By: Spencer Doar

WHAT TO DO

Wednesday

Shwayze

If you’ve never heard the banal pop-rap stylings of Shwayze and his sometime collaborator Cisco Adler, I don’t know if you’re unlucky or blessed.  He’s the kind of walking train wreck of mediocrity that makes for mesmerizing entertainment, a fact recognized by MTV — they gave him a reality show in 2008. 

His hits, “Corona and Lime” and “Buzzin’,” are two ever so slightly different versions of the same tripe, a (hopefully inadvertent) homage to Nickelback. 

The Pourhouse

10 S. 5th St., Minneapolis

8 p.m.

$10

18+

Thursday

Costaki Economopoulos

Costaki Economopoulos markets himself as the biggest name in comedy and he’s probably right.

The homepage of his website currently sports an anecdote about how Adrian Peterson makes Economopoulos feel better about himself. Peterson has a severe allergy to shellfish and Economopoulos doesn’t, so for all of the things that Peterson can do that make Economopoulos feel like a schlub, at least he can eat shrimp! I relate this particular bit of writing because it’s probably on the lower end of what Economopoulos is capable of. 

Acme Comedy Club

708 N. 1st St., Minneapolis

8 p.m.

$15

18+

Friday

Summer Set

Summer Set festival, with a lineup of rap, rock and electronica, goes from Friday to Sunday.  Really you can pick any one of these days — or blow a wad of cash on a weekend pass — and have a blast.   

Besides getting to soak in the music of Big Gigantic, Big Boi, Common, Diplo and Passion Pit, you get the chance to camp!  There’s an exclamation point there because the forecast looks like nature will comply with the festivities: three days of partly sunny skies and temps in the mid-70s. 

Somerset Amphitheater

715 Spring St., Somerset, Wis.

Music starts at 3 p.m. Friday

$39.50-$375

CULTURE TO CONSUME

Watch this: “Elysium”  

The phenomenon of Hollywood déjà vu has been pointed out numerous times, but each time it happens I’m surprised.  In 2006, it was “The Prestige” and “The Illusionist”; in 2000 it was “Mission to Mars” and “Red Planet”; in 1998 it was “Deep Impact” and “Armageddon”; the list goes on. 

But this year, audiences are being treated to not two, but three similarly themed movies.  First was Will Smith’s epic bummer “After Earth,” followed by Tom Cruise’s “Oblivion” and this Friday, audiences get “Elysium.”  This time Matt Damon helms the post-apocalyptic plotline clad in a bionic suit.

It looks to rehash a none-too-subtle version of the poor vs. rich trope.  Sign me up for the “yeeech” ride.

Eat this: Popsicles

This is the last Daily issue of the summer, which means it’s my last chance to remind you of the delectable presence of popsicles on this planet. 

True, they don’t have to be a seasonal treat for the iced faithful, but let’s be honest, there’s a reason why some Dairy Queens close in the winter. 

So get ‘em while the trucks are still roaming the streets playing nostalgic, out-of-tune melodies.  Hell, just fill up an ice-cube tray with whatever sweet liquid concoction you can think of and throw it in the freezer.  Once they’ve begun to ice up a bit, throw a halved skewer in it.  In a few hours you’ll have your own brand of ice. 

Listen to this: Hugh Laurie’s “Didn’t It Rain”

Yes, we’re talking about the incorrigible star of “House,” Hugh Laurie.  Maybe you didn’t know he was a blues musician on the side, but Tuesday marked his second studio release, “Didn’t It Rain,” the follow-up to 2011’s “Let Them Talk.”

It’s refreshing to see such a talent be so comfortably average in a different setting.  I think it’s because it’s hard to divorce the image of actor Hugh Laurie from musician Hugh Laurie.  Either way, the album is good primarily because of the Copper Bottom Band, Laurie’s backing group. 

Reasons it’s worth a peek: “The Weed Smoker’s Dream,” which doesn’t have Laurie’s vocals on it, and his cover of Dr. John’s “Wild Honey.”  His rendering of lyrics like “I’m a jack-of-all-trades” and “I am the one who’s gonna get all the fun done,” are so marvelously amusing. 

By: Spencer Doar

WHAT TO DO

Wednesday

Shwayze

If you’ve never heard the banal pop-rap stylings of Shwayze and his sometime collaborator Cisco Adler, I don’t know if you’re unlucky or blessed.  He’s the kind of walking train wreck of mediocrity that makes for mesmerizing entertainment, a fact recognized by MTV — they gave him a reality show in 2008. 

His hits, “Corona and Lime” and “Buzzin’,” are two ever so slightly different versions of the same tripe, a (hopefully inadvertent) homage to Nickelback. 

The Pourhouse

10 S. 5th St., Minneapolis

8 p.m.

$10

18+

Thursday

Costaki Economopoulos

Costaki Economopoulos markets himself as the biggest name in comedy and he’s probably right.

The homepage of his website currently sports an anecdote about how Adrian Peterson makes Economopoulos feel better about himself. Peterson has a severe allergy to shellfish and Economopoulos doesn’t, so for all of the things that Peterson can do that make Economopoulos feel like a schlub, at least he can eat shrimp! I relate this particular bit of writing because it’s probably on the lower end of what Economopoulos is capable of. 

Acme Comedy Club

708 N. 1st St., Minneapolis

8 p.m.

$15

18+

Friday

Summer Set

Summer Set festival, with a lineup of rap, rock and electronica, goes from Friday to Sunday.  Really you can pick any one of these days — or blow a wad of cash on a weekend pass — and have a blast.   

Besides getting to soak in the music of Big Gigantic, Big Boi, Common, Diplo and Passion Pit, you get the chance to camp!  There’s an exclamation point there because the forecast looks like nature will comply with the festivities: three days of partly sunny skies and temps in the mid-70s. 

Somerset Amphitheater

715 Spring St., Somerset, Wis.

Music starts at 3 p.m. Friday

$39.50-$375

CULTURE TO CONSUME

Watch this: “Elysium”  

The phenomenon of Hollywood déjà vu has been pointed out numerous times, but each time it happens I’m surprised.  In 2006, it was “The Prestige” and “The Illusionist”; in 2000 it was “Mission to Mars” and “Red Planet”; in 1998 it was “Deep Impact” and “Armageddon”; the list goes on. 

But this year, audiences are being treated to not two, but three similarly themed movies.  First was Will Smith’s epic bummer “After Earth,” followed by Tom Cruise’s “Oblivion” and this Friday, audiences get “Elysium.”  This time Matt Damon helms the post-apocalyptic plotline clad in a bionic suit.

It looks to rehash a none-too-subtle version of the poor vs. rich trope.  Sign me up for the “yeeech” ride.

Eat this: Popsicles

This is the last Daily issue of the summer, which means it’s my last chance to remind you of the delectable presence of popsicles on this planet. 

True, they don’t have to be a seasonal treat for the iced faithful, but let’s be honest, there’s a reason why some Dairy Queens close in the winter. 

So get ‘em while the trucks are still roaming the streets playing nostalgic, out-of-tune melodies.  Hell, just fill up an ice-cube tray with whatever sweet liquid concoction you can think of and throw it in the freezer.  Once they’ve begun to ice up a bit, throw a halved skewer in it.  In a few hours you’ll have your own brand of ice. 

Listen to this: Hugh Laurie’s “Didn’t It Rain”

Yes, we’re talking about the incorrigible star of “House,” Hugh Laurie.  Maybe you didn’t know he was a blues musician on the side, but Tuesday marked his second studio release, “Didn’t It Rain,” the follow-up to 2011’s “Let Them Talk.”

It’s refreshing to see such a talent be so comfortably average in a different setting.  I think it’s because it’s hard to divorce the image of actor Hugh Laurie from musician Hugh Laurie.  Either way, the album is good primarily because of the Copper Bottom Band, Laurie’s backing group. 

Reasons it’s worth a peek: “The Weed Smoker’s Dream,” which doesn’t have Laurie’s vocals on it, and his cover of Dr. John’s “Wild Honey.”  His rendering of lyrics like “I’m a jack-of-all-trades” and “I am the one who’s gonna get all the fun done,” are so marvelously amusing. 

By: Spencer Doar

It’s a common problem for musicians: How do you keep cover songs sharp in the face of so many others trying to do the same thing?

For Chazz Reed, that problem prompted him to gather up a group of established Minnesotan musicians and form BluPrint. The goal? Reworking popular songs for greedy audiences.

“How many times you heard ‘Brick House’ or ‘Play That Funky Music’ or Stevie Wonder’s ‘Superstition?’” Reed asked. “It seemed like everybody had the same songs, same words.”

Reed had watched and listened as sampling became a standard practice in the music industry, citing how Diddy reworked classics into new material in the 1990s. But why not incorporate samples with live instrumentation during performances? And why not let that be the main dish?

Joined by local studio pros with resumes chock-full of big names like Stevie Wonder, Prince, Ray Charles, Cameo and Marvin Gaye, Reed and BluPrint set out to do just that — a sort of live version of mash-up maestro Girl Talk.

“Now all the bands in town are doing [what we do], but we were one of the first,” Reed said. “I’ll wear that crown silently.”

For five years they’ve held court at the Minnesota Music Cafe, chopping the likes of Lenny Kravitz, Jay-Z, Bob Marley, Ice Cube and Erykah Badu into new arrangements, Reed rapping and singing depending on the song’s need.   

“It’s funky, familiar and so fun,” Reed said. “Staying fresh is easy.”

Given that the bands mantra is “doing it to you in yo’ earhole,” a reference to a George Clinton lyric, it’s extremely easy to see how Reed’s enthusiasm is genuine.  

Look for the unveiling of a new hybrid of Aerosmith and David Bowie at the Minnesota State Fair.

What: BluPrint

When: 9 p.m., every Thursday,

Where: Minnesota Music Cafe, 449 Payne Ave., St. Paul

Cost: Free

By: Spencer Doar

It’s a common problem for musicians: How do you keep cover songs sharp in the face of so many others trying to do the same thing?

For Chazz Reed, that problem prompted him to gather up a group of established Minnesotan musicians and form BluPrint. The goal? Reworking popular songs for greedy audiences.

“How many times you heard ‘Brick House’ or ‘Play That Funky Music’ or Stevie Wonder’s ‘Superstition?’” Reed asked. “It seemed like everybody had the same songs, same words.”

Reed had watched and listened as sampling became a standard practice in the music industry, citing how Diddy reworked classics into new material in the 1990s. But why not incorporate samples with live instrumentation during performances? And why not let that be the main dish?

Joined by local studio pros with resumes chock-full of big names like Stevie Wonder, Prince, Ray Charles, Cameo and Marvin Gaye, Reed and BluPrint set out to do just that — a sort of live version of mash-up maestro Girl Talk.

“Now all the bands in town are doing [what we do], but we were one of the first,” Reed said. “I’ll wear that crown silently.”

For five years they’ve held court at the Minnesota Music Cafe, chopping the likes of Lenny Kravitz, Jay-Z, Bob Marley, Ice Cube and Erykah Badu into new arrangements, Reed rapping and singing depending on the song’s need.   

“It’s funky, familiar and so fun,” Reed said. “Staying fresh is easy.”

Given that the bands mantra is “doing it to you in yo’ earhole,” a reference to a George Clinton lyric, it’s extremely easy to see how Reed’s enthusiasm is genuine.  

Look for the unveiling of a new hybrid of Aerosmith and David Bowie at the Minnesota State Fair.

What: BluPrint

When: 9 p.m., every Thursday,

Where: Minnesota Music Cafe, 449 Payne Ave., St. Paul

Cost: Free

By: Spencer Doar

It’s a common problem for musicians: How do you keep cover songs sharp in the face of so many others trying to do the same thing?

For Chazz Reed, that problem prompted him to gather up a group of established Minnesotan musicians and form BluPrint. The goal? Reworking popular songs for greedy audiences.

“How many times you heard ‘Brick House’ or ‘Play That Funky Music’ or Stevie Wonder’s ‘Superstition?’” Reed asked. “It seemed like everybody had the same songs, same words.”

Reed had watched and listened as sampling became a standard practice in the music industry, citing how Diddy reworked classics into new material in the 1990s. But why not incorporate samples with live instrumentation during performances? And why not let that be the main dish?

Joined by local studio pros with resumes chock-full of big names like Stevie Wonder, Prince, Ray Charles, Cameo and Marvin Gaye, Reed and BluPrint set out to do just that — a sort of live version of mash-up maestro Girl Talk.

“Now all the bands in town are doing [what we do], but we were one of the first,” Reed said. “I’ll wear that crown silently.”

For five years they’ve held court at the Minnesota Music Cafe, chopping the likes of Lenny Kravitz, Jay-Z, Bob Marley, Ice Cube and Erykah Badu into new arrangements, Reed rapping and singing depending on the song’s need.   

“It’s funky, familiar and so fun,” Reed said. “Staying fresh is easy.”

Given that the bands mantra is “doing it to you in yo’ earhole,” a reference to a George Clinton lyric, it’s extremely easy to see how Reed’s enthusiasm is genuine.  

Look for the unveiling of a new hybrid of Aerosmith and David Bowie at the Minnesota State Fair.

What: BluPrint

When: 9 p.m., every Thursday,

Where: Minnesota Music Cafe, 449 Payne Ave., St. Paul

Cost: Free

By: Joe Kleinschmidt

Twelve years ago, a car altered Kevin Kling’s life forever. At the corner of Lake Street and Lyndale Avenue, he clung to life on his motorcycle after a near fatal crash.

The accident left his right arm paralyzed. But as the local storyteller rehearsed his latest play in a Wisconsin cabin, Kling said his physical recovery also left him time with his two resilient dogs.

“There’s nothing with a more can-do attitude in a can’t-do body than a wiener dog,” he said. “I thought if that wiener dog can get up in a pick-up truck, I can do that.”

“Humanimal” celebrates a cross-species connection Kling identifies as essential to maintaining sound mental health, the same bond he needed after his brush with mortality. The play takes on poignant philosophical questions about nature with Kling’s signature wit.

“We are continually pushing ourselves away from nature, considering ourselves above nature,” he said. “It’s to the detriment of our species.”

Known for his commentary on National Public Radio, Kling melds autobiography and fable for the animal-obsessed show. Think Jack London laced with a blithe comedic spirit.

Joined by frequent collaborators Michael Sommers, Simone Perrin, Jacqueline Ultan and Michelle Kinney, Kling creates a tribute to the chasm between humans and animals. In the latter half of the show, a man attempts to revert back to a more “wild” existence.

Along with the dachshunds, Kling owns two horses, also an inspiration for the environmental celebration of “Humanimal.”

“Recently I’ve noticed how much I’m fed by the animals, how much it returns me to a place that we seem to have pulled away from,” he said.

“Humanimal” joins the list of themed shows Kling has produced at the Open Eye for the past seven years. From politics to religion, his talent for storytelling keeps feeding the local venue. But the play’s not exactly Kling’s first foray into the animal world.

A foot in two worlds

“The Dog Says How,” his 2007 collection of short stories, marks another one of the writer’s bridges between pets and their owners. The book was also Kling’s first after the motorcycle accident.

The title refers to a bizarre link between technology and Kling’s wiener dog. When he began using voice-recognition software to type instead of a keyboard, his computer wrote his dog’s bark as “how.” Kling’s stories in the book point to a long running theme in his works, like “Humanimal” — the desire to exist in two separate worlds.

In “The Dog Says How,” Kling manages a disability that renders him navigating a new world. “Disabled” takes on greater meaning under the author’s lyrical wisdom. Using Dante’s definition, the prefix “dis” references the underworld, “a place of shadow and reflection.”

Rather than meaning “unable,” he sees “disabled” as a nuanced identity straddling two worlds. “Humanimal” also unites increasingly divided camps.

“We coexist with these amazing creatures and we both have things to offer each other,” he said.

“Humanimal” takes on a spiritual dimension and highlights the mythic and cultural value of embracing the wild. Kling references an Ojibwe tale to explain this unrelenting relationship.

“As the chasm of the world was forming and the animals and humans were separating, at the last minute the dog jumped across to be with the humans,” he said.

Kling required numerous surgeries to reconstruct his face after the motorcycle crash, but luckily his poetic gift for storytelling never needed medical maintenance. “Humanimal” joins the multitalented artist’s resume of stories to unite two camps, in this case, one animal at a time.

“Any touch to nature — any reminder of where we come from — is going to prolong our lives on this planet,” he said. “Once the canary’s gone from the coal mine, you are the canary.”

What: “Humanimal”

Where: Open Eye Figure Theatre, 506 E. 24th St. Minneapolis

When: August 9, 7:30 p.m.; August 10, 7:30 p.m.; August 11, 4 p.m.; August 12, 7:30 p.m.; August 15, 7:30 p.m.; August 16, 7:30 p.m.; August 17, 2 p.m.; August 18, 2 and 7:30 p.m.

Cost: $20

By: Joe Kleinschmidt

Twelve years ago, a car altered Kevin Kling’s life forever. At the corner of Lake Street and Lyndale Avenue, he clung to life on his motorcycle after a near fatal crash.

The accident left his right arm paralyzed. But as the local storyteller rehearsed his latest play in a Wisconsin cabin, Kling said his physical recovery also left him time with his two resilient dogs.

“There’s nothing with a more can-do attitude in a can’t-do body than a wiener dog,” he said. “I thought if that wiener dog can get up in a pick-up truck, I can do that.”

“Humanimal” celebrates a cross-species connection Kling identifies as essential to maintaining sound mental health, the same bond he needed after his brush with mortality. The play takes on poignant philosophical questions about nature with Kling’s signature wit.

“We are continually pushing ourselves away from nature, considering ourselves above nature,” he said. “It’s to the detriment of our species.”

Known for his commentary on National Public Radio, Kling melds autobiography and fable for the animal-obsessed show. Think Jack London laced with a blithe comedic spirit.

Joined by frequent collaborators Michael Sommers, Simone Perrin, Jacqueline Ultan and Michelle Kinney, Kling creates a tribute to the chasm between humans and animals. In the latter half of the show, a man attempts to revert back to a more “wild” existence.

Along with the dachshunds, Kling owns two horses, also an inspiration for the environmental celebration of “Humanimal.”

“Recently I’ve noticed how much I’m fed by the animals, how much it returns me to a place that we seem to have pulled away from,” he said.

“Humanimal” joins the list of themed shows Kling has produced at the Open Eye for the past seven years. From politics to religion, his talent for storytelling keeps feeding the local venue. But the play’s not exactly Kling’s first foray into the animal world.

A foot in two worlds

“The Dog Says How,” his 2007 collection of short stories, marks another one of the writer’s bridges between pets and their owners. The book was also Kling’s first after the motorcycle accident.

The title refers to a bizarre link between technology and Kling’s wiener dog. When he began using voice-recognition software to type instead of a keyboard, his computer wrote his dog’s bark as “how.” Kling’s stories in the book point to a long running theme in his works, like “Humanimal” — the desire to exist in two separate worlds.

In “The Dog Says How,” Kling manages a disability that renders him navigating a new world. “Disabled” takes on greater meaning under the author’s lyrical wisdom. Using Dante’s definition, the prefix “dis” references the underworld, “a place of shadow and reflection.”

Rather than meaning “unable,” he sees “disabled” as a nuanced identity straddling two worlds. “Humanimal” also unites increasingly divided camps.

“We coexist with these amazing creatures and we both have things to offer each other,” he said.

“Humanimal” takes on a spiritual dimension and highlights the mythic and cultural value of embracing the wild. Kling references an Ojibwe tale to explain this unrelenting relationship.

“As the chasm of the world was forming and the animals and humans were separating, at the last minute the dog jumped across to be with the humans,” he said.

Kling required numerous surgeries to reconstruct his face after the motorcycle crash, but luckily his poetic gift for storytelling never needed medical maintenance. “Humanimal” joins the multitalented artist’s resume of stories to unite two camps, in this case, one animal at a time.

“Any touch to nature — any reminder of where we come from — is going to prolong our lives on this planet,” he said. “Once the canary’s gone from the coal mine, you are the canary.”

What: “Humanimal”

Where: Open Eye Figure Theatre, 506 E. 24th St. Minneapolis

When: August 9, 7:30 p.m.; August 10, 7:30 p.m.; August 11, 4 p.m.; August 12, 7:30 p.m.; August 15, 7:30 p.m.; August 16, 7:30 p.m.; August 17, 2 p.m.; August 18, 2 and 7:30 p.m.

Cost: $20

By: Joe Kleinschmidt

Twelve years ago, a car altered Kevin Kling’s life forever. At the corner of Lake Street and Lyndale Avenue, he clung to life on his motorcycle after a near fatal crash.

The accident left his right arm paralyzed. But as the local storyteller rehearsed his latest play in a Wisconsin cabin, Kling said his physical recovery also left him time with his two resilient dogs.

“There’s nothing with a more can-do attitude in a can’t-do body than a wiener dog,” he said. “I thought if that wiener dog can get up in a pick-up truck, I can do that.”

“Humanimal” celebrates a cross-species connection Kling identifies as essential to maintaining sound mental health, the same bond he needed after his brush with mortality. The play takes on poignant philosophical questions about nature with Kling’s signature wit.

“We are continually pushing ourselves away from nature, considering ourselves above nature,” he said. “It’s to the detriment of our species.”

Known for his commentary on National Public Radio, Kling melds autobiography and fable for the animal-obsessed show. Think Jack London laced with a blithe comedic spirit.

Joined by frequent collaborators Michael Sommers, Simone Perrin, Jacqueline Ultan and Michelle Kinney, Kling creates a tribute to the chasm between humans and animals. In the latter half of the show, a man attempts to revert back to a more “wild” existence.

Along with the dachshunds, Kling owns two horses, also an inspiration for the environmental celebration of “Humanimal.”

“Recently I’ve noticed how much I’m fed by the animals, how much it returns me to a place that we seem to have pulled away from,” he said.

“Humanimal” joins the list of themed shows Kling has produced at the Open Eye for the past seven years. From politics to religion, his talent for storytelling keeps feeding the local venue. But the play’s not exactly Kling’s first foray into the animal world.

A foot in two worlds

“The Dog Says How,” his 2007 collection of short stories, marks another one of the writer’s bridges between pets and their owners. The book was also Kling’s first after the motorcycle accident.

The title refers to a bizarre link between technology and Kling’s wiener dog. When he began using voice-recognition software to type instead of a keyboard, his computer wrote his dog’s bark as “how.” Kling’s stories in the book point to a long running theme in his works, like “Humanimal” — the desire to exist in two separate worlds.

In “The Dog Says How,” Kling manages a disability that renders him navigating a new world. “Disabled” takes on greater meaning under the author’s lyrical wisdom. Using Dante’s definition, the prefix “dis” references the underworld, “a place of shadow and reflection.”

Rather than meaning “unable,” he sees “disabled” as a nuanced identity straddling two worlds. “Humanimal” also unites increasingly divided camps.

“We coexist with these amazing creatures and we both have things to offer each other,” he said.

“Humanimal” takes on a spiritual dimension and highlights the mythic and cultural value of embracing the wild. Kling references an Ojibwe tale to explain this unrelenting relationship.

“As the chasm of the world was forming and the animals and humans were separating, at the last minute the dog jumped across to be with the humans,” he said.

Kling required numerous surgeries to reconstruct his face after the motorcycle crash, but luckily his poetic gift for storytelling never needed medical maintenance. “Humanimal” joins the multitalented artist’s resume of stories to unite two camps, in this case, one animal at a time.

“Any touch to nature — any reminder of where we come from — is going to prolong our lives on this planet,” he said. “Once the canary’s gone from the coal mine, you are the canary.”

What: “Humanimal”

Where: Open Eye Figure Theatre, 506 E. 24th St. Minneapolis

When: August 9, 7:30 p.m.; August 10, 7:30 p.m.; August 11, 4 p.m.; August 12, 7:30 p.m.; August 15, 7:30 p.m.; August 16, 7:30 p.m.; August 17, 2 p.m.; August 18, 2 and 7:30 p.m.

Cost: $20

By: Joe Kleinschmidt

Carroll is a band with a hell of a work ethic. “Needs,” the only release by the Macalester College-founded group, is only six songs long, but the brief back catalog never meant they shied away from touring.

Even with only a week before gigs, drummer Charlie Rudoy remembers composing new material to fill time in a set.

“Even when we had only six songs, we would just always take shows,” Rudoy said.

Carroll’s efforts seem to be paying off. The quartet, who chose their name after a street in St. Paul, won this year’s Vita.mn’s “Are You Local?” contest and went to SXSW.

With the taut indie pop of “Needs,” Carroll carved out a niche within the local crowd, all thanks to a contest.

Humans Win!, a local recording studio, called for submissions from bands last year. Hundreds of local acts entered to record under the helm of Lance Conrad, a producer who’s worked with everyone from Dosh to DeVotchKa.

“We almost didn’t send it in because of the quality of the demo,” Rudoy said.

“Billionaire” might’ve sounded rough out of the gate, but Conrad’s production on “Needs” shines. Singer Brian Hurlow hones Dirty Projectors-like devotion for experimental pop on the intricate release.

Rudoy and guitarist Max Kulicke first noticed Hurlow’s talent at a free show in Powderhorn Park in 2011. He performed at the outdoor concert with a crude setup, but his future partners in Carroll could see through the on-stage clutter.

“To have a pedal to trigger the samples on his laptop, he used an old Apple keyboard and would just stomp on the spacebar,” Rudoy said. “It was a really weird setup. It didn’t work very well.”

Two songs from Hurlow’s makeshift solo project eventually made it on “Needs” with the help of the full band, now with the proper equipment. Rudoy and Kulicke, members of the same bar band at the time, approached the one-man band with the same intention.

“We both were trying to quit the band we were in without telling each other,” Rudoy said.

With that band’s dissolution, Rudoy and Kulicke wanted to start an original project — not simply covering Led Zeppelin and LCD Soundsystem in dive bars. Combining Hurlow’s ear for pop melodies and the new members’ fondness for shoegaze, Carroll finds an original synthesis.

Although Rudoy’s initial intention fed into his darker, experimental roots, Carroll owns a tight pop sheen on tracks like “Lead Balloon.”

“We wanted to be My Bloody Valentine, but we couldn’t help making pop songs,” Rudoy said.

The blend never feels too strong one way or the other on “Needs,” a collision of influences. Rudoy and Kulicke agree that Carroll’s only just now settling on an identifiable sound, hurtling into murkier territory now that the band’s had time to grow.

Where the EP mostly represents Hurlow’s handiwork, Carroll’s now looking to open up the songwriting to the entire group.

“The newer songs I feel like are a better representation of the four of us playing together,” Kulicke said.

At work on their debut full-length, the band’s latest challenge is to hone the new sinister material. Carroll’s new songs sound like a sickly sweet concoction — musically and lyrically.

“We have a song on the new album — the opening line is ‘I put poison in your ice cream,’” Rudoy said. “Maybe that’s a good analogy for our band.”

What: Strange Names with Carroll and Hot Freaks

Where: 7th St. Entry, 701 N. First Ave., Minneapolis

When: 8 p.m., Saturday

Cost: $5

18+

By: Spencer Doar

Brothers in musical arms Joe and David Dunwell are six years apart, enough of a difference for them to begin their careers in the English music scene separately before fate intervened.

At an open mic, the brothers started harmonizing, something they’d messed around with growing up in a musical household (their dad plays classical guitar), though never together in public.

A talent agent in the crowd insisted on booking them together.

In the three years since, the Leeds, England,-based Dunwell brothers have been joined by childhood friend Dave Hanson on guitar and cousins Jonny Lamb and Rob Clayton on drums and bass respectively. The result is the unique chemistry on their 2012 debut album, “Blind Sighted Faith.”

“Some songs are true and some aren’t, but I believe every word I sing,” Joe Dunwell said.

That’s recognized by fans across the pond and here in the States, where the folk rock of Mumford and Sons has already found a home.

The Dunwells have played the festival circuit on multiple international tours, including last year’s SXSW, and were scheduled at Lollapalooza before a Chicago storm interfered. As if their rise wasn’t surreal enough, “Almost Famous” director Cameron Crowe tweeted support after a Los Angeles show.

The chorus of critic and fan approval is only outdone by the harmonies of The Dunwells themselves. This will come up again and again because all five chipping in on vocals is the best, and sometimes eeriest, aspect of their music. They’re a generally guitar driven affair, but the plunking banjo of David Dunwell is another serendipitous addition to The Dunwells’ sound.

“We went out and bought a bunch of instruments for 500 pounds,” Joe Dunwell said. “We were practicing, [David grabbed] the banjo — it just worked.”

It’s one more aspect of their sound that keeps The Dunwells a sum that’s greater than its parts. By themselves, they’re three busking guitarists with good voices and a gigging rhythm section. Together, they’re called a modern Crosby, Stills & Nash.

Offstage, though, you get a different vocal treat: Their singing voices are clear as day, but the moment they break into conversation, the Yorkshire accent kicks in full throttle, and a lifetime of watching the BBC wouldn’t save a linguist.

What: The Dunwells

When: 7 p.m., Wednesday

Where: Dakota Jazz Club, 1010 Nicollet Ave., Minneapolis

Cost: $24

Ages: All ages