Southern Alt Rock | Drivin’ N’ Cryin’
w/ The Harris Brothers and Rev. Jeff Mosier
Fri. March 1
9 p.m.
$17/advance, $20/door
Pour House

Twenty-seven years after their debut Scarred But Smarter, Atlanta’s Drivin’ N’ Cryin’ are back making their idiosyncratic mix of country, hard rock, psych, punk, and power pop. DNC emerged just as college radio was launching Southern acts like REM to stardom. They were swept up in that frenzy even though their broad tastes proved problematic for major label marketing departments. They broke through with 1991’s gold-selling Fly Me Courageous, but their subsequent two albums failed to make much commercial headway and they were dropped. One final indie album in ’97 was followed by a 12-year absence during which frontman Kevn Kinney explored a traditional singer-songwriter solo career. But the urge to rock remained, and in 2009 Drivin’ N’ Cryin’ reunited to release The Great American Bubble Factory. It’s not only a fine return to form sonically, but a poignant look at a decade of foreclosed dreams. Last year Kinney released an album featuring the Golden Palaminos, while DNC — with former Leslie guitarist Sadler Vaden in tow — dropped the first of four consecutive EPs examining different aspects of their sound. The latest EP, Songs from the Psychedelic Time Clock, wanders from spacey acid-folk to chunky garage-psych throb. —Chris Parker FRIDAY

Egyptian Death Metal | Nile
w/ Doomsday Machine, Primo Noctis, Centura, Coffin Syrup, Your Chance to Die, Homicyde
Mon. March 4
5 p.m.
$15/advance, $20/door
The Hive

Karl Sanders and his fellow pharaohs in the Greenville-based death metal outfit Nile are ethno-musicological cannibals. Case in point: “Ethno-Musicological Cannibalism,” a cross-cultural instrumental mash-up off of their latest LP, At the Gate of Sethu. “There is something inherently cannibalistic about all rock and metal music, in that these music forms all feed upon one another, cross-influencing each other in myriad ways,” says Sanders, Nile’s singer/guitarist. “Young bands are influenced by older bands, and the riffs and melodies are ingested and mutated as the influences are assimilated to emerge again as new songs for new generations.” However, Sanders and company weren’t thinking about themselves when they titled the song. “The ‘Ethno-Musicological Cannibalism’ reference on the new record At the Gate of Sethu is a gentle, good-natured flesh roast of the many self-appointed internet ‘music critics’ who think that merely because they are armed with a keyboard and internet connection that they are some how qualified as music experts and metal journalists. I wrote that track to perhaps suggest that these so-called wannabe ‘metal critics’ should all go cannibal-feast on each other’s brains and leave us working bands alone so we can just make music.” Point taken, Karl. —Chris Haire MONDAY

Neo-Bluegrass | Barefoot Movement w/ Cumberland River and Town Mountain
Fri. March 1
7:30 p.m.
Music Hall

One of the first things you’ll notice about North Carolina-based bluegrass act Barefoot Movement is their youth. These college-aged kids — guitarist Quentin Acres, mandolinist Tommy Norris, and singer-fiddler Noah Wall — are about as fresh-faced as fresh-faced can be. However, they play at a level that far exceeds their tender ages. “I think that our youth brings a sense of almost innocence to the way we approach roots music,” Wall says. “We haven’t quite been around long enough to have heard all the traditional stuff, so we’re far from bored with it. We’re kind of wide-eyed and open to everything that we hear.” And that openness has allowed them to wander off the bluegrass path. On their debut album, Footwork, the trio take stabs at a Dixie Chick-style toe-tapper (“Circles”) and a country ballad (“Loose Ends.”) “We try not to be hung up on genres, so we’re not opposed to anything,” Wall says. “As a songwriter, I spend a lot of time listening to the masters like Bob Dylan, Neil Young, etc. I think that for me, that stuff is just as important as studying an old fiddle tune.” Spoken like someone who is wise beyond her years. —Chris Haire FRIDAY

PUNK PUNK PUNK | Barb Wire Dolls
w/ the 33’s
Thurs. Feb. 28
9 p.m.
Royal American

Two days — that’s all it took for L.A. punk band Barb Wire Dolls to record their debut, Slit, a snide and sneering collection of raw-like-a-slaughterhouse rippers and slashers. “All it takes is one or two nights to make an album, not years like Linkin Park or Coldplay and budgets in the many millions,” says Isis Queen, the lead singer for Barb Wire Dolls. “Rock ‘n’ roll is simple, raw, honest, and inspiring. You cannot fake it like an orgasm or a ‘promise.’” And to help them craft Slit, Barb Wire Dolls turned to the king of wham-bam recording sessions, Steve Albini (Nirvana’s In Utero and the Pixies’ Surfer Rosa). “He is the master of recording a band like it really sounds. In time, he will be regarded as the most important recording engineers to have ever lived,” Queen says. “Only Steve can capture the true, raw energy of a band without using any digital equipment.” Give Slit a spin and judge for yourself. Oh, and don’t be surprised when you hear the heavy Nirvana influences. —Chris Haire THURSDAY

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