If Sandy Denny and Crazy Horse dropped acid together, Heron Oblivion might result. Constructed of parts from Assemble Head in Sunburst Sound, Comets on Fire, and Howlin Rain, the eponymous San Francisco quartet drowns ethereal folk melodies in a cauldron of distortion and feedback. Drummer/singer Meg Baird’s got the fortitude, letting her voice float blissfully over Noel V. Harmonson and Charlie Saufley’s molten riffing; bassist Ethan Miller keeps the aggression on point. “Oriar,” “Seventeen Landscapes,” and the monstrous “Rama” all balance brawn and beauty like a bodybuilding ballerina. (Sat., 7:30pm, Elevation Amphitheater)

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This article appears in April 29 • 2016.

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Michael Toland started writing about music in 1988 on the Gulf Coast, moved to Austin in early 1991, and has inflicted bylines upon the corporeal and digital pages of Pop Culture Press, The Big Takeover, Blurt, Amplifier, Austin.citysearch, the Austin American Statesman, Goldmine, Sleazegrinder, Rock & Roll Globe, High Bias, FHT Music Notes, and, since 2011, The Austin Chronicle.