DOOM METAL | Druid Lord
w/ Tripping the Mechanism, Cepheus
Wed. April 2
8 p.m.
The Sparrow

Sometimes there’s simply no better way to describe a band than how they describe themselves. And that’s the case with Orlandoom, Fla.’s Druid Lord. They write: “Druid Lord arose from the mists in what is known by most as the year 2010. Whispers of demented souls throughout mankind’s short history formed a swirling pool of tortured and disturbing tales from which Druid Lord chose to derive their dreadful and woebegotten songs. With visions of the most insidious humans and their macabre rituals of pure evil, Druid Lord began the foundation of what would soon come to be known as the Druid Death Cult. The foundation on which this death cult would be built would soon come to be understood as a twisted embodiment of both doom metal and death metal. In doing so, Druid Lord drew the attention of not only the residents of this world but the feared attention of those inhabitants who reside in a world less often visited. Unbeknownst to the members of Druid Lord, these inhabitants reached through the long-closed door between these two realms and took control of their fates. What began as a desperate attempt to channel the misery they had experienced by telling others with their music eventually exploded into a full-scale onslaught of all humankind.” Well, that about sums it up. —Chris Haire WEDNESDAY


w/ Soil, Tantric, and Social 66
Wed. April 2
9 p.m.
$12/adv., $15/door
Music Farm

Marytre’s one of those bands that has flown under the radar in Charleston. By and large, it’s because they’re just a straight up hard rock band, and the Holy City has relegated most of those acts to the outer ’burbs. And so, they’ve never really been one of the most buzzed about acts in the scene, despite regularly playing around town. But with Wednesday’s performance at the Music Farm opening for Soil and Tantric, the guys in Marytre may have just scored their most high-profile gig to date. The band — David Dietze (drums), Donny Bastian (bass), and James George (vocals/guitar) — recently released a new disc, Merry Tree, that’ll give you grunge-era flashbacks. In particular, you’ll hear Nirvana and Foo inspiro-bombs. George for one is more than happy to draw from those greats. “It’s that perfect balance of power and melody, man,” he says. “The intensity of the music, catchy guitar riffs, but also haunting vocals and nice harmonies. That’s just one piece of the puzzle as far as our influences go, though.” True, true. George and company are inspired by a wealth of rock’s best, from classic acts like Hendrix and the Beatles to late MTV-era acts like Faith No More, Slayer, and the Melvins. George adds, “In bringing all these influences together, along with our own personal styles and idiosyncrasies, we make a sound that’s our own, but certainly our influences shine through, and we’re cool with that.” —Chris Haire WEDNESDAY


AMERICANA | Dead Winter Carpenters
w/ Megan Jean & the KFB, Lindsay Holler
Thurs. April 3
9:30 p.m.
$8/adv., $10/door
Pour House

Coming from the Northern California jam scene, Dead Winter Carpenters began as a string group before adding drums and electric guitar. The band’s resultant Americana blends bluegrass, Bakersfield country, and roots rock in lithe, bustling numbers buoyed by the boy/girl vocals of fiddler Jenni Charles and singer/guitarist James Dunn. Drummer Brian Huston’s backbeat is the backbone of the band, chugging like a steam engine while Charles’ fiddle swoops and swerves through the arrangements. The Lake Tahoe quintet originally went by the name Sandpaper Mittens — an affliction allegedly plaguing the hands of outdoorsy, backwoods women in Maine — before changing it to Dead Winter Carpenters. They made their self-titled debut, D.W.C., in 2010, then secured 12 grand from Kickstarter donors for their follow-up. Released in 2012, Ain’t It Strange is a more dynamic album that even incorporates horns, like on the rootsy, Big Easy-swinging “Tahoe Girl.” In January, Dead Winter Carpenters released the Dirt Nap EP, showcasing an increased country influence and big, five-part harmonies, like on the celtic-tinged “Long Arm of the Law” and the airy folk song “Colorado Wildfire.” —Chris Parker THURSDAY


INDIE POP | Black Girls
Wed. April 9
9 p.m.
Tin Roof

Great art often walks a tightrope between idiosyncratic oddness and relatable touchstones. That’s not saying Black Girls are great art, but they’re up there on the tightrope. And leading the way is singer/guitarist Drew Gillihan, whose glitter-soul coo vacillates from a Bowie-esque strut on the jazz-swing “Broadway” to gritty swamp stomp on the bluesy ode to “South Carolina” to pompadoured crooner on the Latin-surf of “St. Simons.” Those three initial cuts off Black Girls’ 2012 second album, Hell Dragon, demonstrate both the band’s range and Gillihan’s spotlight-loving versatility. Make no mistake, Black Girls are tight and capable, but Gillihan’s boundless confidence sells their sound, even when his singing borders on schmaltz, as on the disco-soul number “Lover.” The track’s off last month’s third album, Claire Sinclaire, which consolidates the jazzy-glam-soul strengths of their first two discs and adds a few new twists (grungy Hollywood rocker “Banging LA,” the ’60s psych-pop of “Buyin’ Time”). The album’s feels moodier and more downbeat than earlier efforts, particularly on the wistful folk-soul ballad “Kaleidoscope.” It’s not the type of thing you’d expect to hear them play live, except perhaps as a show closer, but it’s evidence of Black Girls’ deepening craft. —Chris Parker NEXT WEDNESDAY