“This is a celebration of the emerging shift of consciousness in human beings, and the ascent into the unknown,” says Arizona noise rapper/producer Moodie Black (Chris Martínez) about the Six. Dark. Days. Tour he’s launching in San Antonio. “The performances are a commentary on the current state in which people are waking up by-and-large becoming increasingly dissatisfied with society’s current lifestyle. The six-day trek is intended to unite each audience to feel a connection to each other, themselves and the world in which we reside.” He describes the tour as a “boutique road show” in which he’ll present old and new songs backed by a four-piece band (two guitars, drums, keys) while visiting six southwest cities in six days. If you saw him in June earlier this year at Limelight, you know this is unlike any rap show you ever saw. Think B L A C K I E and Death Grips on acid in a spectacle that’s going to hit you whether you like it or not. $3, 11pm Fri, Limelight, 2718 N St. Mary’s, (210) 995-7229, limelightsa.com. —Enrique Lopetegui
First Friday reception: Blane De St. Croix: “Broken Landscape III”
Based on travels along the length of the U.S./Mexico border and encounters with residents, fence contractors, border patrol officers and journalists, New York artist Blane De St. Croix’s “Broken Landscape III” reconstructs a selection of the border as a “monumental miniaturized section” that divides the gallery space. Also on view: Elizabeth Keithline’s “Smarter, Faster, Higher” and Chris Sauter’s “Faith and Reason.” Free, 6-9pm Fri, Blue Star Contemporary Art Museum, 116 Blue Star, (210) 227-6960, bluestarart.org.
Click here to read the Current’s review of "Broken Landscape III."
SAMA’s Samurai Saturday presents a tempting opportunity to view “Lethal Beauty: Samurai Weapons and Armor” enhanced with bonus features like nighttime gallery talks, a Haiku Hike, photo ops in a samurai costume and screenings of Shinsuke Sato’s 2009 anime adventure Oblivion Island: Haruka and the Magic Mirror (7 p.m.) and Akira Kurosawa’s 1957 classic Throne of Blood (9 p.m.) Set in feudal Japan, Throne of Blood is counted among the most successful adaptions of Shakespeare’s Macbeth. A fanciful fusion of Japanese folklore and Lewis Carroll, Oblivion Island follows a young girl and a foxlike creature into a mystical world “overflowing with once-cherished items taken from their neglectful owners.” Beer, wine and food from DUK Truck will be available for purchase. $5-$15, 4pm-midnight Sat, San Antonio Museum of Art, 200 W Jones, (210) 978-8100, samuseum.org. —BR
Tera Ferna & Colleens
The pop-polished, no bullshit, guitar-driven, downer psychedelia of young quintet Tera Ferna is practically made to be enjoyed in a live setting. As of now, they only have a handful of songs out–which you can peep on their ReverbNation page–but they are catchy and brooding at once and will make you eager to hear what’s next. On the classic rock and high harmonics end of the spectrum, young four-piece Colleens (pictured) are full of light and life, making music with pop listenability, folk earnestness and psych-rock mischievousness. Onstage, the guys take their already great songs (their debut album is due out in early 2014) and extend them into other realms, adding flourishes and depth of texture as they go. Also on this rad bill: slowlikefire, Lucas Jack and Mabel 1918. Be there. $5, 9pm Sat, 502 Bar, 502 Embassy Oaks, (210) 257-8125, 502bar.com.
“Invisible Sound Structure”
Invisible Gallery presents a night of avant-garde sights and sounds in celebration of “arts devoid of structural aesthetics.” The evening features improvisational musical performances by Black Leather Jesus, Chin Xaou Ti Won, Raceway and C ‘N’ P, experimental vinyl spun by DJ Shabby Tiger and Huntington Huntington, plus visuals by video artists Kevin Rayhons and Sixto-Juan Zavala. $5 suggested donation, 7pm Sat, KLR Studio, 1020 W Woodlawn, invisibleartgallery.com.
This is a show you must attend—you just don’t know it yet. Don’t believe me? Never heard of Austin’s own Del Castillo? Dig this. The band’s moody midnight brand of Latin fusion rock has caught the attention of Willie Nelson (who is featured in a recent video), Robert Rodriguez (who has used Del Castillo songs in several movies) and Quentin Tarantino (who purportedly reworked the end of Kill Bill specifically to include “Malaguena Salerosa”). Playing live, Del Castillo is positively tornadic—a mesmerizing and energetic whirlwind of sound and motion. The songs, remarkably, move seamlessly between styles as widely varied as folk, cumbia, reggae, surf, calypso, classical guitar and pop. I guarantee, you won’t be disappointed if you make this your first show of the new year. $15-$20, 9pm Sat, Sam’s Burger Joint, 330 E Grayson, (210) 223-2830, samsburgerjoint.com. —JC
"Salón de Belleza"
In their 2013 documentary Sign Painters, directors Faythe Levine and Sam Macon remind that as recently as the 1980s, “storefronts, murals, banners, barn signs, billboards and even street signs were all hand-lettered with brush and paint.” While Levine and Macon’s film highlights some of the industry’s sharpest talents and collaborative shops, locally based Panamanian artist Victoria Suescum celebrates a different corner of the sign-painting spectrum—low-tech examples she’s found on the walls of beauty parlors, hardware stores, butcher shops and auto body centers “in Spanish-speaking portions of the Americas” including San Antonio. Drawing inspiration from “odd color combinations, strange perspective and wild shifts in scale,” Suescum uses mop brushes, matte acrylics, crayons, paper and sheet metal to put a personal spin on what she refers to as “tiendas signage.” Boasting a résumé that includes exhibitions in Cuba, Brazil, Peru, Mexico and France (not to mention the 2003 Venice Biennale), Suescum will unveil the new body of work "Salón de Belleza" at REM. Also on view: graphite drawings and hand-pulled collotype prints by Kent Rush. Free, 6-9pm Sat, REM Gallery, 219 E Park, (210) 224-1227, remgallery.com. —BR
Joe Ely Band
The title of Joe Ely’s most recent album, 2011’s Satisfied at Last, seems to insinuate he’s ready to pack it in and sit around on the 40-plus years of laurels he’s earned playing with the Flatlanders, Los Super Seven and the freaking Clash, but fans were surely happy the title track describes the day of Ely’s death, the only thing that might slow the West Texas troubadour down. Even then, it’s hard not to imagine a Tupac-rivaling posthumous outpouring of unclassifiable country-folk-rock continuing for years. When that tragic day comes, according to “You Can Bet I’m Gone” from that same album, Ely’s executors have been instructed to load his ashes in shotgun shells and scatter him to the winds. He refuses to insult their intelligence by specifying which state he wants to be exploded over. $20, 9pm Sat, Greune Hall, 1281 Gruene, New Braunfels, (830) 606-1281, gruenehall.com. —Jeremy Martin
Closing reception: “Re-Enchant the Moment”
Houston’s Mark Ponder curates this group show of visiting artists in which “car parts become mirages, golf clubs are fetishized, and a home become a funhouse.” Ponder coordinates exhibits at the artist-run Box 13 ArtSpace in Houston and also creates his own “brutally honest” yet “cute” work. He’s selected Philadelphia’s Jonathan Armistead, Houston’s Debra Barrera and Dallas’ Chuck and George for a show that’s both clever and insightful. Armistead creates sculpture from everyday objects and participatory performance art; Barrera uses sports cars as metaphor; and Chuck and George (the name for the 20+ year collaboration between artists Brian Jones and Brian Scott) present Tablescrappin’ (pictured), a mini-room installation that leaves an impression viewers have favorably compared to being on drugs. Free, 3-6pm Sat, Unit B (Gallery), 500 Stieren, San Antonio, (312) 375-1871, unitbgallery.com.
If you’ve been keeping up with the Current, you’ll know that Boerne-bred artist Chris Sauter is staging a multi-venue series of exhibitions (all exploring the relationship between science and religion) designed to inspire a “pilgrimage” connecting four locations. So far, he’s unveiled a wax stalagmite growing from a Bible and felt banners reminiscent of altar decorations (“Doubt,” pictured), photographs of words—including Holy Crap—written on airplane windows (“Faith and Reason”) and cosmic footprints of St. Peter’s Basilica, the Buddhist Borobudar temple, the Hindu Kandariya temple and the Dome of the Rock (“The Shape of the Universe”). Sauter’s pilgrimage wraps up with “Communion,” a one-piece show featuring a radio telescope that references the architecture of St. Mark’s Episcopal Church. Free, 7:45am-noon Sun, (on view 9am-5pm Mon-Fri through Jan 29), St. Mark’s Episcopal Church, 315 E Pecan, chrissauter.com. —BR
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