It has been a relatively rocky road for Weatherford alt-country outfit Green Corn Revival, which has seen its share of highs (acting as backing band for rockabilly icon Wanda Jackson) and lows before an (amicable) split in the road led half of the original lineup to forming Honeylark.
Oklahoma is quickly becoming the indie Christmas music capital of the world, it seems, with yearly compilation albums featuring everyone from Stardeath and White Dwarfs to Graham Colton. So it makes sense that Colourmusic — freak-poppers hailing from Stillwater — would craft a full album of original, offbeat holiday tunes themselves.
The Oklahoma City metro has a thriving garage rock scene. With seasoned acts like Broncho and Copperheads carrying the modern-day torch, the way has been paved for a flock of gritty, young, guitar-centric acts. But nascent Norman trio Poolboy has a knack for riotous hooks that few of its contemporaries can boast.
The Flaming Lips’ longevity has allowed them to cover a lot of sonic terrain over the years. Yet they’ve arguably become more adventurous with age, jeopardizing a good portion of their fan base in favor of fascinatingly bleak experiments in sound, beginning with Embryonic in 2009 and, more recently, The Terror.
Nurses with Cameron Buchholtz and the Pizza Thieves 9 p.m. Wednesday, Jan. 18 Opolis 113 N. Crawford, Norman opolis.org 820-0951 $7
When indie rock’s Nurses released its sophomore album in 2009, critics compared the Portland, Ore.-based trio to Animal Collective and Grizzly Bear. When it came time to follow up that acclaimed effort, Nurses decided the only way to improve that formula was to add a little Prince and Michael Jordan into the mix.
“We were swimming in sonic landscapes and really trying to paint a more airy version of the inside of our heads,” keyboardist John Bowers said of the ’09 record. “With ‘Dracula,’ we were more focused on the body and moving and feeling. There’s still elements of space and minimalism but ... we played a lot of basketball, just moving a lot. That’s where you feel the groove and danceability in these songs.”
That stark shift in sound demanded a similar switch in how the music is delivered; whereas the second album, “Apple’s Acre,” was intended for the intimacy of headphones, “Dracula” is meant for a roaring speaker system.
“I would say the energy is so high ... it’s an extroverted record,” Bowers said. “Overall, we better explored the frequency range: a lot of really deep, heavy grooves and bass drums that sound really good loud.”
Ironically, the three opted to title the upbeat effort after something sinister, but only after some philosophizing. “If you look past the initial implications of the word and all its baggage — fangs and blood — there’s really interesting, life-affirming themes that run deeper,” Bowers said. “There’s loneliness, power, struggle, humanity and super-humanity … all these things that we were emotionally dealing with while working on the record.”
Strong reviews have followed from fans, critics and friends, the latter of whose opinions mattering the most.
“Our friends are happy to see us pushing things in different directions and not trying to recycle ourselves, instead trying to challenge ourselves.” Bowers said.
Now that Nurses has taken the new sound on tour — stopping in Norman next Wednesday before a run of dates with The Mountain Goats — the act gets to see its efforts come to fruition.
“The energy is more lively and encourages people to dance and engage with the music, as opposed to a more meditative experience,” Bowers said. “It’s a fun experience to play things and move people’s bodies.”