Live Music: Stagbriar; Acrassicauda; Pianos Become Teeth; Swampcandy

Great live music to check out this week

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Post-Hardcore | Pianos Become the Teeth
w/ Daylight, United Nations, Future Wives, Diamond Youth, Muscle and Bone
Mon. October 28
7:30 p.m.
$12/over 21, $14/under 21
Oasis

The Baltimore quintet Pianos Become the Teeth is not a screamo band. Yes, the band plays an emotionally charged brand of hardcore, one which keys keenly on vocalist — OK, screamer — Kyle Durfey’s darkly personal lyrics. But screamo, nowadays, is a throwaway pejorative for monotonous, over-adrenalized latter-day alt-rock. Instead, Pianos Become the Teeth pushes beyond screamo while embracing it, placing equal emphasis on melody and intensity, intertwining post-rock’s moody ambience with post-hardcore’s brooding passion. The band’s two guitarists combine the beatific swells of epic post-rock with hardcore’s textural heaviness, coiling melody lines over a bruising rhythm section, while Durfey’s desperately screamed vocals seem to fall into some semblance of a melody as if by accident. With a combustible dynamic sense accentuating the best qualities of both parts, the quieter moments of The Lack Long After, the band’s most recent LP, feel exceptionally plaintive and lonely. And it makes the heavier moments even more devastating and cathartic. —Patrick Wall monDAY

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FOLK POP | Stagbriar
w/ Rachel Kate, Mason Jar Menagerie
Sat. Oct. 26
9 p.m.
$5
Royal American

Columbia’s Stagbriar is not your typical roots act. Yeah, they’re folky and front-porchy and irreverently reverent to their Americana forebears, but call us crazy, if we don’t hear a little bit of back-country hip-hop in their music, especially on the killer leadoff track to the 2013 album Quasi-Hymns, Murder-Ballads, and Tales of How the Hero Died. Alex McCollum, vocalist and multi-instrumentalist for Stagbriar, says we’re only a little bit nuts. “The goal for ‘Tom’ was to write a talking-blues murder-ballad, like Leadbelly, Guthrie, Dylan, or Van Ronk might have delivered,” McCollum says. “Throw Public Enemy in there too.” The third track on Quasi-Hymns, “Deepest Leagues,” is another one of the album’s standout tracks; it’s also one of the most schizo. “Leagues” starts off with a punchy ramshackle beginning packed with haunting harmonies before transforming into a delicate bit of Band of Horses dream pop. “‘Deepest Leagues’ is the result of two completely different songs about similar subjects,” McCollum says. “Parts of them had other choruses, or more verses, but it made more sense to put these two ideas together and avoid an overused song structure. The result was a pleasant surprise from the beginning, and it’s still one of our favorite songs to play live.” —Chris Haire SATURDAY

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IRAQI METAL | Acrassicauda
w/ Affectation, Dirty Circus, and more
Sat. Oct. 26
8 p.m.
$7
The Hive/Bizzie Bee

Unlike most Stateside pop music lovers, heavy metal fans have long embraced bands from around the world. Yes, the metal world is dominated by British and American acts — and rightfully so — but bands from Sweden (Meshuggah), Germany (Accept), Norway (Venom), Brazil (Sepultura), and Japan (Loudness) have been embraced by American audiences for ages. But it’s still surprising that the embattled Middle Eastern nation of Iraq has produced a metal outfit that’s broken into the U.S. metal mainstream: Acrassicauda. This old-school trash act was formed in 2001 in Baghdad, and they were the subject of the appropriately titled 2008 documentary Heavy Metal in Baghdad. The members of Acrassicauda have since moved to Brooklyn, N.Y., but this week they make a must-see stop at the Hive in Ladson and participate in a special free show at Monster Music and Movies in West Ashley (the latter starts at 2 p.m.).

—Chris Haire SATURDAY
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BACKWOODS BLUES | Swampcandy
w/ Marbin, the Stump-Water Damned, the Corbitt Brothers Band
Wed. Oct. 30
6 p.m.
$5/donation
Awendaw Green

Dynamic doesn’t even begin to describe the duo Swampcandy. This two-man act — Joey Mitchell and Ruben Dobbs — crafts a full-band sound thanks to the duo’s multitasking approach to music making: Mitchell handles drums and stand-up bass, while Dobbs sings, plays guitar, and bangs his six-string like it was a bongo. Which is why you shouldn’t expect to be lullabied away at a Swampcandy concert. Heavily influenced by the Delta blues of the 1930s, these guys deliver a high-energy and percussive set. “Our favorite thing about performing is that we can bring the same amount of energy performing in front of two or 2,000 people because we love to perform,” Dobbs says. “We like to sweat a lot.” —Tamara Younkins

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