! and The Long Winters. Recent Saddle Creek signee The Mynabirds is the solo vehicle of soulful, Southern-inflected songstress Laura Burhenn, formerly one-half of Georgie James. $12–$14/ 9 p.m. —Spencer Griffith


All due respect to the intriguing, modulated squeals proffered by the Triangle's Boyzone, but not much tops the spectacle provided by Providence's Tinsel Teeth. On their newest album, Trash as the Trophy, they sound like above-average post-Jesus Lizard noise merchants. In person, their lead singer spends each song continuously throwing herself—yes, that's a woman's voice—into audience members and her bandmates and any surface that will have her, all the while screaming with frightening abandon, drooling fake blood and (if you're lucky) grossly mistreating a strap-on dildo. Fun for the whole (Manson) family! Unstoppable Death Machine and Electric Cactus open. 9:30 p.m. —David Raposa


click to enlarge Jenny and Johnny - PHOTO BY AUTUMN DE WILDE


From: Los Angeles
Since: 2009
Claim to fame: Running with scissors

The full names of the pair that comprise this girlfriend/ boyfriend duo are Jenny Lewis and Johnathan Rice, but we're clearly on a first-name basis here. Jenny started out (musically, that is: she was an actress for a decade before starting a music career) in Rilo Kiley and then released the solo Rabbit Fur Coat, kind of a soul record for an indie rock world. Singer/ songwriter Johnathan (who also has an acting résumé, having played Roy Orbison in Walk the Line) joined Jenny's touring band before playing on Rabbit Fur Coat. Fast-forward four years to official duo status and the dangerously catchy "Scissor Runner." Eternal Summers opens. At CAT'S CRADLE. $16/ 9 p.m.


click to enlarge Lady Antebellum - PHOTO COURTESY OF THE BAND


From: Nashville
Since: 2006
Claim to fame: Winning a bunch of awards

The full name of this trio is Lady Antebellum, but fans—and they are legion—like to refer to Hillary, Dave and Charles as Lady A. The Lady part fits: The act's devoted followers certainly treat the threesome like near royalty. The A makes sense too, especially if it's short for—and stop me if you've heard this before about commercial country music—"Anything but country, more like polished pop rock with a Nashville address and the occasional cranked-up fiddle." Like it or not, it's the sound that's won Lady Antebellum CMA and CMT awards. Fellow Elton John-influenced country artist David Nail opens. At BOOTH AMPHITHEATRE. $29.50–$45/ 7 p.m. —Rick Cornell


click to enlarge Film School - PHOTO BY DREW REYNOLD


From: San Francisco
Since: 1998
Claim to fame: Dynamic psychedelica ranging from fuzzy to dreamy

Though Film School's songs span the spectrum of their musical niche, there's nothing particularly innovative about them. The Bay Area quintet's revolving lineup (featuring only founding guitarist Greg Bertens and keyboardist Jason Ruck) employ a variety of textured neo-psych guises ranging from chunky distortion-drenched walls of sound to colorful surging tangles of fuzz-coated melody and shimmering dream pop drift. The latter's particularly noteworthy on their latest, Fission, thanks to bassist Lorelei Plotczyk's sweet, gentle vocals. The music is generally well executed and reasonably vibrant (though less so since guitarist Nyles Lannon's departure after 2006's eponymous second album) but sometimes a bit too polished and predictable. Millionyoung opens. At LOCAL 506. $8/ 9:30 p.m.


click to enlarge Strapping Fieldhands - PHOTO COURTESY OF THE BAND


From: Philadelphia
Since: 1991
Claim to fame: Knotty, ragged, lo-fi psych/ folk/ rock

The Strapping Fieldhands are unpolished, their clattering, ramshackle rumble bearing the imprint of late-'80s alt-rock with its shambolic unstudied air. It recalls Eric Gaffney's contributions to Sebadoh or a less rhythmically straightforward Saccharine Trust. They've generated comparisons to Guided By Voices due to their off-kilter, lo-fi melodicism and tossed-off feel, and their music is sprinkled with odd instrumentation and quirky noises like a less claustrophobic Pere Ubu or more (rock) focused Tall Dwarfs. Though primarily a '90s act, they reunited a couple of years ago. Their noisy, disheveled, freewheeling spirit epitomizes indie rock's initial impulse and just seems more vital than Film School's well-trod precision. Los Naturales opens and Spider Bags headlines. At NIGHTLIGHT. $5/ 9:30 p.m. —Chris Parker


click to enlarge Antibubbles - PHOTO BY WILL BUTLER
  • Photo by Will Butler
  • Antibubbles


If Dave Yarwood and Geoff Schilling's past performances are an indicator—and it would certainly seem like they are—the guys have a knack for fuzz-coated pop songs that swing for the fences when the chorus comes around. The Drowsies, the pop-punk band Schilling and Yarwood shared, was a basement party favorite before its members went on to other projects. Yarwood did some time with The Future Kings of Nowhere and the heavy hardcore outfit Devour, and Schilling went on to play guitar with rookies of the year Last Year's Men. As Antibubbles, Yarwood and Schilling team up again to drive farther into pop territory. Yarwood is quick to cite Weezer for an easy RIYL, but the Antibubbles sound relies, too, on foggy Murder City Devils keys and the lovelorn pop-punk of bands like The Queers and the brighter spots of Dirtnap Records' keyboard phase. Tonight, Antibubbles opens for motivational Boston quartet Phone Calls From Home. 7 p.m. —Bryan Reed

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