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Get Out

Music worth leaving the house to hear this week

Wednesday, January 18
Ian Davis & Crowmeat Bob

Ian Davis was drumming with Cool John Ferguson and other acts on the South Carolina "chitlin' circuit" when he was 15; in the past three decades, he's moved onto pop and big band. For the past two decades, though, he's turned his focus to improvisation and postmodern extensions of John Litweiler's Freedom Principle, making avant waves with his work in the Micro-East Collective, Onomata and Family Vineyard's Unstable Ensemble. Things should get temporally distended and expansively odd in this one-off with guitarist and saxophonist Crowmeat Bob. Donation/10:30 p.m. --GC

Thursday, January 19
Elevator to Space, Iconic, Overproof
The Pour House

The five jacket-wearin' youngins in Raleigh's Iconic understand the ins and outs of a good riff--at least the kind that's best suited for a 30-second iPod commercial. Of course, they don't have a "Jerk It Out" like those cheeky Swede kids in Caesars, but the back and forth bounce of "Jet Set Girl" comes damn close. Female-fronted pan-rockers Overproof open. Free/10 p.m. --RM

Friday, January 20
Lauren Lapointe
Open Eye Café

Low-key folky vocalizations by Ms. Lapointe, often embellished with mandolin and guitar, linked her early on to contemporaries like MacLachlan and DiFranco. This Savannah singer-songwriter broods over everyday goings-on, telling her own tales. Free/8 p.m. --CT

Physics of Meaning, David Karsten Daniels
Bickett Gallery

Chapel Hill's Bu Hanan records is as potent an artistic force as you will find in the Triangle, and tonight's bill should be yet another piece of evidence. David Karsten Daniels turned in one of the best moments on last year's Compulation 2, his "Jesus & The Devil" beautifully espousing the slow torture of a man speared on the vacillations of his own belief. He and Bu Hanan producer Alex Lazara are working on a new album, though memories of Lazara's last project--The Physics of Meaning's grandiose debut--haven't faded. The Annuals open. $5/10 p.m. --GC

The Nein, Fin Fang Foom, Bringerer

Casey Burns came to Chapel Hill in 1993 on a Morehead Scholarship, and--in the last 12 years--he's become a vital part of the local rock scene, managing the Cat's Cradle for seven years and designing some 1,500 concert posters. Remember the Southern Culture poster with a skull wearing a "Women Love Me/ Fish Fear Me!" cap? The praying-hands Polvo show? Both Casey. He's also designed Independent covers and album art for folks from Jon Wurster and Tom Scharpling to his current band The Nein. This will be Casey's farewell show with The Nein--who play swagger-borne, noise-driven angular indie rock--as he will move to Portland, Ore., later this year to be with his wife. Fittingly, gig-art mentor Rob Liberti opens with his new band Bringerer; Fin Fang Foom and DJ Viva fill the bill. $6/10 p.m. --GC

Darrell Scott
The ArtsCenter

Kentucky native Darrell Scott titled his ambitious album Theatre of the Unheard, which, alas, is all too apropos. It's time to render that title inaccurate and move Scott--a multi-instrumental musician's musician type who combines Lowell George soulfulness, progressive chops, and commercial country connections (the Dixie Chicks and Travis Tritt have had hits with his songs) into a compelling package--to the top of your Need to Hear list. Dana Cooper opens. $18-20/8 p.m. --RC

Saturday, January 21
Vibrant Green
Cat's Cradle

It can be tough to lose your family, and Vibrant Green--known in alternate universes as The Brothers Tunnel Band--proves it's hard to lose your family band. Vibrant Green--Joah, Jonny and Stephen--broke it off in 2002 while recording their second album, and--four years later--it's here on Trekky Records, the same label that issue Joah and Jonny's material for The Never. It's big, chugging, anthem-prone alternative rock, flaming up in big blasts of amplified chords stamping out anthems (like Weezer) before collapsing down into semi-saccharine bits (like Pavement) about a girl quitting her job at Best Buy to be with her guy. Ben Davis' all-star Jetts open, along with Yep Roc noobs, Cities. $6-8/9 p.m. --GC

Austin Lounge Lizards

The insightful and satirical songs of the Austin Lounge Lizards often employ humor to drive a point home, but this veteran quintet doesn't fool around when it comes to bluegrass/country smarts, five-part harmonies and instrumental virtuosity. Call 'em Flatt & Scruggs & the Mothers of Invention. $16-18/8 p.m. --RC

The Bleeding Hearts, The Semantics

The Hearts speak to an innocence, a simplicity. They live in a place where the beer is cold, the women hot and the boot put firmly to the proverbial ass. Power chords, big choruses and an unrepentant "SFW!" Playing Black Flag to the Hearts' Thin Lizzy are the Semantics. The furious, hardcore-fueled Raleigh act features a lean, muscular attack of old-school West Coast punk. 10 p.m. --CP

Steep Canyon Rangers
The Pour House

Four of the five members of this young, hungry and award-winning bluegrass outfit come from various corners of North Carolina. Thus, it's fitting that the tears-on-the-jukebox title track from their latest release, the Mike Bub-produced One Dime at a Time, was originally cut by Sparta, N.C.'s Del Reeves. The Rangers' arrangement showcases their versatility and would no doubt make the old trucking-driving-song man smile. Contemporary bluegrassers Boss Hawg open. $6-8/10 p.m. --RC

The Honored Guests, Ben Davis, The Whigs
Local 506

Former Milemarker and Sleepytime Trio trooper Ben Davis has grown into a competent songsmith. His tunes are weighty, otherworldly affairs--the sort of thoughtful rock that doesn't drip with emotion but begs to be wrung out, each drop of the utmost importance. A similar charm drapes the work of the headlining Guests, who remember Tom Petty fondly and trace psych-y circles around their understated Radiohead influence. $6/10 p.m. --RM

Sunday, January 22
Steve Kimock Band
Cat's Cradle

Bay area guitarist Steve Kimock played with Phil Lesh and The Other Ones, and the late Jerry Garcia once called Kimock his "favorite unknown guitarist." One can certainly hear the echo of Jerry in his limber, folkish, high-note leads, which lends the music a supple sway. At times jazzy and others even approaching rock, their instrumental work is pleasant and diverting if a tad innocuous. $18-20/9:30 p.m. --CP

The Olympic Ass-Kickin Team, Jeffrey Dean Foster, Joe Swank & the Zen Pirates
The Pour House

The self-titled release from Terry Anderson and the Olympic Ass-Kickin Team, sounding like a one-band triple-bill of the Georgia Satellites, Faces and NRBQ, was one of my favorite North Carolina records from last year. Jeffrey Dean Foster's new Million Star Hotel--let's call it a gathering of Neil Young, Alex Chilton and Marc Bolan--is destined to fill that same role in 2006. And there'll always be room on the list if Swank and his swashbucklers get a record out. Happy 50th, Tommy Swinney. $5/6 p.m. --RC

Tuesday, January 24
Criteria, Audubon Park
Local 506

Like a bright pink natural disaster, Audobon Park storms through broken bits of song, leaving a disheveled path of yo-yo pop and candy wrapper rock in its wake. The diary-page guitar theatrics of Ex-White Octave unit Criteria ain't nearly as cute as a tornado dressed in a My Little Pony onesie, but the band heaves like a two-headed emo monster, delivering guitar-centric heaviness with a heart. $8/9:30 p.m. --RM

Curt Kirkwood

Before Tweedy and Farrar popped their first boner, the Kirkwood brothers were leading The Meat Puppets through parched country-folk with an admittedly psychedelic tilt. While seminal stuff on SST Records in the '80s, they never had their "Pepper." But Curt has soldiered on, and after an abortive Puppets reunion and the short-lived Eyes Adrift (with Nirvana's Kris Novoselic and Sublime's Bud Gaugh), he's returned with his solo debut, a quiet, folk-country mix that emphasizes his fine playing. --CP

Bela Fleck & The Flecktones
Carolina Theatre

I don't know that the comparison has been made often enough, but to me it's manifest and major: Bela Fleck & The Flecktones go there in a way that's tantamount to John Zorn's sundry projects. Consider: Fleck is a bluegrass landmark (credits include New Grass Revival), although he brings a classically fueled dynamic that's worked with Edgar Meyer and a pop sensibility that turned a Beatles medley with Tony Trischka into the highlight of Merlefest 2004. All of that comes into an arch-adroit band that--as with Zorn's Naked City--doesn't always follow Fleck or demand he follows. But, somehow, they almost always arrive in the same outbound, transcendent, rediscovered quadrant. $36/8 p.m. --GC

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