The Best Concerts In Houston This Week: DJ Sun, Guns N' Roses, Shinyribs, Quiet Company, etc.

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DJ Sun The Flat, April 1 Now that some of the well-deserved publicity surrounding DJ Sun's first-ever full-length release, One Hundred, has subsided a little, his true accomplishment on the disc seems even more impressive. In the span of 70 minutes, he pours his 20-plus-year career as one of Houston's most in-demand DJs into a seamless work that never lulls, never lags and maintains an unshakably mellow groove throughout.

But then, One Hundred's intricately laid-back latticework should come as no surprise to anyone lucky enough to have met the man. Among his multitude of weekly gigs, Sun's long-running Monday residency at the Flat is probably the most chill environment to glimpse this true turntable craftsman at work. CHRIS GRAY

Guns N' Roses House of Blues, May 28

Whether Guns N' Roses' current tour across the nation's House of Blues venues is simply a naked cash grab - general-admission tickets start at $135 - or an up-close way for Axl Rose to connect with his more affluent fans, the fact remains plenty of GN'R lovers will pay that much (and probably a lot more) to see "Paradise City," "Sweet Child o' Mine" and the other hits in such an intimate setting, even if Slash is nowhere in sight.

So that makes the difference between Rose's current Chinese Democracy crew and one of the many GN'R tribute acts that have graced HOB Houston's stage... Axl's crab dance? Nevertheless, Tuesday represents a prime opportunity to remember the last time rock and roll was truly dangerous, and to hear that blood-curdling "Welcome to the Jungle" scream up close from its originator -- however much "yow" he's able to put into it at this point. CHRIS GRAY

Little Joe Washington Boondocks, May 28

Out of a Third Ward blues guitar school that has now graduated to the great beyond Albert Collins, Johnny Clyde Copeland, Johnny Guitar Watson and Joe Guitar Hughes, Little Joe Washington is the last man standing. And he's hardly standing still: He's also pedaling his Schwinn from gig to gig, Fender strapped to his back, doing things with it you've never heard before and never will again, and then passing his hat around for tips. JOHN NOVA LOMAX

Black Moth Super Rainbow Fitzgerald's, May 29

Black Moth Super Rainbow brainchild Thomas Fec (who also goes by the moniker "Tobacco"), sings through a vocoder, which means half the time he doesn't even sound human and gives BMSR a weirdly lo-fi psychedelic space vibe.

BMSR is touring in support of the band's fifth EP, last October's Cobra Juicy, a record that almost wasn't made. A few years ago, Fec was approached to do a remix of a female singer's album whom he won't name, only to say he'd never heard of her before.

"I didn't want to make music at the time," he says. "I wanted to take a few years off."

But he took the job and ended up being pretty happy with the result, "once I got into it." Unfortunately, the female singer's people were not, and so the album was scrapped. Fec reworked it, and reworked it again, and the result eventually became Cobra Juicy. See more with BMSR in our Rocks Off's interview from earlier this month. BRITTANIE SHEY

Shinyribs Main Street Crossing, May 29

Recently featured late-night weekend TV's Texas Music Scene, the Gourds' Kevin Russell brings his barefoot, belly-rubbin', fractured roots music to the small-town vibe of Tomball's top visitors' attraction. CHRIS GRAY

Quiet Company Fitzgerald's, May 30

After coming to terms with their Christian-rock past on 2011's We Are All Where We Belong, an album that was both gut-wrenching and exhilarating and swept the 2012 Austin Music Awards, Quiet Company seems resolved to lighten up a little on its brand-new album, A Dead Man On My Back. Gone are the crises of faith, replaced with whimsical song titles like "Well-Behaved Women Rarely Make History" (Laurel Thatcher Ulrich) and "The Emasculated Man and the City That Swallowed Him."

Considering Dead Man is Quiet Company's second straight album of soaring pop-rock melodies and swing-for-the-fences arrangements, though, its most apropos title might be a different one: "We Change Lives." With the Features. CHRIS GRAY

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