No matter how enjoyably heavy, hard-hitting and developed a song idea is, it is still just an idea. When the bass is dozens of decibels above the guitar (which can’t pick a constant volume level anyway) and the drums are only audible enough to notice they’re falling out of time, whatever potential Minor Stars (Saturday, Local 506) had has been dwarfed.

Enticed by a guitar-driven grunge band that seemed to keep things fresh, I’m not going to act like I forgot the hype I gave Minor Stars just a week ago. If anything, that’s where the force behind this negativity comes from. More than unimpressed and slightly annoyed, I was disappointed in something that could, and should, have been much, much better.

More concerned with playing loud than playing music, the band’s self-indulgence was its downfall. Not only were the plentiful guitar solos lacking in innovation, they came from unexpected sections, and not in a good way. Usually nothing more than a four-beat pause moved a ballad into a rocker, leaving everything from tempo to key in its wake.

Minor Stars’ set brought to mind the famous psychology case of a patient known only as H.M., a man capable only of remembering events within the past 10 seconds. As Minor Stars transitioned time and out-of-time again between sections unrelated by feel, chord progression or melody line, it became a distinct possibility that H.M. was the band’s chief composer.

In what was probably a misguided attempt to not create a sound that has been clichéd for 15-plus years, Minor Stars had an over-enterprising style with light-years of room for error, and they capitalized on all of it.

The overall sound was unprofessional, the arrangements were close to non-existent, and I can’t imagine how Minor Stars could have gone more wrong than they did, and it was a real disappointment to watch. A second guitarist to even out the levels is what this band needs most, and then maybe they should have a talk with H.M. about writing songs that stick to one unified theme.

Toubab Krewe (Tonight, Cat’s Cradle) — Yes, it feels like this world-influenced, Asheville-based jam band is here all the time, but I swear it’s been three whole months since the last Krewe set.

Toubab Krewe provides such an enterprising live experience that is easy to dance to or sit and watch from a technical standpoint. Music buffs can try and point where their influences come from, or how that transition just worked, and casual fans can still dance to these high-energy jams.

Dylan Versus Petty For Haiti (Saturday, Local 506) — “For” is the only non eye-catching word in this benefit show’s title. Eight local bands cover, you guessed it, Bob Dylan and Tom Petty tunes for a $5 minimum donation.

Headlining is Mandolin Orange, a Carrboro duo with a great name that their sound actually lives up to. A mandolin and fiddle join the arsenal of instruments Andrew Marlin and Emily Frantz can play, and this will contribute quite nicely especially to Dylan covers.

As two American music icons that have had such a profound influence on pretty much every band on the bill/planet, seeing songs you’ve heard hundreds of times before adapted by many eager bands will be both interesting and highly enjoyable.

Soihadto (Monday, Local 506) — Baltimore math-rock troupe Soihadto is not shy about its eclectic influences. The band proudly boasts its unique song-writing style (with the live experience in mind), ability to conjure full-throttle dynamic shifts at the perfect moment, and more.

Led by an able drummer not afraid to transcend time signatures, Soihadto embodies the heaviness of math-rock gods Don Caballero. Toning the Don’s abrasiveness down several notches, Soihadto still isn’t for everybody, but fans of generally heavy music (not necessarily just metal) as well as post-rock bands capable of getting sweet and ethereal guitar sounds (Explosions in the Sky, Mogwai) might want to see what happens when this sound is put on steroids.