Duende means both “demon” and “charm,” and both concepts apply to the Great Discord. With one foot in gothic prog rock and the other in chunky thrash, the Swedes’ debut concerns itself less with listener appreciation than simple expression. “Selfæta” and “Eigengrau” caress the melody bone one minute and snap spines the next, guitarists André Axell and Gustav Almberg masters of the gentle bludgeon. Vocalist Fia Kempe holds it all together with shifts from croon to wail so smooth they’re sensual. The Great Discord crosses over from soaring melodicism to teeth-gritting headbang and back again at will, a charmed demon to the last. (Fri., 10pm, Sledge Hammer)

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This article appears in March 18 • 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.