THURSDAY 11/1

Music

DARK FUNERAL Since its explosion in the early to mid-’90s, black metal has been inextricably linked to Norway, where the genre was made most infamous. But during that same time period, other Scandinavian outposts produced a number of bands rivaling the vitriolic aggression of Mayhem, Darkthrone and Immortal. Towering over them all is Sweden’s Dark Funeral, whose relentless assault helped codify what underground purists would exalt as “tr00” black metal. Concerning themselves less with the atmospherics in which their peers dabbled, Dark Funeral’s steadfast, bludgeoning approach has remained unwavering despite the countless lineup shifts that typically plague this corner of the metal world. Sharing the bill are Daath, whose progressive death metal inhabits the opposite end of the underground extreme metal spectrum. The blackened death metal hybrid of fellow Swedes Naglfar—named after the mythological Nordic ship made from the fingernails and toenails of the dead—serves as the perfect balance between the two, rounding out one of underground metal’s highest-profile tours to visit the city in quite some time. 7 p.m. at The Muse —MATT SULLIVAN

Blood-Soaked Premiere

SHUDDER Aww, how sweet—a family reunion. Alas, there’ll be something meatier than fried chicken on the table, as Nashville writer-director Ben Dixon gathers much of the clan from the original (i.e., the only) Texas Chainsaw Massacre—Gunnar “Leatherface” Hansen, John “Grandpa” Dugan and Edwin “The Hitchhiker” Neal—for a gory tale of a woman recently released from a mental institution who learns her demons aren’t all in her head. Former The Young and the Restless regular Tricia Cast stars, along with Sydnee Riley and longtime Middle Tennessee hard-rocker Clay Brocker from F.U.C.T. The third indie horror film by Lone Wolf tattoo artist Dixon, the film premieres with three showings at the Belcourt; it screens again 10 a.m. Nov. 4 at Mt. Juliet’s Providence 16. Be sure to bring the kids—the family that slays together, stays together. 7, 8:45 & 10 p.m. at the Belcourt Theatre —JIM RIDLEY

Music

GORE GORE GIRLS On their latest Bloodshot Records release Get the Gore, Motor City hellcats Gore Gore Girls fill pentatonic stanzas with proto-punk riffs and snappy guitar lines. Dabbed in thick pancake eyeliner, lead singer Amy Gore is a walking homage to she-woman pulp films. Her richly textured voice is a wall-of-sound wail—a subtle cocktail of surf-pop innocence undercut with a sinewy edge. Sharing the bill with local rock darlings The Clutters, Gore Gore Girls and their fuzzy Gretsch guitars are sure to please. 9 p.m. at The End —JOEY HOOD

Music

THE BLACK ANGELS It’s always a pleasure to hear psychedelic rock that doesn’t beat you over the head. Austin’s Black Angels operate without the forced genre integrity or the fashion pretenses that preoccupy so many of their peers—which is not to say that hardcore fans won’t be pleased. The band’s secret weapon is their ability to cut to psychedelia’s creamy center—that is to say: drone. The music’s cool repetitiveness keeps you rapt, providing thrills and satisfaction superior to those desperately trying to re-create the ’60s. Don’t expect to see the Black Angels in the next Austin Powers movie, and don’t worry about having to feel like you’re in a classroom either. 9 p.m. at Exit/In —SABY REYES-KULKARNI

FRIDAY 11/2

Music

BODIES OF WATER W/PHOSPHORESCENT Both these earnest indie pop acts make music ringing with honesty and ramshackle warmth. Though Bodies of Water’s arrangements can be quite ornate, their backbone is a shambling folk vibe abetted by all four members’ vocals, giving their music a baroque gospel pop feel reminiscent of The Danielson Family or an earthier Polyphonic Spree. But despite the Godspell theatrics, there’s still a driving rock undercurrent preventing the proceedings from getting too twee. Songwriter Matthew Houck’s Phosphorescent have a slower, more cinematic approach, combining rustic rootsiness and expansive psych-folk textures with his lonesome, tenor croon. Houck’s latest, Pride, echoes Bodies of Water in its use of choir vocals, which imbue the album’s wobbly, plaintive epics—half of Pride’s eight tracks exceed six minutes—with a resilient, spiritual aspect. 9 p.m. at the Boro —CHRIS PARKER

Music

COUNT BASS D Maybe it’s the severe bling deficiency or the refusal to follow record company success ladders, but it seems like underground hip-hop may never find a place with mainstream audiences. The same goes for Nashville resident MC, producer and multi-instrumentalist Dwight C. Ferrell, a.k.a. Count Bass D. In the game for a decade-and-a-half, the Count has issued a slew of acclaimed, brazenly original material and ventured on several world tours, but has yet to gain any widespread recognition. Since getting dropped by Sony 10 years ago, he has continued to delight critics and elude airplay. His latest, Act Your Waist Size, continues to ignore radio trends and eschew sampling in favor of esoteric instrumentation and his trademark offbeat Southern grooves. 9 p.m. at The Rutledge —SETH GRAVES

Music

YEFIM BRONFMAN WITH THE NASHVILLE SYMPHONY ORCHESTRA This Russian-born pianist will bring one of his signature knuckle-busting concertos to Nashville this week. Still, he’ll have a hard time topping the concert he gave last month in Manhattan—as part of a charity event, Bronfman performed at Grand Central Station during morning rush hour. But unlike violinist Joshua Bell, who was largely ignored when he played for subway commuters in Washington, D.C., last April, Bronfman drew a crowd. Perhaps New Yorkers were attracted to Bronfman’s bright-orange suit—the concert was part of NYC Goes Orange, a fundraiser for a local food bank—or maybe they just couldn’t ignore the thunderous sound emanating from his 9-foot Steinway. Whatever the reason, New York commuters got to hear one of the great virtuosos of our time. Local classical fans will get to hear that same dazzling technique when Bronfman joins the Nashville Symphony Orchestra to perform Prokofiev’s diabolically difficult Piano Concerto No. 3. 7 p.m. Thursday and 8 p.m. Friday and Saturday at the Schermerhorn Symphony Center —JOHN PITCHER

Odd Couple

THE DRESSER Set during the World War II blitz, Ronald Harwood’s Tony Award-winning play examines the relationship between an aging Shakespearean actor and his devoted, longtime wardrobist-valet. In 1983, Harwood’s script was successfully translated into a memorable multi-Oscar-nominated film by director Peter Yates, for which co-stars Albert Finney and Tom Courtenay also received nominations. The new ACT I production, under the direction Melissa Bedinger-Hade, features a promising cast, including Dan McGeachy as the sickly, cantankerous thespian and Michael Roark as his caretaking “dresser.” The supporting cast includes Jessica Sparks, Debi Shinners and Billy Rosenberg. Nov. 2-17 at the Darkhorse Theater —MARTIN BRADY

50-Plus and Fabulous

COULD IT BE LOVE This original Kaine Riggan-penned musical first played the Ryman in 2005. Its revival, presented under the Nashville Dinner Theatre banner at the Senior Center for the Arts in Donelson, again co-stars country music veterans Jeannie Seely and Helen Cornelius, portraying older ladies with spring in their steps and passion for life and love. Country newcomer Amber Hayes infuses the show with a youthful presence, and several Nashville community theater standbys, including Kay Gobbell, Danny Proctor and Layne Sasser, fill out the ensemble. Riggan directs. Nov. 2-17 at the Donelson Senior Center for the Arts —MARTIN BRADY

Music

ERIC BACHMANN As lead singer for the criminally underappreciated Archers of Loaf during the mid-’90s, Eric Bachmann was out in front of the most thrilling art-punk noise made since The Replacements imploded. Though it was easy to see that the Archers weren’t going to last—young rock bands rarely do, especially ones with little commercial potential—nobody would have imagined that Bachmann, who sports a deep-throated croak, would soldier on as an unrepentant folk artist. His first post-Archers effort was Crooked Fingers, but now he’s out playing and recording under his own name, singing stripped-down, earnest ballads that seem 2,000 miles away from the chaos churned out by his first band. But on 2006’s To the Races, Bachmann proves his songs are strong as ever—if a bit easier on the ears. 9 p.m. at Exit/In —WERNER TRIESCHMANN

Maternal Devotion

(M)OTHER Tennessee Women’s Theatre Project co-sponsors this one-woman show by Beth Osnes, co-founder and program coordinator of the Colorado-based national organization Mothers Acting Up (MAU). Osnes explores issues of mothering in a cross-cultural context, with focus on a fictional UN program called “Baby Swapping,” in which mothers from seven nations exchange their six-month-olds for one month. The result is an intimate look at the maternal experience across international boundaries, including an analysis of the interconnectedness between the women, their children and their countries. In conjunction with her performance, Osnes presents a Nov. 3 workshop that uses theater as a tool to empower maternal voices for public expression and civic participation. For more information, contact Paige La Grone Babcock at paige@mothersactingup.org. 7:30 p.m. at the First Unitarian Universalist Church —MARTIN BRADY

Music

PATTY HURST SHIFTER These Raleigh, N.C., rockers formed after watching the Drive-By Truckers perform in their early days to a near empty house. Born of a similar vibe, Patty Hurst Shifter deliver a country-rock amble that’s light on its feet with a little jangle on its heels, led by singer/guitarist J. Chris Smith’s reedy tenor. There’s a crispness to their melodies that recalls early Tom Petty, particularly on their new EP Fugitive Glue. The wistful ballad “Life Is Mostly Waiting” is their most polished pop tune. It recalls the Old 97’s—deep ache is redeemed with a sugary hook. 6 p.m. at Douglas Corner Café; also playing Saturday at The Basement and Sunday at 3rd & Lindsley —CHRIS PARKER

SATURDAY 11/3

Music

THE FELICE BROTHERS It’s ironic that on the last night 3 Crow Bar will host live music, they bring in an act with such hefty national buzz. As Nashvillians, it will probably be a little more difficult for us to get excited about The Felice Brothers, a New York City band trafficking in down-home, acoustic rock with a healthy dose of Dylan. Their music might not be particularly original, but it has a soulful, intelligent quality and the occasional bluesy organ. This is the band’s last date before a long spell opening for Bright Eyes—should be a fine send-off for Saturday nights at 3 Crow. Opening for Casey Driessen & The Colorfools and Stephen Simmons. 9 p.m. at 3 Crow Bar; also playing Saturday, 3rd at Americanarama at The Basement —LEE STABERT

Literary Prize

ANN PATCHETT She’s won the Orange Prize, the Kafka Prize, the PEN/Faulkner Award and a Guggenheim Fellowship, among others, and her books have been translated into 30 languages, but Nashville’s most internationally visible writer is also its most reclusive. Ann Patchett rarely gives local readings, apparently more at home in the role of regular, dog-walking citizen than literary superstar. But on Saturday night at a black-tie gala, the Nashville Public Library will force Patchett—best-selling author of the novel Bel Canto and the memoir Truth & Beauty, as well as four other novels—into the limelight by presenting her with the 2007 NPL Literary Award. (Past winners of the award, launched in 2004, include David Halberstam, David McCullough and John Updike.) The gala is sold out, but Patchett will give a rare public lecture and sign copies of her new novel, Run, in the auditorium at the Main Library. The event is free. Get there very early—the place will be packed. 10 a.m. at the Main Library —MARGARET RENKL

Rock the Vote

ROCK FOR RON PAUL Presidential races are often exclusive events. While Giuliani swirls a glass of fine brandy and convinces Republicans to swallow his stances on abortion and gay marriage, Clinton downplays her support for war with Iran between nibbles of frog legs on toast. Only this time, somebody shat in the foie gras. That somebody is Libertarian Congressman Ron Paul. Paul’s advocates want to return to constitutional principles, stop runaway inflation by reforming our monetary system and dismantle the military-industrial complex. They also want to rock. Enter Rock for Ron Paul, a festival-style benefit independently organized by the base of Paul’s Nashville constituency. Three stages will host 22 different acts whose styles run the gamut from idiosyncratic indie-rockers Knapsack Heroes to the meat-and-potatoes pop of Harrison Hudson. Arrive early to catch the metal screeching of Kreaper, which, like Ron Paul’s monetary policy, is difficult to understand. 6 p.m. at Rcktwn —MARSHALL WEBER

Music

OPPENHEIMER When Irish electro-pop duo Oppenheimer rolled through Nashville for the first time in August 2006, they played The Basement, where the small, we’re-here-for-Altered-Statesman crowd wasn’t having any of their over-caffeinated sugar-pop. Not only did they rock the stage with reckless abandon anyway, they dared to venture back through this ghost town a few months later on tour with Mosquitos. This time—wait for it—even fewer people showed up, and by fewer we mean zero. It don’t make no sense, ’cause the band’s self-titled debut is full of the kind of bleepy, fuzz-filled giddiness that only perennial optimists can make. Fortunately, this time around the band will finally have the kind of audience they deserve, as they’re opening for Bar/None labelmates They Might Be Giants. Hey, try and show up this time Nashville—just because you haven’t heard of ’em doesn’t mean you won’t like ’em. 9 p.m. at Exit/In —TRACY MOORE

Wanna Be a TV Star?

BEAUTY & THE GEEK OPEN CASTING Bad haircut? Tube socks? Stone-washed denim shorts? If any of those things sounds familiar, you might be ready for your close-up on the next installment of the CW’s Beauty & The Geek. They’ve had comic book freaks, physics whizzes and even a LARPer (live action role player), but where’s the obscure indie rock geek we’ve all been waiting for? He could wow the beauties with talk of Silver Jews b-sides and dissect why he prefers Merge to Touch and Go—we all know what a turn-on that is. The show will also be looking for lovely ladies willing to throw their energies into learning, and lounging by the mansion’s pool. 1-7 p.m. at Buffalo Billiards —LEE STABERT

FIRST SATURDAY:

First Saturday

DANIEL LAI’S 3-D HIEROGLYPHS The last time this owner/curator of Dangenart Gallery took time to show his own creations, he filled the downtown space with large portraits, burned into canvas. For his latest gallery show, Lai makes a 180-degree turn for an equally unique take on the self-portrait. Lai’s 3-D Hieroglyphs consists of small, witty sculptures that serve as an emotional journal, chronicling the artist’s experiences in Nashville since founding his gallery in 2005. opening reception, 6-9 p.m. at Dangenart Gallery —JOE NOLAN

First Saturday

CHRIS SCARBOROUGH AND MARCUS KENNEY Nashville native Chris Scarborough alters digital portraits, transforming his subjects into characters out of Japanese anime. In “Untitled (Shannon 2),” a woman’s features have been changed to give her those classic anime bug eyes. Kenney assembles his illustrations out of the sort of materials you might find in an attic—magazine clippings, book illustrations and old wallpaper become strange and satirical situations. Nov. 3-24; Opening reception 6 to 9 p.m. at TAG Art Gallery —JOHN PITCHER

First Saturday

KAAREN ENGEL’S OUTSIDE/IN When Engel talks about “deconstructing” her paintings, she’s not kidding. Her sculptures are made from colorful, jagged, woven bits-and-pieces of her own paintings. For Inside/Outside, the artist’s latest show at Twist Gallery, Engel blows her swirling, nested forms up to mega-scale, remaking the intimate space into a fantastic environment that gallery-goers will have the chance to view from the inside out. Nov. 3-24; opening reception 6-9 p.m. at Twist Gallery —JOE NOLAN

First Saturday

DAN DENGLER’S LONG BOARDS Skateboards bring to mind Tony Hawk, video games and dystopic suburban Southern California landscapes, but Dan Dengler gives them a “back to the land” fine woodworking treatment—carving and polishing to show off the wood grain, with some of the craggy natural edges left in place. It’s an extension of fine crafts practice—taking a humble object and using traditional techniques to produce something lovely and gallery-worthy. The skateboards appear to be fully functional, so it’s also an opportunity to outfit yourself with gear for all those Saturday nights you spend banging around the plaza in front of the local bank branch, dodging cops. Nov. 3-24; opening reception, 6-9 p.m. at (fov) Studio —DAVE MADDOX

SUNDAY 11/4

Showstoppers

ST. GEORGE’S EPISCOPAL CHURCH CHOIR You know those PBS specials where they trot out a stageful of New York actors you’ve never heard of but who can belt the dickens out of the Broadway songbook? Well, this is just like that—except here it’s the choir of St. George’s Episcopal Church on Harding Pike. The acclaimed ensembl is headed for a week’s worth of cathedral gigs in England next summer. To help raise money for the trip, they present two performances of selections from Annie Get Your Gun, Guys & Dolls, Mary Poppins, Camelot and other classic musicals. The song list includes solos, duets and trios, along with two big group numbers, “Tradition” from Fiddler on the Roof and “Get Me to the Church on Time” from My Fair Lady. The group is going all out with costumes and lights, too. For information, call 385-2150, ext. 253. 8 p.m. Nov. 2 & 3 p.m. Nov. 4 at St. George’s Episcopal Church —MARTIN BRADY

Local Zine

SEDITIOUS LIBEL ’LOID RELEASE SHOW In an age when blogs are the new zines, it seems like an ironic move to go all old-school and print your niche grumblings, but the anonymous creators of Seditious Libel modernize by going tabloid-style with their humor rag aimed at the local rock scene. The creators intend to treat local rock bands like the celebrities they really are—replete with paparazzi-style photos—which should do wonders for all the inflated egos littering this town. The first issue features a chat with Kings of Leon’s Caleb Followill—in actuality, an account of a random run-in with him at Mercy Lounge. There’s also a comic, a horoscope, a five-word synopsis on why Appetite for Destruction is the greatest record ever made—“because it fucking is bitch!”—and a rant from underrated local filmmaker Matt Robison. Illinois cock-rocking transplants The Titts and Bowie-infused glam rockers The Glib play. 9 p.m. at Springwater —TRACY MOORE

Radio

AMERICAN ENCORES Many orchestras around the country approach contemporary music as if it were a contagious disease. Not the Nashville Symphony Orchestra. Starting this week, Nashville Public Radio will begin broadcasting the NSO’s performances of new or unjustly neglected American works on a new American Encores radio series. NSO music adviser Leonard Slatkin and bassist Edgar Meyer will host the 13-week series, which will feature the music of such composers as Joan Tower, Philip Glass and Michael Daugherty. 7 p.m. Sundays on 90.3 WPLN-FM —JOHN PITCHER

Music

CELEBRATE ADOPTION As fraternities go, those involved in the world of adoption are among the closest-knit. Nothing, after all, is as poignant and life-changing as bringing a child into the world—and into a family. To celebrate national adoption awareness month, the Middle Tennessee Inter-Agency Adoption Coalition (IAC), which advocates for all of those involved in the adoption process—birth mothers, children and adoptive families alike—is hosting a concert featuring songwriters and performers who have either written songs about the subject or are adoptive parents themselves. Performers include SESAC Songwriters of the Year Sam and Annie Tate, Grammy-nominated songwriter Lee Thomas Miller, Lisa Silver, Sherri Gough, Kevin Doherty and Queenie Mullinix, Janna and Keith Landry and Lisa Marie. For tickets, call 269-5540. 4-7 p.m. at Country Music Hall of Fame and Museum —LIZ GARRIGAN

Get Chimpatized

FAMILY WEEKEND CLASSICS: MONKEY BUSINESS Boss Charles Coburn to ostensible secretary Marilyn Monroe: “Find someone to type this.” Fourth-billed Monroe plays second fiddle to Cary Grant and Ginger Rogers in this unjustly forgotten 1952 Howard Hawks farce, pitched even closer than Hawks’ Bringing Up Baby to the brink of societal breakdown. With help from a cheeky monkey, stodgy scientist Grant accidentally doses himself, his wife (Rogers) and his colleagues at a research lab with experimental youth serum—a mishap that regresses grown adults back to infantile lunacy. That’s why Ty Burr, author of The Best Old Movies for Families, says this plays so well with little kids—and why it’s showing this weekend at the Belcourt’s awesome series of classic movies to watch as a family. Recommended for ages 5 and up. Noon Nov. 3-4 at the Belcourt —JIM RIDLEY

Fanciful Fest

DRACHENBURG FOLKLORE FESTIVAL With the weather finally starting to turn, it’s time to take the fun indoors—and see some sword swallowing. The Drachenburg Folklore Festival, presented by Labyrinthe World Fusion Gypsy Group, will feature belly dancing, flamenco, Damhsa Onorach Irish Dancers, The Known World Players, Dan Meyer (the aforementioned swallower), tarot card readings, henna tattoos and more. For tickets, visit labyrinthebellydance.com. 2:30-6 p.m. festival; 6-8 p.m. main show at The Factory at Franklin —LEE STABERT

MONDAY 11/5