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Sexton Rocks Coco



Local blues/rockabilly guitar-man Charlie Sexton melted an unsuspecting audiences' collective face off during Conan O'Brien's "Legally Prohibited from Being Funny on Television" tour showing at the Austin Music Hall last Friday.  While the main event was obviously O'Brien, Sexton came on stage to give Coco a chance for a costume change and gave the stage band a workout.  O'Brien, himself having a penchant for guitar, and most of the audience were in awe at Sexton's display, and Sexton showed Coco just what Austin music is all about. 


--Mitchell Mazurek



True Oddity Eric Carbonara at Highwire Gallery May 20

With the world of Philly music as wide open and eclectic as it is, you might feel that a true oddity is impossible. But just when you think there are no surprises, you happen to notice someone like Eric Carbonara, who's been on the scene for over a decade now, playing, producing, engineering, everything. The man is a dynamo, essentially. He's on a constant search for the purest form of "raw aural expression" and it shows. Listen to a song like "Splitting Two Into One" with its skronky drone, almost verging on doom metal, and then flip over to his newest stuff, which sounds more like a mix of flamenco and North African folk with an Eastern tint. Confused? Don't be! All of these seemingly divergent styles are united by Carbonara's dark, contemplative mysticism. All that you have to do is lay back and get lost in his world. Highwire Gallery, 2040 Frankford Ave., 8pm, $5, All Ages (Photo by Noah Levey) - Joe Poteracki



The Mural and The Mint at JB's May 20

Give of Montreal’s Kevin Barnes a couple tranquilizers and you’ve got the sound of Michael Kiley’s musical experiment, The Mural and The Mint. Kiley coats his ditties in a thick, sweet electric buzz that makes you feel like you’re seventeen again, trippin’ on acid at some folk festival. They'll be joined by Missing Palmer West who sounds like Jeff Tweedy in the days of Tupelo Honey. Craig Gonci’s band rocks a similar alt-country act as the still-kicking Wilco with a little less twang and a little more Howie Day (with less hair-gel and love-puppy lyrics!). And then there’s Strand of Oaks. With Timothy Showalter’s creation, all the power-pop ballads, grunge undertones, introspective-lost-20-something-lyrics, and acoustic guitar of the 90’s are back, dressed in your favorite pair of mom jeans, ripped plaid, and scuffed Doc Martens. Johnny Brenda’s, 1201 N. Frankford Ave., 9pm, $10, 21+ - Katie Bennett



Conservative Man Baring All at M Room May 20

The moody and lush Conservative Man is making an appearance at the M Room tonight. Conservative Man began as the solo project of multi-instrumentalist and songwriter Ian McCarthy before being flushed out into a full band in 2008. Their sound is eloquent and energetic with stargazing synths and Brit-pop melodrama that brings to mind a bit less dreamy M83. Their latest EP, 2009’s Imaginary Forces, is steeped in longing melodies and ethereal lightness that allow for escape and respite. M Room, 15 W. Girard Ave., 9pm, $8, 21+ - Adam G.



File under "Gorgeous NYC Noise": Stellarium

When you think of the city of Singapore you're not likely to conjure up thoughts of early 90's shoegaze/stoner/noise/dream-pop. Yet that is in fact where the band Stellarium hails from. Their debut album combines shoegaze textures (and attitude) with shredding, bombastic, noise assault guitars. Opening track "Any Day Is Fine," immediately hit our eardrums with a barrage of guitars that shriek, wail and churn with controlled chaos. Multiple layers swirl and feedback, melding together in a beautiful synchronicity of hazy sonics. "Chocolate & Strawberry" is a driving piece that redefines the "fuzz bass" sound. A Place To Bury Strangers' Jono Mofo would be proud. “Harbinger” sets a deep reverb echo to its cautionary tale about war. Exploding into a gorgeous wash of sound, straddling the lines between heaven and hell. “Fader” employs a rising sonic effect giving the sensation of your head “lifting off.” Stellarium show musical sophistication with their tempo changes within songs. The over 8 minute “final” track on the album – “Dead Nebula culminates in a shredding dual guitar attack. For the final 4 minutes it’s nothing but this - what's not to love? - Dave Cromwell


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