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Jucifer, Brudarbandid

The Athens, Georgia-based duo of Edgar Livengood and Amber Valentine – formally known as Jucifer – make some of the most insanely loud, knock-down, drag-out rock noise you’ll ever hear.

Over the course of a decidedly underground career that spans some 12 years, they have released a handful of albums, EPs and singles that have drawn them accolades from adventurous listeners.

Their brutal and almost unfathomably intense stage show finds Valentine running her lone guitar through an arsenal of electronic effects and a literal wall of massive amplifiers which constantly threaten to completely drown out her cooing, plaintive vocals. Meanwhile, Livengood (a veteran of the acclaimed Washington, D.C. hardcore scene) pounds the life out of both himself and the trap set (he’s been known to pass out from exhaustion mid-set and break bones from the concussive force of his attack). The overall effect is akin to Phil Spector’s Wall of Sound as interpreted by Melvins or My Bloody Valentine’s Kevin Shields.

Opening act Brudarbandid is another story altogether. An all-female Icelandic septet that’s barely known outside of their native land, they’re playing only 5 dates in the USA, and one of them’s here.

Why? Who knows? What I can tell you is this group (whose name translates roughly to “Band of Brides”) dresses entirely in ratty wedding gowns, and spends as much time onstage smoking and striking vaguely slutty poses as they do rocking out. They posit themselves as some sort of empowered babes, what with their highly-touted, but seemingly tongue-in-cheek manifesto (examples: “Band of Brides demands more frequent sunsets! That all swimming pools be filled with pink water! Tighter male trousers!).

While they’re not particularly proficient on their instruments, they’ve become media darlings in Iceland, and their import single (with the inane chorus “Sid Vicious, so delicious”) is helping to propel them headlong into the glorious 15 minutes they seem to have been born for. See this one while you can. Wed., The Jinx.


Captain Soularcat

Howard Stern is moving to Sirius Satellite Radio, but I’m sure the only new addition to that media giant’s playlist the folks in Rome, Georgia care about is Captain Soularcat.

This eclectic and none too funky 6-piece rock and jam outfit (from Rome) has been making music on the Southeastern club circuit since 2000, but it’s their most recent indie release that’s earning them quite a bit of attention outside of their normal touring radius.

Three Rivers Point showcases the group’s jazz-influenced style, which has drawn apt comparisons to the music of everyone from The Allman Brothers to Paul Simon.

In addition to regular stops in Savannah, they’ve also shared the stage with Leftover Salmon, Gov’t Mule and The David Grisman Quintet. Along with their own impressive originals, their sets include a healthy dose of classic covers by like-minded acts. Sat., Savannah Blues.

Ricardo Ochoa and The Jazz & Tango Kings

This relatively new trio features the seemingly omnipresent local musician Ochoa (here playing acoustic violin), acoustic guitarist Bruce Spradley (an old hand whom Ochoa describes as “one of the top jazz players in Savannah”), and upright bassist Peter Berquist, the principal bass player for the Hilton Head Orchestra, and a frequent sideman to local pianist Chris Chandler.

Together, they’re offering a nice twist on dinner jazz: swinging, Hot Club-style standards of the 1920s and 1930s. The sort popularized by the great Stephane Grappelli and Django Reinhardt – plus traditional tangos in the style of Carlos Gardel (as opposed to the more contemporary tangos of Astor Piazzolla).

While they’ve gigged off and on for the past 2 years, this will be their first proper public show (no cover), and Ochoa says they’ll also throw a few upbeat Latin tunes and Brazilian bossa novas into the mix as well. Fri., 9 pm, Jazz’d Tapas Bar.


The Talk

Every once in a great while, a record comes across my desk that seems destined for some sort of greatness. That might wind up being breakthrough success, or merely the type of quiet acknowledgement meted out by music writers in tiny papers and mags the world over. It’s Like Magic In Reverse is one such record.

I could get into specifics, but that would take away some of the surprise – which was so key in my discovery of the band. Suffice it to say that if you appreciate the sort of relentless, manic, guitar-driven glory of Cheap Trick’s first 4 LPs, or the kind of hopped-up revisionism found in great abundance on The Posies’ Amazing Disgrace CD, then you’ll flip for The Talk.

All the ingredients are there for this group to occupy a special place in the heart of folks who’ve pretty much given up on any truly worthwhile bands coming along that aren’t either trying too hard to ignore the past or too hard to recreate it. I don’t know if The Talk live comes close to The Talk on disc, but if they even make it halfway, this should be one of the best local shows of the year. Fri., The Jinx.