WHITE DENIM
These Texans recorded their first LPs in a Silver Bullet caravan on the outskirts of Austin, making suitably scuzzy and fuzzy lo-fi records. But with 2011’s D, the band cleaned up its sound, reigned in some of its far-ranging songwriting palette, and added another guitarist to flesh out its live sound. The result was practically shocking; a hard 180 into (some say overly) polished soulful psychedelic pop. Once influenced by everything from acid-drenched 13th Floor Elevators and desert-noodling Meat Puppets to the Minutemen’s free-jazz punk-funk, White Denim instead now taps into mellower Topanga twang and jammy Hordefest-pop. The band put all this new sheen together in its hit single “Drug,” which, let’s just say, will not be serving as the theme song for the war-on-drugs agenda any time soon. The sonic clean-up is a mixed bag, as the band has traded some innovative energy — at least on record — for a more direct and streamlined approach. There’s still chops aplenty here, but one does miss the rough edges and freestyle genre-hopping of early White Denim. With Maps & Atlases. $12-$15. Oct. 31, 10 p.m. Visulite Theatre, 1615 Elizabeth Ave. 704-358-9200.

BLOSSOMS/JENNY BESETZT/T0W3RS
This night features a trio of up-and-coming regional acts. The frontman for Carrboro-based T0W3RS, Derek Torres, recently listed the songs he’d put on a desert island iPod limited to 10 tracks. They included cuts from the Who, The Band, Eno and Paul Simon. You’d be hard-pressed, though, to pinpoint any of that in the five-piece’s upbeat rock. It’s built on summery melodies, bubbly keyboards and winking lyrics — let’s not forget the band name’s hip spelling, too — and seems poised to make blog-noise à la Clap Your Hands, Tapes 'n Tapes, Black Kids, etc. For Greensboro-based Jenny Besetzt, on the other hand, the band name carries Teutonic specificity — “Besetzt” translates to “possessed” in German. And there is an OCD element to the quintet’s debut, Only, found mostly in the New Order-y rhythmic thrum. Add tragic-romance narratives and Smiths-like reverb to singer John Wollaber’s vocals, and you’re obviously drifting in another I Love the '80s slipstream. Headlining are local quartet Blossoms, whose Arthur Russell/Stephen Malkmus/Otis Redding hybrid holds its own with the visitors. $5. Oct. 28, 8 p.m. Snug Harbor, 1228 Gordon St. 704-333-9799.

KATHLEEN EDWARDS
With three albums of sturdy roots-rock crossed with hardscrabble country under her belt, Canadian songwriter Kathleen Edwards felt it was time to shake things up. Joining forces, both personally and professionally, with Bon Iver’s producer Justin Vernon, she’s broken out of the traditional Americana mold while still retaining the grit and compassion of earlier efforts. Edward’s dusty, spiky vocals have drawn comparisons to Lucinda Williams, but with songs about draft dodgers, abducted women and downtrodden housewives, Edwards’ songs have always borne a bit more gravitas than her contemporaries. With her latest LP, Voyageur, Edwards has ditched rollicking guitars for velvety production and slow burning instrumental interludes. Though her lyrics have become more personal, they’ve lost some of the heart-breaking bite of her previous thumbnail sketches of hard-luck characters. Still, this is not a case of a country girl gone all artsy-fartsy. While retaining her high, lonesome cred, Edwards embraces an exuberant, slightly queasy celebration of change and risk. With Jim Bryson, Gord Tough and Mandolin Orange. $22.50-$27.50. Oct. 28, 7 p.m. McGlohon Theatre, 345 N. College St. 704-372-1000.

HRVRD
Before they dropped the vowels in their name to avoid litigation with a certain hallowed educational institution, HRVRD was Harvard, a post-hardcore, neo-prog crew frequently compared to propulsive post-emo rockers Circa Survive. An emo hangover still hovers in HRVRD’s busy drumming, and prog (“neo” or otherwise) still echoes in coruscating guitar work that recalls Larks’ Tongues in Aspic-era King Crimson. Still, HRVRD’s shorter, sharper name signals a tightening and maturation of the band’s intricate sound. Comparisons to Circa Survive still surface in HRVRD frontman Jesse Clasen’s pure and ethereal vocals, but Clasen seems to hew closer to Tim Booth of ’90s Brit alt-rockers James. Indeed, HRVRD’s swooning melodies and swirling atmospherics suggest an update on Booth and the Bad Angel, the James frontman’s quirky and neglected collaboration with Twin Peaks composer Angelo Badalamenti. Even that cult LP is just one of many sonic touchstones for this band. Complex, soulful and soaring, with a tinge of darkness, HRVRD charts its own disquieting course. Performing at the 4th Annual Philip & Terrence Birthday Celebration featuring Junior Astronomers, Yardwork, Oddczar, It Looks Sad, That’s Why I Said It’s You. Free. Oct. 26, 8 p.m. Tremont Music Hall, 400 W. Tremont Ave. 704-343-9494.

STS9
Unlike most jam bands, STS9 doesn’t go off on long solos; instead, the group melds rock and electronics into a whole, while occasionally showcasing individual mood swings with short solo forays. The electronic rock quintet’s seemingly open-ended jams are akin to beats that swirl away into the ether. Spacey instrumentals ebb and flow into layered, trancelike tracks. The keys and guitars commingle while the jazzy, world beat percussion lifts improvised jams into dub-touched psychedelic outings. The compositions are laden with mystical rhythms and percussion that lends itself to musical adventurism without sacrificing an organic sound. The music is danceable, of course, yet also propels listeners into an intergalactic trip. Spin an appropriately titled track like “We’ll Meet in Our Dreams” for a primer. With Kap10 Harris. $22.50. Oct. 25, 8 p.m. The Fillmore, 1000 N.C. Music Factory Blvd. 704-916-8970.

WEEDEATER
Weedeater is a band that practices what it preaches: the coastal N.C. sludge trio’s live shows can be noisome assaults of sweat, volume and vomit. Southern music, by these guys’ model, can be an unapologetic steamroller of cranked amps and seething grudges. Weedeater swings and boogies, owing as much to Muscle Shoals-descended blues-rock as the obvious swamp-metal touchstones, while wildman bassist and vocalist Dave “Dixie” Collins — who once accidentally shot off his big toe — rants and hollers nihilistic Southernisms in his perennially shredded voice. So, come get some, but bring earplugs and maybe a change of clothes. With Sourvein, Murdercycle, Vulture. $12-$14. Oct. 25, 9 p.m. Tremont Music Hall, 400 W. Tremont Ave. 704-343-9494.

THE TONTONS
Sometimes The Tontons feel like twee done right, replete with bright colors, danciness, splashing guitars and just a bit of reverb-soaked nostalgia. And sometimes they come in sultry or swing with cabaret flavors, not unlike a full-band take on Morcheeba. Asli Omar, vocalist for this Houston outfit, is not only possessed of a remarkable voice, but has learned to control it well — presenting everything from smoky lounge-jazz to assertive trip-hop and indie-rock within a band capable and willing to try these styles on for size. After all, the new EP, Golden, closes on ukulele-driven jazz swing. Who knew? With Banditos. $6. Oct. 24, 10:30 p.m. The Evening Muse, 3227 N. Davidson St. 704-376-3737.

CACTUS TRUCK W/ JEB BISHOP
The visiting young Dutch trio Cactus Truck collaborates frequently with fellow countrymen and longtime noise-punk generators The Ex, a factoid which really only provides a jump-off point for its cacophonous ruckus. Cactus Truck’s debut, Brand New for China!, dropped in March, and the music comes at you with such unfettered ferocity that it’s a bit like being trampled by sound, and therefore easy to overlook elements of delta blues, New York no-wave and early free-jazz in the assault. Saxophonist John Dikeman’s reed unleashes Eric Dolphy-like note-torrents, Jasper Stadhouders’ aggro extends to both guitar and bass, and drummer Onno Govaert’s motor red-lines through nearly the entire set. Chances are you’ll be as exhausted as they are afterward, and your view of the genteel Netherlands — windmills, bicycles, quiet canals — left smoldering. As for Bishop, Chicago’s loss is the Carolinas’ gain: The veteran trombone wizard recently relocated to the Triangle, as his wife got a job at University of North Carolina. Bishop’s played regularly with the top echelon of Chicago’s fecund improv scene for 20 years, including stints with bands led by Ken Vandermark, Rob Mazurek and Peter Brötzmann. He’s been sitting in with the 21-year-olds in Cactus Truck this tour (UPDATE: he actually will not be on the Charlotte bill). With Joint D and Great Architect prior to Country Tuesdays. $5. Oct. 23, 8 p.m. Snug Harbor, 1228 Gordon St. 704-333-9799.

ALEJANDRO ESCOVEDO
Alejandro Escovedo has been pegged as an alt-country artist, but he doesn’t see it that way. In the 1970s, Escovedo dropped his calling card in San Francisco’s kitchen-sink punk scene as guitarist for the Nuns. He went on to form seminal cow-punkers Rank & File and underappreciated garage maestros True Believers, before launching a solo career in 1992. Though his alt-country tag stems from some quietly insular, strings-and-things LPs he recorded in the wake of his wife’s death, it’s clear that Escovedo has always been a rock 'n’ roller — albeit an extremely eclectic one. That’s been particularly true since 2008, when he teamed with his current songwriting partner, the roots-punk musician and poet Chuck Prophet. Recently, Escovedo and Prophet have become slaves to the rhythm, hoarding magpie pickings from the world of dance music. On Escovedo’s current project, Big Station, the co-conspirators draw on influences as diverse as Eddie Cochran, The Clash’s Sandinista and Malian riff-rockers Tinariwen, crafting lean, big-sounding songs that compel crowd members to get up on their feet and shake. With a voice pitched somewhere between a caw and a yowl, Escovedo belts out smart, seething lyrics over addictive grooves that cut deep into your brain. With Ghost Wolves. $22-$25. Oct. 23, 9 p.m. Visulite Theatre, 1615 Elizabeth Ave. 704-358-9200.

GWAR
Spurting fake blood and semen amidst decapitated dolls will make Gwar’s presence known when they hit the stage this week. There’s plenty of music to choose from — the band’s released 12 studio albums — but most who attend a Gwar show aren’t going for the music. The art-metal mavens have been up to the same tricks since the mid-1980s — science fiction and horror-inspired themes, costumes and lyrics join forces for a visual display that’s often imitated but never duplicated. What better place to see the band than Charlotte, the city that arrested the lead singer in 1990 and inspired an entire album? The Queen City holds a special place in the bloody, pumping hearts of Gwar, just as an evidence room somewhere holds a special place for the giant, fake phallus CMPD seized from the band. With Devil Driver, Cancer Bats, Legacy of Disorder. $20-$23. Oct. 22, 6:30 p.m. Amos’ Southend, 1423 S. Tryon St. 704-377-6874.