Sigur Rós: Inní double live album and film (XL Recordings)

Sigur Rós: "Festival"

Sigur Rós is a top Icelandic export, just behind Björk and haddock. For 15 years, the ambient post-rock quartet has slowly collected millions of fans, and today those fans can acquire the latest addition to the band’s repertoire. Inní is a three-disc recording of a 2008 performance at Alexandra Palace in London. Available in all the formats we’ve come to expect, Inní comes digitally, in CD/DVD format, on three clear vinyl LPs, or in a “deluxe” edition that offers artifacts from the show, a short film, photographs, and other swag.

Unique to this release is the focus on the band’s live performance. Sigur Rós’ music, more than some, has been used as a means, whether for meditation or for marketing. But here we’re left to ponder what we’ve come to associate, through the band's Heima documentary, with Iceland’s lunar landscapes, wrecked infrastructure, and sweater-clad villagers; through the Ba Ba Ti Ki Di Do EP, with the surreal contours of the human form; or through the Sigur Rós-laden Abre los Ojos remake, with the personal pulp of Cameron Crowe. With Inní, everything is stripped away. We’re reminded that these are songs, immaculately arranged and hammered out on a stage in London by four festooned gentlemen.

Director Vincent Morisset’s film style is in stark contrast to Heima. The black-and-white video has the grain of 1960s documentaries, and the jerky dance of the handhelds is hypnotic. It seems to place the band in the past and up on a pedestal. Amid past rumors of the group’s cessation, Inní seems definitive in a very final sense. But with the news of a new "introverted" LP planned for spring of 2012, it is perhaps simply the close of the band’s sprawling first few chapters.

- Text by Timothy S. Aames.

Coliseum: Parasites EP (Temporary Residence)

Coliseum: "Waiting (Too Late)"

With its 2010 album, House With a Curse, hardcore-punk trio Coliseum moved from Relapse to Temporary Residence and slightly — only slightly, mind you — loosened its grip on listeners' throats. Its sound remained dirty, gruff, and gnarled, but a shift toward moderate tempos (plus a few post-hardcore accoutrements) signaled a more deliberate (if not kinder or gentler) Coliseum.

Now guitarist / vocalist / visual artist Ryan Patterson and crew return with Parasites, an eight-song addendum to House With a Curse. Primarily recorded during the same sessions, Parasites is another itsy-bitsy step toward the "post-" end of the hardcore/punk spectrum. The songs remain fundamentally Coliseum, but they're subtly accented — whether from a barely audible female harmony on "The Fiery Eye" or a glistening, metallic guitar distortion on "Ghost of God."

Of course, there's still tracks like "The Big Baby," which is 1:43 of overdriven punk fury that draws shades of Amphetamine Reptile-era Helmet. And even though that song is almost secretly supplemented with sleigh bells and timpani by Burning Airlines front-man and producer extraordinaire J. Robbins, don't be fooled: Coliseum still goes for the jugular.

- Text by Scott Morrow.

Steve Hauschildt: Tragedy & Geometry (Kranky)

Steve Hauschildt: "Batteries May Drain"

- Text by Lauren Zens.

Tycho: Dive (Ghostly International)

Tycho: "Hours"

- Text by Lauren Zens.

Honorable Mentions

Blackout Beach: Fuck Death (Dead Oceans)

Los Campesinos!: Hello Sadness (Arts & Crafts)

The Dø: Both Ways Open Jaws (Six Degrees)

Esoteric: Paragon of Dissoance (Season of Mist)

Goldmund: All Will Prosper (Western Vinyl)

Mary Halvorson & Jessica Pavone: Departure of Reason (Thirsty Ear)

Odonis Odonis: Hollandaze (FatCat)

Pterodactyl: Spills Out (Jagjaguwar)

Nathan Salsburg: Affirmed (No Quarter)

Young Widows

Young Widows: "Future Heart"

Though not a strict departure from previous material, the new album by post-hardcore outfit Young Widows displays a different phase of the band's career. Calling it a “progression” might apply regressive traits to its first two albums, but In and Out of Youth and Lightness turns down the Cro-Magnon wallop and continues the band’s history of accomplished noise rock.

Its last album, Old Wounds, was a mostly live recording by Kurt Ballou (Converge, Coliseum, Pygmy Lush). In contrast, the new album was produced by the band and Kevin Ratterman (My Morning Jacket) at The Funeral Home in its hometown of Louisville, Kentucky. Guitarist and vocalist Evan Patterson joined us to answer a few questions about the band's songwriting process and what bands people should check out.

How do you describe your music?

I don’t, but if you were a clerk at a gas station, I would tell you that we are a rock band. That’s as far as I can go.

On the new album, there's a bit of a weird blues influence — less Jesus Lizard pummel and more of a Liars atmospheric vibe. What did you want to do new or different? What did you want to keep the same?

Music has to progress. There are no specific influences. The goal with this album was to find my voice, and that was wholeheartedly achieved. Lyrically, [they're] the heaviest and most affective songs that I’ve created. Old blues has that same effect on me. It speaks to me. The bridge between modern rock music and blues is a short one, and it’s inevitable that those characteristics will be riding in the same vehicle to achieve certain goals.

How do you write songs? Are songs brought in by individuals, or are they worked out through collective rehearsals?

Most the songs are created through one part — whether it being drums, bass, or guitar — [and] we jam the ideas until the song comes together. It can be a single rehearsal or 30 rehearsals, but the mood of the song is the deciding factor of if we are going to keep a song around to document or ditch it.

Based on the live recording, the songs on Old Wounds must have been fully worked out before they were captured. Did you do more writing “in the studio” with In and Out?

We don’t write any music in the studio. Maybe a minor change, but the songs are as close to complete as possible when entering the studio. Lyrically, the songs changed quite a bit in the studio. Our excessive stage volume doesn’t lend itself to being able to audibly hear the final outcome.

How would you compare the state of the band during your most recent recording compared to the past?

Open and focused.

What other current bands should we paying more attention to?

My Disco, Phantom Family Halo, Flying Horseman, Helms Alee, Cave, Kings Daughters and Sons, Bill Callahan, Mick Harvey. On that note, someone needs to do a piece on Crime and the City Solution.

Stay Gold is the latest new beginning for Jacob Fred Jazz Odyssey, a melodic jazz-fusion group that has logged more than 15 years under its moniker.

This disc, however, may mark its biggest change — which says a lot, because the group morphed from an octet to a trio early last decade (and to a quartet in 2008).

Founding member Reed Mathis and JFJO mutually parted ways early last year, coinciding with the free release of Winterwood, a masterful affair that was Mathis' final contribution. Taking his place is guitarist and lap-steel player Chris Combs, whose addition is the most noticeable different between Winterwood and Stay Gold.

Though Mathis' multi-instrumental abilities are missed, the soaring melodies of keyboardist Brian Haas remain front and center, with the rest of the band offering eloquent accompaniment and robust grooves and beats. Stay Gold is another compelling chapter in the storied history of JFJO.

Jacob Fred Jazz Odyssey: "Stay Gold"
Jacob Fred Jazz Odyssey: \"Stay Gold\"

David Karsten Daniels & Fight the Big Bull: I Mean to Live Here Still (FatCat)

Already championed by NPR, the pairing of neofolk songwriter David Karsten Daniels and big-band experimentalists Fight the Big Bull is a unique crossroads between two beloved genres.

Daniels, who lives in San Francisco, holds impressive vocal and instrumental chops, displaying a choir-tested voice and a music-composition pedigree. Fight the Big Bull, based in Richmond, Virginia, is every bit as talented, relying on a brass-heavy and woodwind-infused front-line to morph between any given sub-genre of jazz.

For this project, Daniels adapted poems from Henry David Thoreau to use in his sweeping style. Fight the Big Bull's work is crucial but unobtrusive, weaving flourishes and accents in and out without feeling forced.

Behind the creative lead of guitarist/composer Matt White, that natural accompaniment reflects a band coming into its own and growing more and more comfortable with others. The nonet is coming off a release with Sex Mob slide trumpeter Steven Bernstein, and this fall finds the group joining forces with Megafaun and Bon Iver as well as Karl Blau.

Guessing what each half of this collaboration has coming next should be as fun as actually hearing it.

David Karsten Daniels & Fight the Big Bull: "All Things are Current Found"
David Karsten Daniels & Fight the Big Bull: \"All Things are Current Found\"

Coliseum: House with a Curse (Temporary Residence)

The move of hardcore trio Coliseum from Relapse to Temporary Residence has come with a shift to minimalist hard-rock punishers.

A minute-long string intro notes that this is a "gentler" Coliseum, even if its sounds barely reappear. Ryan Patterson's gruff vocals and gnarled guitar still drive the band, but mid-tempo is the de-facto speed as push beats are nowhere to be found.

Tracks such as "Perimeter Man" hold similarities to Young Widows, a Temporary Residence labelmate that is led by Ryan's brother Evan Patterson, and tunes like "Isela Vega" vocally channel a bit of Nick Cave. Ultimately, however, the band's sound isn't fundamentally different, and fans should enjoy House with a Curse all the same.

Coliseum: "Blind in One Eye"
Coliseum: \"Blind in One Eye\"

Wovenhand: The Threshingfloor (Sounds Familyre)

Begun as a side project to 16 Horsepower, Wovenhand is now the primary endeavor of guitarist/singer David Eugene Edwards.

Focused on faith and a powerful folk aesthetic, Wovenhand has evolved into a full band, one that incorporates as many varied sounds (or more) as 16 Horsepower. In place of the latter's bluegrass, Appalachian folk, and forceful rock moments, however, are haunting chants, Native American influences, Middle Eastern motifs, and Medieval folk.

Agnostic or atheistic listeners may grow tired of Edwards' lyrical themes, and they can be a bit much at times. But the lyrics are personal and spiritual without being heavy handed, and they fit a style that channels otherworldly energy.

Wovenhand: "Sinking Hands"
Wovenhand: \"Sinking Hands\"

Honorable Mentions

Baths: Cerulean (Anticon)

Dave Douglas & Keystone: Spark of Being (Greenleaf)

David Weiss & Point of Departure Quintet: Snuck In (Sunnyside)

Diskjokke: En Fin Tid (Smalltown Supersound)

Fol Chen: Part II: The New December (Asthmatic Kitty)

Health: Disco2 (Lovepump United)

Super Chron Flight Bros.: Cape Verde (Backwoodz Studioz)

The Bad Plus: For All I Care (Heads Up International)
With a penchant for reworked rock songs, this hard-hitting jazz trio issues a new album full of covers. Three of the disc's tunes are classical pieces; the rest are rock/pop and include vocals, a first for the group.

Powersolo: Bloodskinbones (Crunchy Frog)
A pair of oddball Danish brothers, dubbing themselves "the Railthin Brothers," create eclectic, off-the-wall rock creations as Powersolo. This full-length follows their recent X-mas single Beam Mig Op, Jesus.

Zu: Carboniferous (Ipecac)
This experimental Italian trio combines sludgy alt-metal with complex rhythms and free-jazz freakouts. If it's possible, Carboniferous presents the group's accessible side for one of the winter's better albums.

March

Kylesa: untitled (Prosthetic)
With a new disc for Prosthetic Records, Georgian stoner-metal squad Kylesa issues its first full-length since Time Will Fuse its Worth from 2006.

Dan Deacon: Bromst (Carpark)
Electro-spazz solo artist emphasizes live instrumentation for this anticipated follow-up.

Jerseyband: untitled (self-released)
It's a downright travesty that this East Coast septet is unsigned. Horns + math metal = 100% awesome.

Spring

Mastodon: Crack the Skye (Warner Bros.)
Even when Mastodon issues a dud, it's better than 95% of all metal albums. Here's hoping that it's a return to the form of Remission.

Summer

Mondo Cane: untitled (Ipecac)
Mike Patton's orchestral Italian pop covers. Enough said.

TBD

Coalesce: untitled (Relapse? Hydra Head?)
This previously defunct hardcore outfit doles out crushing grooves, mathy rhythms, and the trademark tracheal attack of vocalist Sean Ingram. Following the outstanding Salt and Passage 7" from late 2007, the group unveils a proper follow-up to 0:12 Revolution in Just Listening from 1999.

Coliseum: untitled (Relapse)
These Louisville hardcore/metal staples Coliseum continue life as a three-piece with their sophomore effort for Relapse.

Converge and Supermachiner: untitled (Epitaph / Deathwish Inc.)
This isn't a joint release, but they're worth mentioning together as Supermachiner is a semi-ambient side project from Converge vocalist Jacob Bannon and guitarist Kurt Ballou.

Crudo: untitled (Ipecac?)
Mike Patton and Dan the Automator, who were the heart of the Lovage album released in 2001, unite as Crudo for what should be one of the better hip-hop efforts of 2009.

Fantômas: untitled (Ipecac)
The brainchild of Mike Patton, Fantômas resurfaces after a four-year hiatus with another unpredictable release. The music could be anywhere between incongruous genre spasms and ambient dirges, but Rock-a-Rolla magazine says that it might be an electronic record.

Garage a Trois: untitled (Telarc)
Beautiful groove rock from vibraphonist/percussionist Mike Dillon, drummer Stanton Moore, saxophonist Skerik, and keyboardist Marco Benevento.

Isis: untitled (Ipecac)
These purveyors of epic, accessible heaviness have gotten progressively more melodic. Whatever this new album sounds like, it should take another step forward while remaining heavy as hell.

Medeski, Martin & Wood: Radiolarians 2 & 3 (Indirecto)
The famed jazz/jam trio continues its experiment of meeting for brief writing sessions, testing out that new material (and only the new material) on the road, recording the material, and then repeating the process.

Secret Chiefs 3: Book of Souls (Mimicry)
The long-awaited follow-up of Book of Horizons from this incomparable Indian/surf/metal ensemble. It has to happen this year…right?

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.

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