THURSDAY

U-Tern (Rio Room): LA resident U-Tern is well-known for his remix work of pop artists from both today and yesteryear, and though it’s more likely the average, casual, music fan has heard his rework of Britney Spears, let’s just say it is a little more impressive when he tackles the era of James Brown or Stevie Wonder. But of course, that’s hardly fair. To paraphrase Vonnegut—regarding comments he made regarding film industry—it’s akin to the ancient sculptors who worked with gold, since the material was already precious in the first place. Both the originals and U-Tern’s  edits are worth your time, as the musician uses a variety of techniques and instruments to make his work standout among the many who have used artists as iconic as Brown, Wonder, or Spears as a template. That’s no small feat.

Bad Lovers/Bobby Jealousy/Pharaohs (Rubber Gloves Rehearsal Studios): If more than one band on a bill is from Austin, the chances of at least a little garage rock being involved is a good possibility now days. The Bad Lovers actually have the gall to call a song “Satisfy Me,” and I don’t know whether to be stunned or irked. It sounds exactly like you would expect a song called that by a band called this to sound. So let them off the hook, they’re meeting expectations and there’s something to be said for that.

I always wonder what will happen when one of these groups, or perhaps just a group member, decides to go off the rails and start a side-project that is completely experimental, or “challenging,” or unbearably pretentious, rather than fairly formulaic. You know what happens? Your buddies in the straight-ahead rock bands don’t come to your shows. I’ve seen it happen, and it’s artistically tragic. I expected Bobby Jealousy’s career to unfold along the same lines, but their music tends to mix more stylistically current melodies and chords in with old girl-group sounds. And I don’t mean “girl-group” in the reverb-heavy, low-fidelity approach of many a modern blog ballad, but rather that when you hear some of these melodies, you’ll think of creepy smiles, letterman sweaters, and pony tails. At times, this collision between old and new is interesting.

FRIDAY

Creamers/Wiccans/Wild//Tribe/Completely Effed (1919 Hemphill): It should be noted that this is the Texas band called The Creamers, not the band from California called The Creamers from 26 years ago.

And this is Wiccans, the little hardcore band that could, from Denton. Not the big-time Wiccans that were featured on Brooklyn Vegan earlier this month, that look like some legendary hardcore band from 26 years ago. What’s that? It’s the same band? In that case: Congrats, fellas! And RIP original location of Emo’s, which the group was lucky enough to get to kiss goodbye, and was the occasion for said feature.

“Boombox” featuring A-1/Tyrone Smiley/S.O.U.L.Jah/Sober/Red Eye/Paradise/Asteroid/Jose G (House Of Blues): I don’t know if I can recall there ever being a dance-related weekly at House of Blues, or a weekly of any kind, period. But this is the first in a series that will feature two distinct sounds, divided as such: A “hip hop/party classics/retro/funk” room, featuring Sober, S.O.U.L.Jah, A-1, and Tyrone Smiley. As well as an “indie dance/house/electro/dubstep” room, featuring Red Eye, Paradise, Asteroid, and Jose G. So if your needs are not met by one of those two spaces, then perhaps you just don’t like dance music. Judging by some of the random comments lobbed at me around closing time at certain establishments, some of you most certainly do not. So while we’re on a roll, bottle service and valet parking are available, and yes, there is a dress code. Any guesses about the details on the clothing restrictions? Here’s my best guess: No cargo shorts. No earth-tones. No skorts. No wedges. No white socks. No one-size-too-small Polos. Never mind. That’s my dress code.

Penny Arcade/Dropped Cause/Responsible Johnny/A Disco for Ferns (Phoenix Project): Be warned that this is an early show. In fact, A Disco for Ferns is scheduled to perform at 8:45 pm. My only other comment is that if the drummer for A Disco for Ferns is already wearing a bondage mask onstage, then he’s already plenty funny. No need to crack so many jokes onstage. That actually goes for most artists.

Trinity River Folk/Noah W. Bailey/The Hug (Queen City Hall): It originally appeared that Queen City Hall would be hosting nothing but heavier acts, but some varied booking over the past few weeks has quickly cleared up any of the presumptions regarding monoculture talent-buying practices. This show, for instance, features a couple of folk acts and is hosted by comedian Dixon Wiles.

Achtone/Pastures/Curvette (Rubber Gloves Rehearsal Studios): After a variety of lineup changes and a brief holdup on their official release show, Achtone is finally ready to ceremoniously release their first official EP. Recorded onto 1/2-inch tape at Satisfact Studios in Denton, the four songs instrumentally rise-and-fall, wavering between plodding rhythms and jazzy, yet slightly soupy, tempo-changes.

The group shows an obvious proficiency with certain techniques on drums and guitar in particular and will probably hone those strengths in a more focused manner as they progress. Sometimes the guitar veers off into passages that are so blues-based and technical, they don’t quite fit with the rest of the group’s instrumental indie-rock tendencies. This could be due to actual lineage, however. Guitarist Pete Miller is the son of local blues guitarist, Texas Slim. I’ve seen a lot of broken-hearts in this hip indie rock business, Pete. Your pop has the right idea. Get out in those blues clubs and make some real money! I’ve heard one too many stories of kids in college towns trying to buy your records in pills. That just doesn’t cut it.

“Behind the Black Veil” (Texas Theatre): This after-party for Truffaut’s The Bride Wore Black features DJ Wild in the Streets and Keith P.

SATURDAY

Nothing More/The Phuss/Auxiliary Voice/The Commotion (Club Dada): I saw The Phuss perform with Old Snack last weekend, and unfortunately my notes are not in any sort of successful shorthand. It was a fairly eventful show. Here’s what I remember. They are a power trio more interested in the big riff than anything else, with southern rock pull-offs and the occasional pop melody. Here is our own Dick Sullivan from a while back, with a far more poetically nuanced take on the group.

Peopleodian/Curvette/Dead Mockingbirds (Rubber Gloves Rehearsal Studios): Opening for the Christian Millet exhibition. And I don’t know about you, but I’m looking forward to seeing Peopleodian open for Grimes in March.

Dwight Yoakam (Billy Bob’s Texas): Somehow, Mr. Yoakam’s cover of “Train in vain” always stumps the poor passengers unlucky enough to find themselves riding shotgun with yours truly. They either can’t figure out that it’s originally “that Clash song,” or they can’t figure out that it’s Dwight singing it. Either way, highly entertaining for when you’re hanging out with music know-it-alls.  It’s actually just one of many excellent covers by an artist that is easily the most gifted popular country artist of the past 25 years.

SUNDAY

Gangster Rainbow/Kiwi Sisters/Bummer Sticker (Walton House): There isn’t much to be found on the excellently-titled Gangster Rainbow, other than a few fascinating videos of a performance at 29th St. Ballroom in Austin and the fact that they include members of Dikes of Holland.

Shuttle/Ynfynyt Scroll/Killtron/Gina G (Texas Theatre): I was surprised to see a dance party of this magnitude at Texas Theatre. Not the kind where the DJs politely pick music that is somewhat related to the film that just ended. That makes for a nice evening where one can still converse. Judging by this lineup, which includes everyone from members of Passion Pit with active nightlife careers (Shuttle) to Dallas dance veterans (Killtron, formerly of Hot Flash), this could possibly get uncomfortable, but in a way that those of you who like that sort of thing will certainly prefer. And just when I thought the TX Theatre was a respite from big, glossy, dance events (that I also willfully attend). But that’s what I like about Dallas. It always keeps you guessing.

Image: From the cover of Achtone’s ‘Debut EP’