Marissa Nadler's voice is an open invitation to hyperbole. It's been called both angelic and something you would follow straight into Hades. Her local paper, The Boston Globe, fancifully opined that, in mythological times, it could have lured men to their deaths at sea. (Talk about a Homer.) While that vaporous soprano has dominated discussion of her seven recordings, the moods and methods behind each one are impressively varied, ranging from finger-picked acoustic folk to slippery slide-guitar country to torch-lit noir rock. Her May release Strangers (Sacred Bones) moves through a four-song stretch that connects Pink Floyd's ominous machinations ("Katie I Know," "Skyscraper") to Beach House's dune-eroding drones ("Hungry Is the Ghost," "All the Colors of the Dark"); the title track backgrounds the rhythm guitar in favor of a slow-hand electric lead, and "Janie in Love" courts a bad romance with a diaphanous 1950s slow dance. Working again with audio engineer Randall Dunn — best known for his expansive productions of elemental metal bands Sunn O))) and Earth — Nadler takes the heavy oppression of hard rock and applies it to the softest of sounds, making for a truly disconcerting and disorienting listening experience. "You touch and the earth will crumble," she lulls on "Janie"; "You speak and hurricanes attack." Maybe the siren calls aren't so far off after all. Wrekmeister Harmonies and Muscle and Marrow open. Tickets $10.