Tumbleweed Wanderers, Tumbleweed Wanderers
For a newly formed five-piece act, Tumbleweed Wanderers sound surprisingly polished. The members, some of whom have played together since adolescence, have a remarkable rapport — good enough, at least, to sing in constant three-part harmony. Their music is hooky and well-crafted, bolstered by its rich orchestration: banjo, trumpet, harmonica, organ, and a battery of drums. (self-released)
At The New Parish (579 18th St., Oakland) on Thursday, Dec. 22. 9 p.m., $5-$10.
Hazard’s Cure, Hazard’s Cure
Shane Bergman’s growl sounds so parched and throaty throughout this EP that just listening makes you want a menthol cough drop and a glass of water. That only goes to show the violent, visceral quality of this metal four-piece; it’s no surprise to hear the singer wretch and hack at the end of first track, “Psilocybin.” Hazard’s Cure shows promise, particularly on the baroque, breakneck song “Wolves’ Banquet.” (Lummox Records)
The Hundred Days, Really?
Like many of their brethren in the emo and garage rock scenes, the members of The Hundred Days seem fixated on warm, snug chord patterns; brittle percussion; and near-operatic Brit-pop vocals — singer Jon Smith hits all his high notes with a Robert Smith-style yelp. The band’s single, “Sex U,” is enjoyable in an intentionally nostalgic, but not entirely derivative way. (Popantipop)
At Rickshaw Stop (155 Fell St., San Francisco) on Thursday, Dec. 8. 9 p.m., $10-$12.
Glimpse Trio, Garage
While the members of Glimpse Trio have street cred in the jazz scene, their new album veers closer to rock. It bleedeth over with sprawling, face-melting guitar solos, courtesy of frontman Mike Sopko; hard, ride-heavy drumbeats by Hamir Atwal (who is also fantastic at straight-ahead jazz); and grindy bass lines from bassist Jym Murry. That said, the band employs a lot of abstract chord changes and odd-meter rhythms. (self-released)