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The guide to the week's concerts 

This week's guide contains:

YES, PLEASE: Old Bricks, Filthybird, Black Joe Lewis & the Honeybears, Bob Log III, Mipso Trio, Mike Cross, Beach House, October 31, Inflowential, Holy Ghost Tent Revival, Acid Mothers Temple

VS: Mobile Deathcamp vs. Clutch



click to enlarge Old Bricks - PHOTO COURTESY OF THE BAND


It's been three years since Old Bricks released their debut album, Farmers. A collection of songs equal parts haunting textures and fragile vocals, that record offered proof positive that founding duo Stuart Edwards and Andy Holmes were onto something. Their new album, City Lights (available since last year, but officially out May 8 on Grip Tapes), trades the singer-songwriter-focused melancholic folk of their first for a fog of swelling melodies, shouts and spasmodic rhythms. Old Bricks' distortion pairs well with the sly Americana-pop verve of Filthybird. Anchored by Brian Haran's entrancing guitar and propelled by Renee Mendoza's magnetic vocals, the band's songs billow and burst with irrepressible charm. $6/9 p.m. —Ashley Melzer


Black Joe Lewis' namesake and frontman was a late-comer to the guitar, but when the former pawn shop employee decided to take home one of the store's wares, a funky sound ensued. Lewis is equally indebted to the blues and James Brown. He and his band balance grinding grooves with horn-laden boogie, devising a sound that makes you want to throw down and jump up at the same time. Their strut keenly recalls the Dirtbombs' Ultraglide in Black. With a howling, slithery vocal style and passionate delivery, Lewis is just as lively a frontman as the Dirtbombs' Mick Collins, too. $12–$14/9 p.m. —Chris Parker


Every time I've seen the one-madman-band Bob Log III, the motorcycle-helmet-and-crash-suit-wearing guitarist has done pretty much the same thing: played electric blues at breakneck speed, talked shit, asked crowd members to stir his scotch with their breasts, and generally done everything in his power to evoke a smile or laugh from the most smirk-prone attendee. Surprisingly, it never gets old. Alongside Log's ribald humor and his microcosmic sense of performance spectacle, he's a terrific player who adds grit to his licks in a way that many of his contemporaries have covered with polish. If you've never seen Log, it should be high on your list; if you have seen him, I've got few doubts you need much encouragement. With Mr. Free and the Satellite Freakout! $8–$10/9 p.m.—Grayson Currin


Like a less urbane Nickel Creek, the young triumvirate of UNC undergrads known as Mipso Trio skillfully folds a smooth pop streak into folk tunes that are undeniably modern while maintaining a reverence for the past. An appropriate opener for the summer music season in bucolic Bynum, the string band's sweet three-part harmonies bolster sparse, unhurried arrangements of mandolin, guitar and bass. Lead vocalist Joseph Terrell casually spins bits of small-town Piedmont life into heartfelt tales that occasionally hint at Dylanesque poetry, though never as explicitly as on the group's reimagining of "Don't Think Twice, It's All Right." Free/7 p.m. —Spencer Griffith


Mike Cross first strummed a guitar his junior year at UNC. Before long, as six strings are wont to do, it took control of his life. He made his debut in 1976 with Child Prodigy; during the ensuing 35 years, he's released 10 studio albums, including a children's album in '98. That signaled a retreat from touring, but clearly no surrender. Cross is known for his storytelling and penchant for wry sketches like the honky-tonk tween camping ode "The Great Strip Poker Massacre." His wit follows the straight-faced comedic tradition of Kinky Friedman and John Prine, while his music showcases his country roots but ventures into Celtic, folk, blues and even bluegrass territory. $22–$28/8 p.m. —Chris Parker


Across their first three full-lengths, Baltimore's Beach House shaped a mesmerizing aesthetic by surrounding Victoria Legrand's siren songs in a gauze of reverb, echoing guitars, fragmented drum machines and wobbly keyboards. While the first two records were intriguing enough, 2010's Teen Dream was absolutely addictive, with Legrand's voice riding beats that felt more direct and guiding hooks that felt more inspired. Against potential backlash odds, they've followed up by upping the ante once again on Bloom. Beneath the scrim, the drums hit harder and the keyboards catch quicker, that ever-present wobble now trussed to an almost bluesy drive. With Zomes. Sold out/9 p.m. —Grayson Currin

05.05 OCTOBER 31 @ SLIM'S

Generally the scariest thing to happen in downtown Raleigh on May 5 is the hordes of amateurs out celebrating the heritage of Mexican beer. But this weekend, the real horror show happens at Slim's with October 31. Fronted by King Fowley of the classic Virginia death metal band Deceased, October 31 plays straight-up, fist-pumping, old-school metal, with buzzsaw guitars and dramatic tales of horror and woe. Raleigh thrash-punks Gorbash and filthy-minded fuzz-rocker The Infamous Sugar open the show. 9 p.m. —Karen A. Mann


Inflowential and Holy Ghost Tent Revival could hardly be more mismatched; despite their differences, you won't find a more energetic Cinco de Mayo pairing. Inflowential twists the tradition of live hip-hop, matching the oddball rhythms of vocal percussion with live guitar and bass. The results are lush, layered beats that are driving and danceable, too. Over this you get the propulsive verses of Kooley High members Charlie Smarts and Tab-One. Holy Ghost Tent Revival detonate old-time folk, revving up the structures and expanding the palette to include jazzy horns and '60s-inspired harmonies. It's a sweaty rush of tangled strings and catchy melody. $10/9:30 p.m. —Jordan Lawrence


Proclaiming the excellence of one album by sprawling Japanese pan-everything psychedelic collective Acid Mothers Temple seems nearly as pointless as describing the radiant color or the geometric precision of a double-yellow line running the length of a country road. For the last decade-plus, the band and its members—in various permutations and collaborations—have been one of the most productive outfits in the world, constantly pushing for new ways to get weird, be that far-out Zappa tributes, Terry Riley compositions or free-mind, free-form explosions. But the new Son of a Bitches Brew not only features one of the best titles and covers of the young music year, it also finds Acid Mothers Temple wading through the legacy of Miles Davis' fusion unit with a meditative reverence and spastic unease. Intricate and wide-eyed, Son of a Bitches Brew is a sterling reminder that Acid Mothers Temple—in spite of their ostensible lack of filter or focus—are nothing if not daring. With Clang Quartet and Phantom Family Halo. $9–$11/9:30 p.m. —Grayson Currin


click to enlarge Mobile Deathcamp - PHOTO COURTESY OF THE BAND


From: Toledo, Ohio
Since: 2008
Claim to fame: Potent if predictable speed metal

In this battle of hard-rock stalwart versus aggressive newcomer, you'd be forgiven for mixing up which is which. Mobile Deathcamp started in 2008, but the speed metal formulas they exploit have been around for more than a quarter century. Echoes of Slayer and Metallica appear, as riffs thrash through viciously controlled squall. It's far from innovative, but Mobile Deathcamp pumps new venom into these tried-and-true fangs, with feral snarls meeting immaculate tones in assaults that rarely surprise but largely satisfy. With Hemlock, K.I.F.F., Burning the Open Wound and One Man Riot. At BERKELEY CAFE. $8–$10/8 p.m.


click to enlarge Clutch - PHOTO COURTESY OF THE BAND


From: Germantown, Md.
Since: 1990
Claim to fame: Grimy sludge livened by Zeppelin boogie

A holdover from the '90s that knows boozed-up hard rock better than most of its peers, Clutch doesn't exactly sound younger than Mobile Deathcamp, but the band's music lines up better with current trends. Clutch operates at the intersection of classic rock, punk and metal, adapting elements from each to its groove-centric purposes. Deep, swampy groans mingle with guitars and bass that are also murky, stretching the band's kinetic bass lines and melodies to give them extra oomph. It's an attack that has as much in common with still-relevant stalwarts (Harvey Milk) as it does with buzzing new arrivals (The Men). With Kyng and MonstrO. At LINCOLN THEATRE. $20–$24/8 p.m. —Jordan Lawrence



Chapel Hill's Boykiller will sing in your face about anything they want, and they don't care what you think about it; in fact, they hope it makes you blush. Last summer, Catherine Steele (Animal Alphabet), Theresa Stone (formerly of Organos and North Elementary) and Ginger Wagg (formerly of Veelee) became a band to "let loose what had been itching to come out." Over late-night songwriting sessions, the three women conjured titillating garage pop with catchy lyrics about "sex, flirting, love, pain, having a good time, taking risks and more sex."

To wit, on "Get Get," the trio of multi-instrumentalists screams, "You just wanna get naked all the time" like it's a dirty playground chant. Slinky bass seduces under pounding organ and drum stomps. "Don't take yourself or us too seriously, but don't think everything is a joke either," Boykiller says. The heartbreaking chorus of "Double Feature" confesses, "Nobody told me that you'd do this thing that you did to me." Boykiller finds confidence in vulnerability and offers the result over particularly badass beats. Twelve Thousand Armies and Little Bull Lee open. $5/9 p.m. —Ashleigh Phillips


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