FRIDAY

Rodrigo y Gabriela at Stubb’s.This jawdropping flamenco metal guitar duo is equal parts Dimebag Darrell and Andres Segovia, so the fact that they split time between their native Mexico City and adopted hometown of Dublin, Ireland, isn’t so strange. These six-string magicians are still touring behind last year’s ‘11:11.’ Bobby Long opens. 8 p.m. $43.75 801 Red River St. stubbsaustin.com. — Michael Corcoran

Also recommended:

• Sixteen Deluxe at ND at 501 Studios
• Alejandro Escovedo, David Garza at the Continental Club
• Pinetop Perkins, Lou Ann Barton and Hard Proof Afrobeat at Antone’s
• Gourds at Threadgill’s
• Blue October at Whitewater Amphitheater
• Drag the River at Red 7
• Crooked Fingers at the Mohawk
• Ray Wylie Hubbard at Nutty Brown Cafe

SATURDAY

The Murdocks CD release at the Parish.The Murdocks are as delightfully straightforward as pop-punk gets. With riffs a mile high and more hooks than a pirate convention, they assemble rock ‘n’ roll melodies with all the FM radio chops of Green Day at their mid-’90s peak. This show marks the release of their newest full-length, the unsurprisingly infectious ‘Distortionist.’ With the blues-punk onslaught of San Marcos’ the Couch, Naysays and Through the Trees. 8 p.m. $8. 214 E. Sixth St. www.theparishaustin.com. — Patrick Caldwell

Also recommended:

• Danny Malone at the House of Guys
• Love at 20 at the Mohawk
• Ringo Deathstarr and She Sir at Emo’s
• Junior Brown at Threadgill’s
• the White Ghost Shivers at the Continental Club
• General Bye Bye at the Ghost Room
• Alejandro Escovedo and Marmalakes at the Cactus Cafe

SUNDAY

W.C. Clark, with Bobby Whitlock and Coco Carmel, at the Saxon Pub.Austin’s blues godfather Clark is a double threat as soulful singer and stinging blues guitarist. Derek and the Dominos co-founder Whitlock lights the fire at 6 p.m., followed by Malford Milligan. Then Clark closes out a hot Sunday night. $10. 1320 S. Lamar Blvd. www.thesaxonpub.com. — Michael Corcoran

Also recommended:

• Junior Brown (early) and Heybale (late) at the Continental
• Wiretree at Emo’s
• Heart Beats II HAAM benefit at ND at 501 Studios
• Mike Flanigin B3 Trio at the Continental Gallery

MONDAY

El Ten Eleven at the Mohawk.Los Angeles duo Kristian Dunn and Tim Fogarty fall squarely on the catchy side of post-rock, using a minimal number of instruments — often just drums, a guitar-bass doubleneck and an awful lot of effects pedals — to concoct driving, toe-tapping instrumental anthems. With the sublime electronic weirdness of Baths and Austin’s sweeping Death is Not a Joyride opening. 10 p.m. $12. 912 Red River St. mohawkaustin.com. — P.C.

Also recommended:

• Seraphim’s Cry and Sky On Fire at Emo’s
• the Ghost Wolves and Erin Ivey at Momo’s
• Blue Monday Blues Jam at the Victory Grill
• Dale Watson and his Lone Stars at the Continental Club
• Bob Schneider’s Lonelyland at the Saxon Pub

The sequencing of this Austin band’s third album is more than a little puzzling, unless maybe the members just felt like they had to get the dullest tracks over with quickly. The anthemic, prog-rocky “El Abrigo” and turgid, synth-swathed, even more anthemic “Panteon” don’t even seem like they belong on the same album as the other nine songs.

Once those needless blasts from the AOR past are out of the way, “Escante Calling” kicks into quirky gear with the lilting, off-kilter falsetto ballad “(y?) Hide the Knives,” all of 1:17 long, followed by “Solo Quisiera,” set to a giddy, loping yet martial tempo and featuring Nelson Valente’s fizzy clarinet, a lovely lead vocal by keyboardist-guitarist Alex Chavez and fine harmonies from keyboardist/percussionist Bobby Garza. The nervous cumbia “Ubicate,” built on a slippery bassline and earthy, layered percussion, is slashed with shards of reggae guitar chords.

Breezy, loungey “Contemplame” and trippy “Ofrendas” both have a light disco-funk vibe pleasingly reminiscent of Los Amigos Invisibles. “El Orgullo Nos Matara” is a highly danceable disco-New Wave fusion. “Lugares Concurridos (Flu-like Symptoms)” contrasts insistent bass and acoustic rhythm guitar with a flowing vocal and ends in a rumbling welter that leads right into the jazzy, percussive instrumental “Vermillion Border Wars.” (Well, there are a lot of oooh-ooohs, but other than that, it’s instrumental.)

Vocals are minimal but catchy on “Women in Towers (Mecanica),” a darkly gleaming slice of electronica driven by Alec Padron’s thick, melodic bassline. With intriguing little details scintillating in the corners of the arrangement, the track has a trance-like effect. Maneja Beto could really extend this one another eight or nine minutes, lop off the first two cuts and have a much stronger album.

Name a genre, and you can almost guarantee that Opposite Day dabbles in it on

“Mandukhai,” the recently released companion EP to the band’s fourth full-length. Dissonant post-hardcore and noodly math rock? Definitely. Surf rock and spastic jazz fusion? Absolutely. Bilingual thrash metal and tribal, percussion-centric world music? Surprisingly, yes.

On the band’s website, Opposite Day proclaims to have “loosened the stylistic standards for Austin’s music scene for the last 9 years,” and given the breadth of this variety, they certainly have the tools to do so. The seamless, quirky manner in which they glide between genres while maintaining a punk sensibility nearly makes these musicians the kindred Texan spirits of the Dismemberment Plan — another band with an irreverent eccentricity that could disarm the most steadfast elitists.

But that’s where the comparison ends. Opposite Day’s music has a heavier sensibility, and it doesn’t strive for emotional nuance. What really makes “Mandukhai” special is simply the stellar musicianship. From the razor-sharp punk riffage of opener “Wolves” to the jazzy bass walk of instrumental “Carrots,” it’s clear that these guys are studied, clever and right at home in weird Austin.

Austinist has the official word from the curators of Austin’s little festival that could — the Fun Fun Fun Fest has added classic indie pop charmers the Apples in Stereo to the lineup, as well as local Queen tribute masters Magnifico. Todd Barry, Chris Hardwick the Nerdist, Andy Ritchie, Shane Mauss, Terp2it, Moshe Kasher and Sean Patton have also been added to the comedy lineup. Perhaps most excitingly, the festival has also added a live Tesla Coil show from the University of Texas’ own Arc Attack.

Like last year, the festival will also host a scavenger hunt for passes, merchandise and other goodies. You can sign up for that here; the hunt will be held in October.

And finally, single day passes and student discount tickets both launched today.

“Young Blood Blues,” the latest release from Hurray for the Riff Raff, seamlessly punctuates a rich folk fabric (“Calmly”) with theatrical peaks (“Little Things”). The New Orleans trio, which supports the new album tonight at the Hole in the Wall, draws on accordingly diverse influences. “As a kid, I was obsessed with old musicals, and Judy Garland was a major inspiration,” singer Alynda Lee Segarra says. “Then I discovered Townes Van Zandt about a year and a half ago. He really changed the way I think about writing songs.”

American-Statesman: What’s the story behind (the album’s closing) ‘Sali’s Song’?

Alynda Lee Segarra:“Sali’s Song” is a memorial for this girl I knew named Sali Grace. We met when we were both 19 and traveling around. We both loved the banjo. I lost track of her, but she had moved down to Mexico and was doing some activism work there. She was murdered. I wrote that to remember her.

Personal experience seems essential to your songwriting.

I would say (it’s) everything right now. I’ve been trying some exercises to write ballad-type songs that tell stories that I made up, but for now what I write most about is my personal experience.

How has your approach evolved since (2008’s ‘It Don’t Mean I Don’t Love You’)?

I’m trying to think about songs as a performance. I’m thinking more about changing tempos and making different parts pop out more and trying to get a good arc in a song. I don’t think I really had a grasp on that before, and I’m still learning more about it.

What initially drew you to the banjo?

I was always too afraid to play guitar. I tried in middle school, and I found it really confusing. There’s something about the banjo that wasn’t as nerve-wracking to learn. When you’re beginning, it’s easier to get some confidence because anything you do sounds good. I thought it fit a woman’s voice really well.

Are you self-releasing ‘Young Blood Blues’ by choice or necessity?

I’d say necessity. Of course, I love putting out stuff by myself because you don’t have to talk to anybody about what’s a good idea, but I don’t really know what the alternative is like (laughs). We’d definitely love to have a small label help us put out the next one.

YouTube is a good avenue for promotion.

It’s really helped. We make most of our money from Internet sales. I think that YouTube is really changing things, in that word of mouth is so different now. You hear of a great band, and you can look them up and see them for yourself. I’m excited to see how much the Internet will influence how many people come out for this tour.

How has living in New Orleans influenced your songwriting?

I’ve learned a lot about music from playing traditional jazz in New Orleans. It has taught me a lot about chord structures and changing keys and things I wouldn’t have been able to find out on my own. It’s such a lazy - lazy in the best way - style that’s so relaxed and so focused on improvisation and having a good time.

What’s the city’s mood like today

It’s really up and down, for sure. There was a major high point when the Saints won (the Super Bowl). People were feeling really triumphant. Now, with the oil spill, I feel that people are still in shock.

Hurray for the Riff Raff plays 9 p.m. Sunday at The Hole in the Wall, 2538 Guadalupe St. Free Information: (512) 477-4747, holeinthewallaustin.com