Marnie Stern: "For Ash"

Give Marnie Stern some credit; she’s been asked the same questions about being a prominent female guitarist so many times it’s amazing she hasn’t flown off the handle. Yet the New York native, known for her furious finger-tapping guitar style, just shrugs it off with a coy smile. Stern’s shredding proficiency, however, cannot be overstated. Many will notice Stern’s giddy falsetto first, but it’s her mesmerizing finger taps that usually earn her the respect and attention of everything within an earshot. She doesn’t so much as play guitar as she does attack it, molesting the fret board with two hands like a zealous sculpture on an out-of-control pottery wheel or a Rubik's Cube expert frantically searching for the perfect combination of rotations.

As if she was unrelenting enough, Stern has employed Hella drummer Zach Hill on her last two studio albums, This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That in 2008, and Marnie Stern in 2010, both on Kill Rock Stars. Together, Hill’s thrashing and Stern’s shredding offer a brainwashing musical diet that’s virtually incomparable — thrash, shred, repeat. Recently, she took time before her two-month US tour to answer a few questions for ALARM.

What was the last thing you did where you felt like you failed, and what, if anything, did you learn from it?

I feel like I am constantly failing in so many areas of life, and that is the only thing that keeps pushing me forward to try and do better. I've never had things go smoothly, so I don't know what kind of person or artist I would be if that was the case.

What are some of your favorite and worst band names and song titles?

It starts to become funny when there's a period of time and there are a bunch of bands with the same word in their title. [Like] crystals and deer.

Do you try and use a powerful musical style as contrast to very raw and vulnerable emotions your songs convey? Is that juxtaposition something you are conscious of and intend for?

Yeah. I try to focus on the contrast. I think life constantly throws in these opposing forces. Good / bad. Strong / weak. And as much as I sometimes want to succumb to the negative, I am always fighting for the positive in my songs — and in life.

How did Zach Hill get to be so dang rad, and can we ever expect him to play some live shows?

Yeah, we talk about it all the time, but he is just so busy all the time, it's hard to organize it. He is amazing though, I agree!

What's not to love about shredding?

Guitar playing is really fun.

If you could go back in time and invent one thing what would it be?

I would go forward and invent teleporting or time travel.

Sleater-Kinney: when will they get back together, or when are you gonna jam with them ladies?

I would love to. They are role models of mine.

What's on the horizon for you? What's on your to-do list?

Touring, then more touring, then hopefully recording a new record!

You went to school for journalism; do you care to lament the fall of newspapers, or are you a "glass is half full" kind of gal?

It's depressing. The same as downloads and all the other shitty things that came along with the Internet.

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.

Download the podcast for This Week’s Best Albums: October 19, 2010 and subscribe to the free podcast via iTunes or another application.

Squarepusher presents Shobaleader One: d'Demonstrator (Warp)

Squarepusher presents Shobaleader One: "Megazine"

Bass/electronic guru Tom Jenkinson has covered astounding turf in his 15-year career as Squarepusher, fluctuating between fusion-filled drum-and-bass, jazzy IDM, classical-guitar pieces, pure dance tracks, and experimental electronica.  Depending on how you count certain releases, he's up to 14 full albums and more than 20 EPs (either under Squarepusher, his own name, or a different alias).

There isn't too much that he hasn't done with his bass, synthesizers, and drum sequencers, but d'Demonstrator is new territory — a new, funky "space band" project as Shobaleader One.  Jenkinson is responsible for the compositions, and the mysterious extra "players" don't play anything that he couldn't record on his own, so the band thing seems bogus.  It doesn't matter, though, because the first in a series of Shobaleader releases is enjoyable with or without the back story.

Most songs are rooted in synthesized vocals and pop hooks — a definite first for Squarepusher.  Though melodies abound in Jenkinson's back catalog, they've never been as streamlined.  Some older releases have been fully danceable, but again, never in the airy and almost strictly 4/4 manner of d'Demonstrator.

And though it's not an unadulterated riff bonanza as on albums past, the album has enough of Jenkinson's technical skills peeking from behind the grooves.  It's another new turn in a constantly twisting career — and one that makes for a slinky good time.

Zach Hill: Face Tat (Sargent House)

Zach Hill: "Memo to the Man"

In 2008, drumming dynamo Zach Hill took time from his impossibly crammed itinerary to release his first solo album, Astrological Straits.  Packed with friends and guest musicians, it showcased his pop side — albeit one with crazy beats, complex polyrhythms, and weird vocals.

Face Tat is the second in what should be a long line of solo releases, despite Hill's renewed activity in Hella and more releases with Marnie Stern, Bygones, and others on the way.  Though still intricate, noisy, and strange, it's a little easier to follow than its predecessor, with a few more parts being focused on a single melody, rhythm, or vocal line.

The vocals again are doubled, distorted, or half-spoken, but they're all Hill.  Plenty of other random parts come via guests, but like the debut, they might be rearranged or cut up by Hill to mesh however he sees fit.  This time around, those guests include Guillermo Scott Herren (a.k.a. Prefuse 73), Devendra Banhart, Nick Reinhart from Tera Melos, and various members of Hella, Deerhoof, and No Age.

If you missed it in ALARM 33, check out music editor Scott Morrow's interview with Zach Hill about Astrological Straits and its inspirations.

V/A: From the Land of Ice and Snow: The Songs of Led Zeppelin (Jealous Butcher)

Portland Cello Project: "Dazed and Confused"

There's no shortage of Led Zeppelin cover albums, but the newest — courtesy of Portland's Jealous Butcher Records — is both a community-focused project and an interesting mixture of restyled classics.

Over two discs (33 songs), From the Land of Ice and Snow features a cavalcade of Portland artists — mostly in the indie-rock and folk realms but also expanding into alt-country, chamber music, and a little noise rock.

Some of the bigger and more noticeable names include M. Ward, the Portland Cello Project, Kind of Like Spitting, and Tu Fawning.  But the lesser-known artists hold their own, and there are few duds.  The digital edition offers 18 more bonus tracks — enough for an entire third disc — and this is worth checking out for most Zeppelin fans.

Dustin Wong: Infinite Love / A Square Defining a Circle (Thrill Jockey)

Dustin Wong: "Brother (Talking Walking Cloud)"

For his debut full-length, guitarist Dustin Wong has delivered a rather peculiar package — two discs that each represent a sort of "what if?" take on the same album.

Infinite Love / A Square Defining a Circle is two variations on 40 minutes of melodic, multi-layered guitar instrumentals.  Each disc is approximately the same until its midpoint, when the two split for six or seven tracks until they rejoin with the same conclusion.

Using loop, delay, octave, and other effects pedals, Wong crafts slowly building pieces out of sounds that often no longer resemble a guitar. Many passages build upon one simple repetition until the whole piece is nearly unrecognizable from its start, turning into a pulsating swarm of riffs.  The combined presentation is an interesting concept, but the real appeal is Wong's melodic layering.

Martina Topley Bird: Some Place Strange (Ipecac)

Martina Topley Bird: "Sandpaper Kisses"

For more than 15 years, Martina Topley Bird has been one of the leading female voices of trip hop, lending her talents to Tricky and Massive Attack in addition to a host of other guest spots. She has released a pair of solo albums — one produced by Danger Mouse — before putting out Some Place Strange, a stripped-back recreation of older material.

There are a handful of new tracks here as well, but they all scale back the instrumentation to feature Topley Bird's voice in a new way. That instrumentation, in fact, is assorted, but there seldom is more than one or two parts to accompany the vocals. The album is sparse, and though existing fans may appreciate it more by contrasting it familiar old tracks, first-time listeners should enjoy it as well.

Honorable mentions

Brent Amaker and the Rodeo: Please Stand By (Spark & Shine)

Eskmo: s/t (Ninja Tune)

How to Dress Well: Love Remains (Lefse)

Gaucho: Pearl

Radio Citizen: Hope and Despair (Ubiquity)

Scott Amendola Trio: Lift (Sazi Music)

Soars: s/t (La Société Expéditionnaire)

Sailors with Wax Wings: s/t (Angel Oven)

Sailors with Wax Wings: "Yes, I Have a Thousand Tongues, and Nine and Ninety-Nine Lie"

Led by vocalist/producer R. Loren, Pyramids emerged in 2008 as a compelling new voice in atmospheric post-metal via its self-titled debut on Hydra Head.  A collaborative album with "shoegaze-metal" duo Nadja followed in 2009, and now R. Loren has debuted the first of two new solo projects — due in successive weeks — that each feature small armies of standout guests.

Sailors with Wax Wings is the first of the two, featuring members of Swans, Krallice, Nadja, and Current 93 as well as solo artists such as James Blackshaw and Marissa Nadler.  Though a few contributions seem larger than the rest — notably the guitar presence of Colin Marston (Krallice) and Aidan Baker (Nadja) — nearly all blend into the greater aesthetic.

When combined, the contributions create noisy, fuzzy post-rock/metal with cavernous drum hits and epic qualities, reflecting influence from bands such as Godspeed! You Black Emperor and Mono.  In addition to his "textures," Loren is responsible for droning, echoing vocals, most of which float in and out like another instrument.

The second new project, White Moth, has a few similar characteristics, but it's much more electronic and varies more from track to track, featuring a few digital-hardcore tracks, an improvised sax solo, and a guest rap.  Check back next week for more on that.

Marnie Stern: s/t (Kill Rock Stars)

Marnie Stern: "For Ash"

In 2007, Marnie Stern broke on the scene with a debut that marked her as one of rock's most shred-worthy female guitarists.  The album, In Advance of the Broken Arm, also drew in listeners with her quirky vocals and the wild beats of Hella drummer Zach Hill, who has recorded in Stern's band since.

Like In Advance of the Broken Arm and its successor (This Is It…), Marnie Stern is a dizzying mix of rapid-fire finger tapping, Stern's falsettos, and some of Hill's most straightforward (yet untamed) beats.

This junior release is a bit more direct, however, and a few more of the freewheeling high-string riffs are underpinned by single power chords.  This isn't a new dynamic, but it's emphasized more, and Stern doesn't follow those high notes with her vocals as often.

Frankly, the material on Marnie Stern could fit on any of her three releases, but each album has gotten a little closer to perfecting Stern's style.  This one is as good as any to be introduced to her.

Dark Dark Dark: Wild Go (Supply & Demand)

Dark Dark Dark: "Daydreaming"

The vocal- and piano-driven chamber folk of Dark Dark Dark deftly balances commanding harmonies and melancholy melodies. The sextet’s music is beautiful and potent, but each tune has the potential to break hearts. (Think of a musical place between the dense indie folk of Mirah and the haunting sounds of The Black Heart Procession.)

Wild Go, the band’s second full-length, is another stunner, expanding on the instrumentation and breadth of The Snow Magic, the group's debut LP.  Led by multi-instrumentalists/singers Nona Marie Invie and Marshall LaCount, Dark Dark Dark uses Wild Go to flesh out the direction of Bright Bright Bright, an EP that was released in March.

Invie's vocals are particularly powerful, but they couldn't achieve what they do without the group's backing vocals or its variety of sounds, including piano, upright bass, accordion, banjo, and guitar.  According to Invie, it's Dark Dark Dark's most personal and open material — but regardless, it's the band's best.

Shad: TSOL (Black Box / Decon)

Shad: "Yaa I Get It"

Born in Kenya of Rwandan parents, hip-hop artist Shadrach Kabango — better known as Shad — was raised in London, Ontario, where he has attained quite a deal of success on the Canadian charts.  (His second album, The Old Prince, was nominated for Juno Award and a Polaris Music Prize, and TSOL — originally released in May — got as high as 24th on the Canadian Albums Chart.)

TSOL, now available in the USA, is Shad's third full-length album.  His vocal style exudes a bit of a Kanye West vibe, but his delivery and rhyme scheme also are reminiscent of P.O.S — who put out one of the best hip-hop albums of 2009.

Many of Shad's rhymes are lighthearted and reference anything from Kindergarten Cop to lychee bubble tea, but occasionally he references serious topics such as the Rwandan genocide and Obama haters.  And though one of his tracks falls victim to "I'm a great rapper" syndrome — the single "Yaa I Get It" — it's also one of TSOL's hardest-hitting and best tracks.

Many songs lean heavily on soul samples — particularly the first non-intro track, "Rose Garden," Shad's remix of / take on the Lynn Anderson song of the same name.  Cuts of soulful strings and horns are all over TSOL, partnering with a few scratches, electronics, and solid if unspectacular beats for Shad's rap verses and some sung/synthesized vocal choruses.

TSOL has similarities with some of the better radio rappers of the USA — Common, Mos Def, Talib Kweli — but Shad goes toe to toe and delivers another album with some indie appeal.

Honorable Mentions

Clinic: Bubblegum (Domino)

Alain Johannes: Spark (Ipecac)

Mark McGuire: Living with Yourself (Editions Mego)

Mary Halvorson Quintet: Saturn Sings (Firehouse 12)

MiM0SA: Silver Lining (Muti Music)

Soars: s/t (La Société Expéditionnaire)

Tricky: Mixed Race (Domino)

Tom Zé: Estudando a Bossa (Luaka Bop)

This year's five-day festival includes performances by Swans, Marnie Stern, Gotan Project, Holy Fuck, Municipal Waste, Menomena, Liars, Arrington de Dionysio's Malaikat dan Singa, The Budos Band, Portico Quartet, Xiu Xiu, Buke & Gass, Mount Kimbie, Immolation, and many more.

Enter below for a chance to win two tickets to see Xiu Xiu (Saturday), Timber Timbre (Friday), or Bear in Heaven (Thursday).  Each set of tickets comes with two Pop Hopper wristbands, granting access to any show from the same day, depending on capacity.

By entering your information, you’ll also be signed up to receive ALARM’s biweekly E-mail newsletter, The ALARMIST.

Update: Contest has ended.

Also, take a listen to a cut of the forthcoming album, which features contributions from Zach Hill (Hella) and Matthew Flegel (Women), by listening to the song "For Ash" below.

Marnie Stern: "For Ash"

1. Mick Barr

"I always say Mick, and he will always be my favorite. The only way I can describe his playing is to say that your jaw will drop for the entire time you witness his terrific playing style. He has influenced me tremendously."

2. Neil Hagerty

"Amazing lines in both Royal Trux and on his solo records. He plays really fluidly, and his style matches his vocals and the overall vibe of his work."

3. Bruce Springsteen

"Not flashy, but he uses his guitar parts carefully to craft the best songs possible."

4. Richard Lloyd of Television

"Who hasn't been inspired by his guitar parts? They are subtle, but every line builds a pyramid to the top of each song. Marquee Moon can't be beaten."

5. Chris Reimer of Women

"He's understated but a really great guitarist. He adds touches and flourishes to their material and separately puts together ambient music that is detailed and absolutely gorgeous."

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…

Grails: Doomsdayer's Holiday (Temporary Residence Limited)

Fusing Indian music, 1970s film noir, and psychedelic sounds into heavy acoustic and electric rock, Portland's Grails are a wonderful anomaly. Doomsdayer's Holiday, as its name implies, cranks the group's heaviness beyond recent levels without losing its haunting, compelling melodies.

Grails: \"Reincarnation Blues\"

Earthless: Live At Roadburn (Tee Pee)
At the 2008 edition of the annual Roadburn Festival in Holland (spring break for anyone into heavy underground rock), San Diego psych-rock trio Earthless gave an impromptu headlining performance for 2,000 fans, having originally been scheduled at a venue one-tenth the size. Not only did its hypnotic, four-song, hour-and-a-half set blow away the crowd, but on recording it beautifully captures the energy and magnitude of the stellar live show.

Young Widows: Old Wounds (Temporary Residence Limited)

Old Wounds is the second album from Louisville rockers Young Widows since transforming from Breather Resist. Sporting an extra dose of heaviness, the disc opens with "Took a Turn," slowly building around a gritty, garage-floor bass riff before bursting with post-rock drums, multi-layered guitars, and reverberated shouts.

Throughout, the album changes tone and time at will like a lumbering, newly un-caged beast, while a primordial jungle pulse beats itself into a frenzy just below the crust.

Young Widows: \"Old Skin\"

Jolie Holland: The Living and The Dead (Anti-)
On her third solo album, Texas-born songstress Jolie Holland blends a variety of regional American folk styles. Topped with creamy vocals and bittersweet lyrics, tracks such as dark-toned "Fox In Its Hole" and wistful "Love Henry" make a long-lasting impression.

Jolie Holland: "Old Fashion Morphine"

Fucked Up: The Chemistry of Common Life (Matador)

The newest full-length from punk contrarians Fucked Up moves through more variety of atmosphere than standard punk/hardcore, with peaceful, otherworldly intros and layers and layers of guitar-more than seventy guitar tracks at one point (or so they say…).

There's less stop-start fury than 2006 release Hidden World-more sheets of sound. "Golden Seal" sounds like a darker Sigur Rós, or even Jean Michel Jarre.

Fucked Up: \"No Epiphany\"

Marnie Stern: This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That (Kill Rock Stars)

Backed again by untamed drumming beast Zach Hill, guitarist/singer Marnie Stern issues her sophomore effort with more frantic, high-pitched fret work, quirky vocals, and – through the carefully constructed din – catchy melodies.

Marnie Stern: \"Transformer\"

Hauschka: Ferndorf (FatCat)

German pianist and composer Volker Bertelmann, here known as Hauschka, uses a decade of classical studies as his musical foundation. With that, home-rigged piano effects, and additional acoustic and electric instruments, he combines structural influences of electronica and classical minimalism to create a beautiful minor-key oeuvre.

Hauschka: \"No Wind Today\"

East Coast Avengers: Prison Planet (Brick)

Featuring the outspoken sociopolitical lyrics of rappers Trademarc and Esoteric, East Coast Avengers are more than just skilled rhymers that take aim at rightwing water carriers. The group pastes stirring Romantic violin melodies and portentous soundtrack clips over head-nodding beats, setting an appropriate mood for its imperative lyrical content.

ECA has already taken plenty of heat in the corporate media for releasing the track "Kill Bill O'Reilly," so let's give the group some love.

East Coast Avengers: \"Kill Bill O\'Reilly\"

Desalvo: Mood Poisoner (Rock Action)

Released on Mogwai's Rock Action label, Mood Poisoner may just have influenced the heavy grooves on its label owners' recent record. Based in Glasgow, Desalvo sound as though the Jesus Lizard were a modern hardcore/metal band.

Sun Ra and His Solar Arkestra: Secrets Of The Sun (Atavistic)

A re-mastered and long-lost relic of the Sun Ra vault, Secrets of the Sun is now available from Atavistic 46 years after its release on Saturn Records. And if being available for the first time on CD isn't enough, how does a 17-minute unreleased track sound?