GARAGE FOLK | skribe

Barn Jam
Wed. Dec. 2
6 p.m.
Awendaw Green

Aaron Yealdhall is skribe, a garage-folk act out of Maryland — although his press photo would lead you to believe he hails from Johns Island, home of the ever-recognizable Angel Oak. The truth is, Yealdhall tours through Charleston often with his musical concoction that utilizes everything from kazoos to canjos, blending Americana with 1960s garage rock. Recently, his prominent use of kazoos helped the DIY musician land a handy sponsorship from our neighbor, Beaufort’s Kazoobie Kazoos, which also happens to be America’s main kazoo supplier. “Farmer Brown’s Mutilated Cow” is the track that led to skribe becoming a kazoo-friendly act. “I threw down the kazoo as a placeholder for a lead guitar or horn part but soon realized friends were calling it the ‘kazoo song,’” Yealdhall says. “We started hearing a ‘more kazoo’ chant at shows, and it quickly became a staple in the skribe set.” Then when it came time to release a new album, the band reached out to Kazoobie Kazoos with an idea for crowd participation. “For big shows like FloydFest, we’ll pass out a few hundered skribe kazoos and have everybody hum along,” he says. In addition to playing the mainstage at FloydFest this year, skribe also submitted a neat little performance — kazoo and all — of the growling, gritty single “Big Old Buzz” for NPR’s Tiny Desk Concert. In the video, Yealdhall’s one-man-band kit is perched atop a set of bowling lanes, while others carry on knocking down as many pins as possible. This week, Yealdhall will be joined by his sometimes-partner Gingerwolf, plus Nashville singer-songwriter Jerry Jacobs, Folly Beach-based folk-rock duo Deadwin, local funksters Ka-Tet, and Hilton Head Americana outfit Cranford Hollow will also perform. And yes, skribe has also officially toured the Kazoo Factory and Museum, where you get to make your own kazoo. After learning the history of the kazoo and about the kazoo-making process, Yealdhall says, “Friends don’t let friends import kazoos.” —Kelly Rae Smith WEDNESDAY


HIP-HOP | Little Stranger

Fri. Dec. 4
9 p.m.
The Palace Hotel

Kevin Shields and John “Leaf Eater” Shields — no, they aren’t brothers — have put together a funky mish-mash of tracks that harkens back to the early 2000s when the Gorillaz reigned with their electro-hip-hop rock. Each song on Little Stranger’s debut album Buddha the Beast is an experience all its own. From the smooth surf and steady vibe of “Dirty Murderah Pt. 1” to the rapid-fire rap delivery of “Bar 31” and the garage band-esque “Wop Wop,” Buddha the Beast carries enough depth and variety to make you keep hitting that repeat button. Little Stranger’s CD-release show is all about making Kevin and John as accessible to the audience as possible — no cover charge and no openers. “We’ll be returning from Philly, where we met in a high school Biology class. We’ll be bringing back a brand new stack of hard copies to the Palace Hotel,” says John. Buddha the Beast is available for digital purchase at littlestrangersucks.bandcamp.com, for whatever price you can afford. —Kaleb Eisele FRIDAY


METAL | Breakin’ Skullz

w/ Marytree, Carolina Chupacabra, For What It’s Worth
Fri. Dec. 4
9 p.m.
The Sparrow

At the center of every performance by North Charleston metal act Breakin’ Skullz sits a groove — a steady bounce that lets listeners lock in and enjoy the ride. It may seem like a simple task for a band to keep a crowd engaged, but all too often aggressive acts sacrifice melody and rhythm as they move toward a more extreme sound. That’s not the case for the members of Breakin’ Skullz, who have managed to remain accessible to audiences while incorporating a diverse range of musical styles into their heavy sound. “You get to the point where you get burned out writing the same music over and over again, and you get one crowd. We’re trying to mix it up where you get everybody into it,” says bassist Chris Brown. “We want to have a pit going on up front and a girl shaking her ass in the back. You get a little bit of both.” Building upon each band member’s hardcore and metal influences, Breakin’ Skullz lead guitarist Matias Martinez incorporates touches of the blues into his playing, while vocalist Rayner Ballesteros alternates between guttural screams, soaring melodies, and the occasional rapid-fire verse. “Me and our rhythm guitarist [Dan Reule] bring the heavy, and our lead guitarist brings the sexy. Then our vocalist and our drummer [Harold Broad III] add their little twists, and you get what you get,” says Brown. “We pretty much have the same writing process. We just get in the same room and start throwing things out there. Somebody starts playing a cool little something, and everybody else catches on.” Recorded with Todd Brown at Return to Zero Studios on James Island and mastered by Hajji Grape, the new album showcases the North Charleston headbangers’ ability to switch between grinding riffs and somber, confessional tracks. “It kind of goes from heavy to melodic. It’s just a five-track EP, but we tried to arrange it so it starts off with a kick and takes you on a bit of an emotional roller coaster,” says Brown. “There’s a lot of topics that the lyrics touch on, but people can relate to it. It’s about a person’s everyday emotions, basically, and their outlook on life.” —Dustin Waters FRIDAY


INDIE ROCK | Beach Tiger

w/ Human Resources and Youth Model
Sat. Dec. 5
9 p.m.
The Royal American

New local band Beach Tiger — featuring Taylor McCleskey on vocals/guitar, bassist Eric Mixon, drummer Blake Shorter, and Zac Crocker on keys/backing vocals — recently released the radio-ready, indie-pop track “Just Woke Up.” The single was mastered by Joe LaPorta (the Killers, Vampire Weekend) and co-produced by Beach Tiger, Wolfgang Zimmerman, and Kyle Patrick, who fronts the Boston rock band the Click Five. Two days after its release, Beach Tiger performed their first ever show at October’s Jail Break festival, and now they’re gearing up to release two more singles by the end of the year. “I feel we’ve entered a time in music where focusing on singles may be more beneficial to start-up projects,” says McCleskey, who first got acquainted with producer and Brave Baby’s Zimmerman when the Beach Tiger frontman played drums on SUSTO’s self-titled debut record. “Once something catches on, we’ll take time to record a full-length.” ’Til then, the guys will be testing out their songs, all of which initially started off as bedroom demos, on the good people of Charleston this weekend alongside the City Paper Music Awards’ Electronic/Experimental Artist of the Year Human Resources and local pop-rockers Youth Model. —Kelly Rae Smith SATURDAY