As usual, ALARM leaves no genre unexplored in our list of this year's overlooked gems.

Sigh: Scenes from Hell (The End, 1/19/10)

Sigh: "The Summer Funeral"

With a history of fusing other revered genres to a doomy combination of black metal and thrash, Japan's Sigh used its eighth studio album to deliver symphonic, epic metal that calls upon classical instrumentation to top its rock foundation.

Brass, woodwind, and string instruments — as well as organ and piano — accent as well as lead sinister melodies that take surprising turns through fanciful themes. Raspy, menacing vocals coat each track, resulting in a dramatic presentation that isn't much at odds with its complex backdrop.

RJD2: The Colossus (RJ’s Electrical Connections, 1/19/10)

RJD2: "Games You Can Win"

Following a divisive album that saw the introduction of poppy, soulful vocals, producer RJD2 returned with something of a split release — an album that leaves no shortage of accessible, vocal-driven tunes but that emphasizes some inventive instrumentals.  Whether or not you dig the soulful RJ, there's no doubt that the music on The Colossus is some of his best to date.

Chicago Underground Duo: Boca Negra (Thrill Jockey, 1/26/10)

Chicago Underground Duo: "Spy on the Floor"

For 15 years, the Chicago Underground Duo (and Trio, Quartet, and Orchestra) has been an avant-garde jazz outlet for prolific Chicago musicians Rob Mazurek (Exploding Star Orchestra, Isotope 217) and Chad Taylor.  Boca Negra is an interesting dichotomy, as spiraling vociferation leads to upbeat grooves, shifting piano chords, harmonic electronics, and ambient samples.

Algernon: Ghost Surveillance (Cuneiform, 1/26/10)

Algernon: "Broken Lady"

The brainchild of guitarist Dave Miller, Algernon walks a thin line between melodically driven post-rock and instrumental unconventionality.  Ghost Surveillance places greater emphasis on synthesizers and sprawling song structures, but at its core is the combination of accessibility and technicality that has defined Miller's style. Noisy, circular rock riffs transform to tranquil, wandering passages. "Timekiller," the album's fourth track, is a beautiful, buoyant number — and one of the band's best creations to date.

Bei Bei & Shawn Lee: Into the Wind (Ubiquity, 1/26/10)

Bei Bei & Shawn Lee: "East"

In the hands of a marvel, the guzheng — a gorgeous Chinese zither — resonates with tactile beauty as its many strings are plucked with precision.

Bei Bei, a native of Chengdu, China, is one such musical technician. And this collaboration with Shawn Lee, a prolific producer who can man as many genres as he sees fit, is undoubtedly one of the year's finest albums.  Together, the two use Into the Wind to navigate through funky down-tempo jams, Kung-Fu flavor, hip hop, soul, and driving grooves.

Daníel Bjarnason: Processions (Bedroom Community, 2/1/10)

Daníel Bjarnason: "Bow to String I: Sorrow Conquers Happiness"

Best known as a conductor and arranger for indie groups such as Sigur Rós, composer Daníel Bjarnason also holds a lofty classical résumé. Processions, his proper debut, is, at many points, a challenging classical work.  Powerful cellos scale and race with crackling percussions before settling into gently bowed and pizzicato string accompaniments; easily half a dozen strings battle for dominance in a sorrowful, harmonic piece that resonates long after hearing it.  Undoubtedly, Processions is a daring and original debut.

Shining: Blackjazz (Indie Recordings / Distribution, 2/2/10)

Shining: "Fisheye"

Beginning as an experimental acoustic jazz ensemble, Norway's Shining — the brainchild of saxophonist Jørgen Munkeby — transformed to a progressive jazz-fusion outfit before delving into its darker side for a collaboration with black-metallists Enslaved.

Blackjazz pushes deeper into the band's dark recesses, forging a progressive industrial sound for the young century.  Big, complex rock riffs, twisted through gnarly distortion, form the foundation and support a mass of frantic, whirring synth lines and gut-wrenching black-metal screams.  In all, Blackjazz is a new epic — and perhaps the best metal album of 2010.

Pillars and Tongues: Lay of Pilgrim Park, LP + download (Endless Nest, 2/9/10)

Pillars and Tongues: "The Center of"

With just three members, Pillars and Tongues manages to craft powerful folk abstractions and interwoven, trance-inducing vocal dynamics. Both composed and improvisational, these shifting forms evoke spiritual vibes in their soulful essence, heavenly harmonies, and repeated patterns.

Dessa: A Badly Broken Code (Doomtree, 2/9/10)

Dessa: "Dixon's Girl"

The only female member of Minneapolis hip-hop collective Doomtree, Dessa is a spoken-word vocalist, singer, and MC whose awaited full-length was finally released earlier this year.

On A Badly Broken Code, her true solo debut, Dessa's vocal diversity is matched by its underlying music, ranging from hard-hitting beats and rhymes to lilting harmonic overdubs.

The Bastard Noise / The Endless Blockade: The Red List (20 Buck Spin, 2/16/10)

The Bastard Noise: "Mutant World of Shame / Underworld"

A spinoff of treasured "power-violence" hardcore group Man is the Bastard, The Bastard Noise is approaching its 20th anniversary of creating noisy electro-doom brutality.  For this split release with hardcore/punk experimentalists The Endless Blockade, the group utilizes the trademark drum-and-bass style of Man is the Bastard in combination with its far-out sounds.  The Endless Blockade contributes three tracks to the release — one 14-minute epic and two avant-garde remixes.

Freeway & Jake One: The Stimulus Package (Rhymesayers, 2/16/10)

Freeway & Jake One: "Know What I Mean"

Continuing his life after Roc-A-Fella Records, former freestyle star Freeway now makes his debut on Rhymesayers, a fitting new home — if only temporary before a move to Cash Money.  Fellow Rhymesayers standout Jake One provides a funky, malleable backdrop for Freeway's fiery delivery and lyrics that are alternately personal and light in content. And though Freeway deserves his accolades, Jake One's production is the MVP of this collaboration.

Carolina Chocolate Drops: Genuine Negro Jig (Nonesuch, 2/16/10)

Carolina Chocolate Drops: "Hit 'Em Up Style" (Blu Cantrell)

Beholden to the traditions of Americana and early African-American folk, the string trio Carolina Chocolate Drops continues blurring the lines of old and new. On Genuine Negro Jig, the group's fifth album, a few original numbers and a trove of traditionals take root in banjo, fiddle, and percussion. Three-part harmonies shimmer on the famous folk tune "Trouble in Your Mind," and simplicity shines on gripping renditions of "Why Don't You Do Right?" by Kansas Joe McCoy and "Trampled Rose" by Tom Waits.  Most surprisingly, Genuine Negro Jig includes an enjoyable rendition of "Hit 'Em Up Style," an unintentionally farcical pop hit by Blu Cantrell.

Mako Sica: Dual Horizon LP (La Société Expéditionnaire, 2/16/10)

Mako Sica: "I'Itoi"

A translation of the phrase "land bad," Mako Sica has more than a nominal Native American influence; the trio's distant vocal reverberations and dirge-inspired tunes recall the spirituality of America's original inhabitants.

Between the vocalizations of Brent Fuscaldo, the melodies of guitarist Przemyslaw Krys Drazek, and the rhythms of drummer Michael J. Kendrick, Mako Sica maintains a strong balance of abilities — with a brooding combination of jangly guitars, reverberated vociferation, and instrumental dynamics.

High on Fire: Snakes for the Divine (E1 Music, 2/23/10)

High on Fire: "Snakes for the Divine"

Stoner-metal trio High on Fire has built a devoted following over the past dozen years as fans fell in love with Matt Pike's gruff vocals and thunderous guitar riffs. On Snakes for the Divine, Pike uses his throat to channel Lemmy Kilmister; meanwhile, the band has picked up its pace and crafted an album that isn’t as outstretched. Hard-hitting riffery leads an effort that, though diverse at times, may be the band’s most driving release.

Jaga Jazzist: One-Armed Bandit (Ninja Tune, 2/23/10)

Jaga Jazzist: "One-Armed Bandit"

Five years have passed since we've heard the powerhouse melodies of Norway's Jaga Jazzist, the post-rock/"nü-jazz" conception of brothers Lars and Martin Horntveth.

One-Armed Bandit, immediately the group's best album, resembles symphonic prog rock, arguably a few steps removed from parts of Frank Zappa's expansive catalog and closer to countryman Jono El Grande's diverse and theatrical style.  This album, however, is much more cohesive than either of those comparisons suggest, and at times it is nearly overwhelming with grooves and harmonious refrains.

Rob Swift: The Architect (Ipecac, 2/23/10)

Rob Swift: "The Architect"

Turntablist/DJ Robert Aguilar, formerly of the X-ecutioners, has long utilized his love of jazz, R&B, and other musical movements to create compelling hip-hop instrumentals while displaying his tight beat-juggling skills.

The Architect is Swift’s foray into the classical world. In addition to a multitude of sampled styles and sounds, classical cuts comprise a substantial chunk of this Ipecac debut. Rearranged strings, organ, and horns often make the foundation of a given track, occasionally evoking high-tension Italian Westerns, as Swift’s scratches dance atop banging beats.

Rotting Christ: Aealo (Season of Mist, 2/23/10)

Rotting Christ: "Aealo"

For more than 20 years, Athens' Rotting Christ has traversed different directions on the metal path.  With its previous release, Theogonia, the group released a striking, original album that fused its dark sound to the ethnic sounds of its ancestors.

Like its predecessor, Aealo features female Benedictine chants, lingual pipes, and a medieval feel. Combined with dueling high-pitched harmonies and powerful guitar work, these new elements highlight an album that should be among the most original metal releases of the year.

Ali Farka Touré & Toumani Diabaté: Ali and Toumani (Nonesuch, 2/23/10)

Ali Farka Touré & Toumani Diabaté: "Ruby"

As two of Africa's most internationally renowned musicians, guitar legend Ali Farka Touré and kora phenom Toumani Diabaté have displayed impeccable abilities while integrating the styles of other cultures into their ethnic sounds.

Each Malian, the two collaborated for the acclaimed In the Heart of the Moon in 2005, shortly before Farka Touré's passing in 2006. Fortunately, the two set aside time to record new material before touring for In the Heart of the Moon, and the result is another beautiful set of duets that sees a posthumous release.

Throughout Ali and Toumani, Farka Touré roots each creation in melodious African-blues pieces. Diabaté's virtuosity accents each track in the form of fanciful scales, which at times evoke classical harpsichord passages, perhaps most notably on "Sabu Yerkoy."

Fang Island: s/t (Sargent House, 2/23/10)

Fang Island: "Sideswiper"

Mostly comprised of ex-Daughters, the good-time rock quintet Fang Island was one of the most quickly ascending bands of 2010, jumping onto tours with The Flaming Lips and Stone Temple Pilots following the release of its first full-length album.

The self-titled release is chock full of palm-muted and speed-infused indie-prog anthems, with über-layered vocal harmonies to go with a triple-thick guitar assault and distorted-bass bludgeoning.  It's one of those rare releases that feels absolutely radiant and thrashing at the same time.

B. Dolan: Fallen House, Sunken City (Strange Famous, 3/2/10)

B. Dolan: "The Reptilian Agenda"

Going way back with Sage Francis, rapper B. Dolan is a like-minded MC and slam poet whose style isn't terribly dissimilar to that of his long-time friend. Fallen House, Sunken City is Dolan's second full-length for Strange Famous, and it's full of the sociopolitical themes (if often in quick blasts or asides) and contentious delivery for which he's known.

In addition to some seemingly personal lyrics, Dolan takes passing shots at big business, taxation, the pharmaceutical industry, the concept of ownership of natural resources, the Israeli razing of Palestinian developments, and, among many other things, the so-called New World Order — dropping clips of Dick Cheney and George H.W. Bush in "The Reptilian Agenda."  On top of Dolan's socially conscious rhymes, A-list production by Alias makes this one of the year's top hip-hop releases.

Archie Bronson Outfit: Coconut (Domino, 3/2/10)

Archie Bronson Outfit: "Shark's Tooth"
Archie Bronson Outfit: "Shark's Tooth"

With its warbled vocals and driving percussion, British psych-rock trio Archie Bronson Outfit is like a more adventurous Wolf Parade — as comfortable burning up the dance floor with clean, bouncy riffs as it is turning up the reverb and rocking in a garage.

Coconut is the band's first LP in nearly four years, and it kicks off with a crunchy, swirling guitar line and a hypnotic bongo-laden beat. Produced by DFA's Tim Goldsworthy, Coconut gets spaced-out and drone-like at times, but it always offers a hint of pop accessibility amidst the static and haze.

The Microscopic Septet’s Friday the 13^th: The Micros Play Monk will feature twelve original arrangements of jazz legend Thelonious Monk’s songs, celebrating the musician that sparked the band’s existence.  The album includes artwork by Barry Blitt of the New Yorker, and liner notes by jazz critic Peter Keepnews.

The Two Faces of Janus, by quick-fingered saxophonist/flutist Jason Robinson, is one of three projects to be released simultaneously by three different labels in September and October.  The album features ten original pieces ranging from two-reed duets to layered sextet pieces, reflective of NYC’s distinctive jazz scene.  Joining him on the album are noted New York musicians Liberty Ellman, Drew Gress, George Schuller, Marty Ehrlich, and Rudresh Mahanthappa.

Stay tuned for news on Cuneiform's other fall releases, including albums from Richard Pinhas, Univers Zero, and Uz Jsme Doma.

Remarkably, the Melvins' umpteenth album isn't quite like any of its predecessors. Of course, for a band that has made a lauded career out of new directions and tangents, this isn't a surprise.

But after nearly 30 years as a band, it's still a fantastic achievement — to maintain such a high level of quality and experimentation while retaining the idiosyncracies that define it.

On The Bride Screamed Murder, the Melvins' third with Big Business members Jared Warren and Coady Willis, down-tempo sludge riffs again are elbowed out by hard- and classic-rock riffs.

The tunes are as anthemic as ever, but this time they're infused with elements like the marching chant of "The Water Glass," the chants and whistles in "Pig House," the avant-garde, squealing outro of "Hospital Up," a twisted take on The Who's "My Generation," and the soothing a cappela harmonies of "P.G. x 3."

In being another new take on a beloved sound, The Bride Screamed Murder is quintessential Melvins.

Funki Porcini: On (Ninja Tune)

A staple of Ninja Tune's first decade, DJ/musician James Braddell has gone eight years since releasing something under his Funki Porcini moniker.

Now, after an eight-tune effort called Plod that was self-released in December, Porcini is back home with Ninja Tune for On.

Like much of his older material, On is built around down-tempo ambience, jazzy cuts, break beats, and an über-reverberated aesthetic. There are fleeting comparisons to Amon Tobin, but the tunes are much less structured around a "wall of samples" and more arranged like an electro-acoustic band rising and falling.

And though most of the instruments still sound sampled, On is said to have the most live instruments of any Porcini record, and it mixes the electronic sounds with splashes (live or otherwise) of accordion, harp, horn, upright bass, piano, and more. Found sounds make a contribution; clips of wind chimes and snow crunching below boots are just two such examples.

On is less "experimental" than Plod, and its song structures are more traditional. No matter one's preference, however, each album is a welcome return for a key piece of Ninja Tune's mid-'90s style.

Matt Ulery’s Loom: The Queen 10” (Whistler)

With a melodic MO and an array of influences, bassist Matt Ulery plays an important role in Chicago's jazz and improv scene, performing in Eastern Blok and the Grazyna Auguscik Group and penning his own compositions for solo material and for Loom.

Loom, a staple at Chicago's Whistler, places an importance on harmony and repetition, but its chops are not in short supply. Ulery's choice of instrumentation for the group captures a unique sound, one with violin and Wurlitzer electronic piano to go with sax, trumpet, upright bass, and drum kit.

The Queen, a 10-inch release of a new track and two remixes (by Demon and The Hood Internet), also features the cool vibraphone work of Katie Wiegman (Algernon).

The main tune has been a standout at Loom performances for a while, immediately grabbing listeners via a three-note groove that employs playful timing, and it should be a portent of greatness to come. The release comes in advance of Flora.Fauna.Fervor, the group's second full album, which is due later this year.

Honorable Mentions

Born Ruffians: Say It (Warp)

V/A: Footsteps in Africa Soundtrack: Nomadic Remix (KiahKeya Productions)

Land of Kush’s Egyptian Light Orchestra: Monogamy (Constellation)

Tift Merritt: See You On The Moon (Fantasy / Concord)

The guzheng is a gorgeous Chinese zither whose existence dates back two thousand years. In the hands of a marvel, it resonates with tactile beauty as its many strings are plucked with precision.

Bei Bei, a native of Chengdu, China, is one such musical technician. And this collaboration with Shawn Lee, a prolific producer who can man as many genres as he sees fit, undoubtedly will be one of the year's finest albums.

Lee is no slouch, but his work really shines when he's coupled with a virtuoso. Together, the two use Into the Wind to navigate through funky down-tempo jams, Kung-Fu flavor, hip hop, soul, and driving grooves.

Bei Bei & Shawn Lee: "East" (excerpt)
Bei Bei & Shawn Lee: \"East\" (excerpt)

Algernon: Ghost Surveillance (Cuneiform)

The brainchild of guitarist Dave Miller, Algernon walks a thin line between melodically driven post-rock and instrumental unconventionality.

The quintet, based in Chicago, has drawn comparisons to hometown compatriots Tortoise — thanks to a vibraphone and a few jazz-inflected melodies — but it very much has established its own voice, particularly on Ghost Surveillance, its third album.

This album places greater emphasis on synthesizers and sprawling song structures, but at its core is the combination of accessibility and technicality that has defined Miller's style. Noisy, circular rock riffs transform to tranquil, wandering passages. "Timekiller," the album's fourth track, is a beautiful, buoyant number — and one of the band's best creations to date.

As always, the vibraphone work of percussionist Katie Wiegman offers a warm, harmonic accompaniment, but the group's best-supporting player may be drummer Cory Healey, whose wild fills and drum-and-bass moments imbue Ghost Surveillance with explosive bursts of energy.

Algernon: "Broken Lady"
Algernon: \"Broken Lady\"

Chicago Underground Duo: Boca Negra (Thrill Jockey)

For 15 years, the Chicago Underground Duo (and Trio, Quartet, and Orchestra) has been an avant-garde jazz outlet for prolific Chicago musicians Rob Mazurek (Exploding Star Orchestra, Isotope 217) and Chad Taylor.

Its size and scope has shifted, but Mazurek and Taylor have been the staples of the Chicago Underground name, melding improvisation with composition through a shifting balance of impulse and atmosphere.

Boca Negra is an interesting dichotomy, as spiraling vociferation leads to upbeat grooves, shifting piano chords, harmonic electronics, and ambient samples.

"Hermeto," for example, is built around a delicate keyboard melody, harmonizing surroundings, and a windy backdrop. "Spy on the Floor" follows with one of CUD's most straightforward grooves, coupling with Taylor's snare-rolling beat to craft a danceable tune.

Taylor handles the programming this time around, which helps to explain some of the duo's new sound. Long-time fans will recognize Boca Negra as being in the CUD ouvre, but they might be surprised at its scope.

Chicago Underground Duo: "Spy on the Floor"
Chicago Underground Duo: \"Spy on the Floor\"

Noah Creshevsky: The Twilight of the Gods (Tzadik)

Electronic composer Noah Creshevsky is a master of contrast, crafting musical patchworks from samples of orchestras, vocalists, pop music, and much more.

The Twilight of the Gods, his second album for Tzadik, is another wild series of rearrangements. Otherworldly performances rub against spliced sonic quilts. Scurrying bits of avant-classical weave in and out, bobbing between vocal undulations and interpretations of freeform rock and jazz.

This very much is for daring audiences, but regardless of preference, most listeners should agree that there is nothing quite like it.

Honorable mentions

Greg Burk: Many Worlds (482 Music)
Four Tet: There is Love in You (Domino)
Fredrik: Trilogi (The Kora)
Harvey Milk: s/t reissue (Hydra Head)
Yuka Honda: Heart Chamber Phantoms (Tzadik)
Joan of Arc presents: Don’t Mind Control compilation (Polyvinyl)
Sam Sadigursky: Words Project III: Miniatures (New Amsterdam)
Slow Six: Tomorrow Becomes You (Western Vinyl)
Univers Zero: Clivages (Cuneiform)

With more musical projects than fingers, Chicago guitarist Dave Miller has his hands fully immersed in jazz, rock, psychedelic, noise, and experimental forms.

His primary creation as a bandleader, Algernon, is one of his most accessible — jazz-flared, vibraphone-heavy post-rock that's rife with effects. His other groups draw further into the realms of freeform structures, though most don't hurt for hooks. (One such outfit, Zing!, was lauded here in advance of a local show last weekend.)

Online editor Scott Morrow caught up with Miller to discuss musical personalities, the connotations of the term "experimental," the next Algernon album, and his countless other endeavors.

Algernon is one of your most straightforward, melody-driven projects. Other than being a vehicle for your rock-flavored compositions, what do you hope to accomplish with Algernon?

One of my most important objectives in music has always been to connect with people. I try to walk the like between tradition and innovation as gracefully as possible.

So with Algernon, the project that reflects my musical personality most accurately, I try to write music that is accessible to people who are not musicians or music intellectuals without sacrificing the integrity of the music.

Like many of your outfits, Algernon is full of wild guitar effects. But how much of your experimentation — with pedals or otherwise — is reserved for Zing!, Blink., your other groups or your compositions for film and theater?

I was having a conversation about the musical term "experimental" with my good friend and musical cohort in Algernon, Toby Summerfield, recently. He made a really strong point that I agree with: a lot of times, the music that we write is called "experimental" because it may stretch the boundaries of what people may think of being conventional-sounding music.

Truth be told, "experimental" music writers will spend much time finding new and unusual ways of making music. However, the finished product is ideally no longer an experiment but a fully realized and valid musical idea.

With that being said, I am a curious musician by nature. So no matter what band I'm playing in or project that I'm working on, I try to continually find new ways of interpreting the music that lets my musical personality and influences shine through.

Your projects allow you to collaborate with other members of the jazz/rock/improv community. How does working in so many groups affect your own creativity?

I've found it to be somewhat overwhelming at times because, at any given moment, I tend to have a lot on my plate. Nevertheless, I'm never at a loss for being inspired, because I'm consistently playing great music with so many great musicians and having a blast doing so. I feel lucky to be a part of everything going on in Chicago scene right now!

What can we expect from the next Algernon release? What else are you working on?

The next Algernon album is all written. We have too many songs at this point, I think. We'll be recording in March at Steve Albini's studio, Electrical Audio, with our favorite enginer, Manny Sanchez.

This new album will be a little bit more rock-oriented and will have more experimentation with form. The album as a whole will go through a lot more musical moods than the last. I'm excited to get it done!

As far as other projects, the new Ted Sirota's Rebel Souls album will be out in March or April, the new WW Lowman album should be out by the summer, the new Mercury Effect (Tommy Faulds' solo project) album, which I contributed a good amount of guitar to, should be out soon, and new albums from the Kevin Kizer Quintet and the John Wojciechowski Quintet should be out soon as well.

I'm also in the beginning stages of planning out a solo record. I don't know really how to describe it yet, but it's different.

- Scott Morrow

Dave Miller: www.myspace.com/davemillermusic4
Algernon: www.algernonmusic.com

Blink. @ Uncommon Ground (Devon Ave.)

Based around forward-thinking compositions of bassist Jeff Greene, Blink. is a jazz-crossover four-piece that touches on rock as well as improvisation.

Each member is a shining figure in the future of Chicago's avant-jazz scene: Dave Miller (Algernon) provides noisy wanderings and distant moans on his guitar, sharply contrasting but strongly complementing the refined jazz chops of saxophonist Greg Ward (We Tree, Greg Ward Quartet). Drummer Quin Kirchner (NOMO, Tomorrow Music Orchestra) ably backs any given passage with beats that bounce, gently ting, or hit hard.

Greene also provides samples, which add another layer of sonic augmentation. Already together for two years, the group recently saw the release of its debut album, The Epidemic of Ideas, on alternative jazz label Thirsty Ear, so make sure to pick up a copy if you get to this free hour-long gig.

Blink.: www.myspace.com/blinkchicago
Thirsty Ear: www.thirstyear.com

Toby Summerfield, Matt Lux, Nick Broste, Jaimie Branch, Katie Wiegman, and John Herndon @ Hungry Brain

This week at the Hungry Brain, an assortment of regular Chicago avant-jazz and rock performers unite in a unique arrangement. Guitarists Toby Summerfield (Algernon) and Matt Lux (bass in Isotope 217) join brass performers Nick Broste (Herculaneum) and Jaimie Branch (Branch/Riordan Duo) as well as vibraphonist Katie Wiegman (Algernon) and drummer John Herndon (Tortoise).

The performers' groups span straight-ahead jazz, psychedelia, post-rock, free jazz, experimental and electronic music. It will be mighty interesting to see what this group, performing for two sets, has in store for the bar's patrons. If you're around and can stay up late on a Sunday, check this out.

Algernon @ Darkroom

Rooted in jazz-tinged post-rock, Chicago quintet Algernon plays Tortoise-style melodies in a psychedelic rock setup (plus vibraphone). Many of the group's members regularly perform in the city's experimental jazz scene, and a pair of them play on Sunday with — lo and behold — Tortoise's drummer, John Hernon (among other noted local musicians — see our post tomorrow morning about Sunday). In fact, Tortoise guitarist and jazz luminary Jeff Parker plays DJ sets at this show.

But that's not to say that Algernon is Tortoise Jr. The group creates original indie-psych soundscapes, led by songwriter/guitarist Dave Miller. If you're in Chicago, this show is a nice deal for just $7.

Shining (Norway)

Thursday, October 23

Pillars and Tongues, Remindring @ The Hideout

Somber vocal harmonies emanate from aptly named Pillars and Tongues, an experimental trio whose creations exhibit mystical influences. As Remindring, multi-talented bassist Josh Abrams (Town & Country, Nicole Mitchell's Black Earth Ensemble) lays out looped soundscapes with Emmett Kelly and Frank Rosaly.

Fucked Up @ Reggie's Rock Club

Punk-rock misdirection artists Fucked Up hit Chicago two weeks after the release of The Chemistry of Common Life, the group's follow-up full-length to Hidden World. This time around, Fucked Up's material moves through more variety of atmosphere than your standard punk/hardcore, with peaceful, otherworldly intros and layers and layers of guitar. There's less stop-start fury than Hidden World-more sheets of sound-so it will be interesting to see how this vigorous live act performs.

Coliseum starts North American and Japanese tour dates

Louisville hardcore staples Coliseum begin five weeks of performances today, hitting many cities in the USA as well as a few in Canada and Japan. The group doesn't hit Chicago until Nov. 15, but there's a good chance that it will be your city in the near future.

Friday, October 24

Ears & Eyes Festival @ The Hideout

With three outstanding weekend shows at The Hideout, independent jazz/avant-garde label Ears & Eyes Records celebrates its third annual Ears & Eyes Festival. The performances feature groups on the Ears & Eyes roster as well as other local standouts and friends of the label, and one such outside artist, Brooklyn's Parts & Labor, headlines this first night with a catchy mix of indie rock and electronics.

The six-artist, six-hour show also includes bass-and-drums rock duo Black Ladies and free-rock guitarist Tobin Summerfield, but the biggest highlight might be the collaboration between Sunfish Ensemble guitarist David Daniell and Tortoise cofounder/bassist Doug McCombs.

Voodoo Experience begins @ New Orleans' City Park

With a massive three-day lineup that can only really be explored at thetenthritual.com, New Orleans' Voodoo Experience celebrates its 10^th anniversary. If you're in the Big Easy on Friday, the fest's first day, be sure to catch DeVotchKa, Reverend Horton Heat, The Gutter Twins, Man Man, Extra Action Marching Band, and Andre Williams.

Shining (and other picks) at CMJ Music Marathon & Film Festival

There are hundreds of bands playing at the dozens of CMJ venues on Friday, the festival's second-to-last day, but we had to single out Norway's Shining at Cake Shop (and again at Knitting Factor on Saturday). The post-prog jazz-rock experimentalists return to New York, one of three cities on their first US tour earlier this year, and it might be a while before they return. If you're in NYC, do yourself a favor and check them out (and pick up Grindstone on Rune Grammofon).

The night's other highlights include sBACH, An Albatross, Akimbo, Phosphorescent, Sole and the Skyrider Band, and Broken Social Scene.

Keep reading…