Tillman’s 7^th full-length record, Singing Ax, was recorded in three days in February of this year. On the album, simplistic and contemplative, third-person narratives float over acoustic guitar mainly without accompaniment, with the exception of a few tracks including mellotron and drum machine.

J.Tillman: "Three Sisters"

J. Tillman: \"Three Sisters\"

J. Tillman's tour w/ Phosphorescent
Jul 27 – Troubadour – Los Angeles, CA
Jul 28 – Bottom of the Hill – San Francisco, CA
Jul 30 – Doug Fir Lounge – Portland, OR
Jul 31 – The Crocodile – Seattle, WA
Aug 3 – Cedar Cultural Centre – Minneapolis, MN
Aug 4 – Mad Planet – Milwaukee, WI
Aug 5 – Empty Bottle – Chicago, IL
Aug 6 – Radio Radio – Indianapolis, IN
Aug 7 – Grog Shop – Cleveland Heights, OH
Aug 9 – Black Cat – Washington DC
Aug 10 – Sonar – Baltimore, MD
Aug 14 – Club Hell – Providence, RI
Aug 15 – Middle East Downstairs – Cambridge, MA

Can we call a whirlwind elephantine? No? Well, SXSW was huge, it was bewildering, and it went by fast, and I'm not absolutely sure here, but I think it liked peanuts.

Trying to get a handle on the whole thing from one solitary sleep-deprived person's perspective brings up the proverbial blind men with the elephant. Alarm, of course, was holding an ear.

The weather gods, at least, seem to like the idea of SXSW; after a week of cold rain, the sun shone down on four days of festivities, sending the New Yorkers and Chicagoans home clutching real estate brochures in sunburnt hands. One local band wisely counseled the tourists to make a second recon in August before signing anything.

The most striking thing about SXSW this year was how much it seemed to be leaking: there are entire well-stocked auxiliary festivals happening out of bounds. Free day shows, unofficial showcases, renegade music in every little pocket of Austin.

Even a healthy number of the official happenings were wide open to the non-braceleted, un-badged masses. Without pay and with very little hassle, you could catch the Circle Jerks, M. Ward, Alejandro Escovedo, Explosions in the Sky, Cursive, Monotonix, Billy Joe Shaver, etc. etc.

Anyone with the entire festival thrown open to them was liable to end up a gibbering, indecisive wreck, wandering up and down 6^th street with a schedule the approximate size and weight of the NYC phone book. Without the use of powerful computers, it was impossible to consider all of your options at any given time.

Luckily, we have powerful computers: the geeked-up site Sched.org would help you filter through 2,742 offical Music Events, as well as 2,427 unofficial, 488 panels, and 200 parties, to make a personalized plan, one that you would scrap as soon as your evening began. (Still this didn't include events happening at SXSanJose, at the hipster hotel paradise in south Austin, where about forty acts played over the course of the festival.)

As usual, some big names showed up; PJ Harvey played Stubb's (as part of a awkward lineup: Harvey, then the Indigo Girls, then Third Eye Blind; a evening designed to appeal to the massive demographic of frat-boy punk hipster lesbians), the Decemberists enjoyed another press coronation, the New York Dolls were around, (though making a smaller splash than expected), Perry Farrell, Devo, Kanye West, etc., etc., etc., all distracting to various degrees from the stated purpose of SXSW, namely, to provide a platform for the up and comers.

And there were lines: one of my major tactical errors occurred on night one, when I waited in line with some astonishingly pretty people to see the Harlem Shakes; their buzz ensured that they could be named the Stark Naked Emperors and we'd all try to enjoy them anyway. I couldn't do it.

Phosphorescent's show at De Ville was another thing altogether: no line, but a deliriously happy crowd, loving the raucous, party-in-church treatment of Willie Nelson covers from their recent tribute To Willie. "Well, goddamn it, Austin,"

Phosphorescent/lead singer Matt Houck said, as close to beaming as the man can come, "they're cutting us off." It was true: he clearly would have stayed for hours, but he had to close right then, with a feverish version of "The Party's Over". "Turn out the lights/the party's over/and tomorrow we'll start the whole thing over again," he sang, calling to mind Kurt Cobain wailing through "In the Pines". It was too early to peak, but my SXSW didn't get any better than that.

Although: Danish band Efterklang proved that sometimes buzz is justified, Rafter proved that he has yet to translate that enormous live talent to record, Mojo Nixon still brings a white trash party, The Gourds continue to be Austin's best band who elsewhere hide beneath the shadow of their novelty cover ("Gin and Juice"), Ty Segall did something undefinable but wonderful to garage punk, Zoroaster's drummer is a god with a tattooed neck, M. Ward is still better than you think (even after you've heard eight million times how good he is), and Peelander-Z are as weird as they pretend to be.

And The Delta Spirit's song "People C'mon" will soon be as unavoidable as Snow Patrol's "Run", and Deer Tick may be thinking he is Paul Westerberg, but he'll find out those times are past.

Questions we're left with: do bands still get signed from this? Has SXSW become the music equivalent of Sundance, a basically false indie parade, with buzz predetermined by dollars and star power? (Well: no. But isn't it fun to ask?)

Why are bands slotted to play twelve times? How could Homeslice Pizza run out of pizza? Can we avoid saying "in this economy"? Apparently not.

Lesson for next year: make no attempt at understanding the elephant. Grip the ear and hang on.

1. Subtle: "Nomanisisland" (For Hero: For Fool)

One of the melodically and structurally odd songs from this album, "Nomanisisland" isn't a great starting point for Subtle's idiosyncratic indie hip hop, but it's a great mid-album respite on the group's best album.

2. An Albatross: "Cosmic Gypsy" (Blessphemy [of the Peace-Beast Feastgiver and the Bear Warp Kumite])

Here we have 1:19 of organ-fueled shredding.  An Albatross' newest album, The An Albatross Family Album, is more epic and twists many different ways, but this song's album takes no prisoners with its unadulterated force.

3. Phosphorescent: "Wolves" (Pride)

As the third track on Pride, Phosphorescent's beautiful and minimalist 2007 folk album, "Wolves" has prime sonic real estate.  Though we're not major folk fans, Pride is so pretty that it made ALARM's Top Ten Albums of 2007.

4. Tomahawk: "Sun Dance" (Anonymous)

Wow…another entry from ALARM's Top Ten Albums of 2007.  This song's album, Anonymous, was a spectacular homage to Native American material that was re-imagined by the lineup of Mike Patton, Duane Denison, and John Stanier.  "Sun Dance" is one of the most rock-driven numbers on the album.

5. Genghis Tron: "I Won't Come Back Alive" (Board Up the House)

From melodic new wave to crushing metal breakdowns, "I Won't Come Back Alive" is a great track to experience this trio's musical dichotomy.  The song's album, Board Up the House, is an extremely unique album and one of the best of 2008.

6. Luis Bacalov: "Suspense" (The Italian Western of Luis Bacalov)

First, this piece from the soundtrack of 1972 spaghetti Western film Si Può Fare…Amigo revisits the main melody of "Can Be Done," a preceding piece that features vocalist Rocky Roberts.

Shortly, however, the tune shifts to an upbeat theme that recalls the circus or a cheery old-time saloon.  "Suspense" then fittingly moves to a dramatic string passage before the main melody is revisited once more.

7. Amon Tobin: "Marine Machines" (Supermodified)

The deep sea beckons on "Marine Machines" with countless samples, including dark brass accents and creature-like gurgles.  This song's album, Supermodified, is the best album from this big-beat DJ.

8. Femi Kuti: "Wonder Wonder" (self-titled)

As group vocals join Femi in the song's pensive but sunny chorus, the opening track from his 1995 self-titled album brings a great live feeling to a studio recording.  Following in his idolized father's footsteps, Femi uses his funky Afrobeat to raise political awareness.  Here he asks, "Will Africa ever unite?"

9. Secret Chiefs 3: "Hypostasis of the Archons" (Book of Horizons)

Entirely composed by multi-instrumentalist Trey Spruance, the creations of Secret Chiefs 3 span an incredible range of beautiful, cinematic, and heavy sounds, often working with Indian, surf, and spaghetti Western styles.

This track, however, showcases another of Spruance's loves: rapid-fire, end-of-the-world death metal.  Otherworldly screams, demonic vocals, and quick-twitching strings join to make this unlike anything on the album other than "Exterminating Angel."

10. Matt Ulery: "Would You Remember my Song?" (Themes and Scenes)

The 1:48 closer to this great chamber-score album uses harmonium, toy piano, and whistling to create a quirky, merry romp.  A one-time refrain from the composer gives an Old World feel to the album's final seconds.

(To hear one of his creations, check out my Q&A with Matt Ulery.)

- Scott Morrow

The Jesus Lizard

With its first performances since 1999, pummeling mid-tempo rock icons The Jesus Lizard will briefly reunite to play at the All Tomorrow's Parties festival in Minehead, UK in May of 2009. The group's original lineup will be present and play a short series of additional dates that culminates in Chicago next November.

Idiosyncratic rapper Busdriver performs live with a jazz-crossover band called Kneebody tonight in Los Angeles. Pigeon John also performs and tickets are only $10, so don't miss it!

Instrumental violin-centered trio Dirty Three will perform its beautiful fan-favorite album Ocean Songs at All Tomorrow's Parties in New York in 2009.

Comprised of vocalist J. Bannon (Converge), Dwid Hellion (Integrity), and Stephen Kasner (Blood Fountains), Irons is billed as an artistic, nonlinear expression of melancholy through electronics, guitars, and vocals. The trio has announced the impending release of a split 12" with Pulling Teeth.

Minimalist folk group Phosphorescent has recorded a full-length covers collection of Willie Nelson tunes titled To Willie. The group will tour this winter and spring.

One-man grind project Toxic Holocaust will assemble in band form for January tour dates with 3 Inches of Blood and Early Man. Currently, Toxic Holocaust is touring with GWAR.

Andrew Bird's deluxe edition of Noble Beast, due out on January 20, is available to pre-order through Fat Possum Records. The deluxe edition includes a second disc, Useless Creatures, that includes new instrumental works.

Rhymesayers has posted the video for "The Truth," the single from Jake One's great new album, White Van Music, that features Freeway and Brother Ali.

Beginning today, you can download the Christmas single "Beam Mig Op, Jesus" by Danish rockabilly weirdos Powersolo via iTunes or Clicktrack.

Groove trio Jacob Fred Jazz Odyssey is playing a New Year's Eve show in Tulsa in which the featured performers play the tunes of Prince, Lionel Richie, and Michael Jackson. Get down.

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…

Bad Brains: Build a Nation

With the Beastie Boys’ Adam Yauch on board as producer, these DC hardcore legends returned to the studio, for the first time in over a decade, to recapture their successful punk and reggae blend.

Reminiscent of their seminal early ‘80s records, Build A Nation opens with “Give Thanks and Praises,” which moves back and forth between head-banging and frantic hardcore riffs. “Jah People Make the World Go Round” keeps true to the original hardcore format (which they helped create) with fast verses — made more intimidating with Yauch’s bass-line production — and breakdown choruses. Several relaxed reggae tracks give the album a unique pacing.
Megaforce: www.megaforcerecords.com

Big Business: Here Come the Waterworks

After completing (A) Senile Animal with their other band, the Melvins, and finishing an exhaustive touring schedule including double sets every night, this Los Angeles duo released one of the year’s earliest masterpieces.

Taking cues from Queen, singer/bassist Jared Warren and drummer Coady Willis created a hard-rock epic. The journey begins with the tremendous “Just as the Day Was Dawning,” ends with the sludgey instrumental “Another Beautiful Day in the Pacific Northwest,” and pummels listeners with swampy, energetic bass riffs and explosive drum beats every step of the way.

Produced by Phil Ek (Band of Horses, Built to Spill), Here Come the Waterworks is a heavy hitter.
Hydra Head: www.hydrahead.com

Brother Ali: The Undisputed Truth

A powerfully crafted album, The Undisputed Truth is the year’s best hip-hop release. There were other solid efforts (I’ll Sleep When You’re Dead by El-P) and a plethora of great singles, but The Undisputed Truth deals with, in great balance, the three elements of angst-fueled music: righteous and rebellious lyrics, the inducement of fist pumping, hand throwing, and head banging, and enormous egos that carefully bob from insecure to forcefully inflated.

The album opens with a thumping beat on “Watcha Got,” and the opening lyrics “I came in the door, 1984” are likely to become this generation’s “bring the motherfucking ruckus” as rapped on Wu-Tang Clan’s “Bring Da Ruckus.”
Rhymesayers: www.rhymesayers.com

Exploding Star Orchestra: We Are All from Somewhere Else

The inaugural Exploding Star Orchestra album is the brainchild of Rob Mazurek, a tireless composer/cornetist/collaborator and the man behind Thrill Jockey’s Chicago Underground collective. With a stellar ensemble, his work on We Are All from Somewhere Else is a dense, serpentine concoction of cross-metered jazz.

Looping rhythms, typically played by upright bass, vibraphone, and brass or woodwind instruments, set the foundation for runs and improvisations by Mazurek and the other players on trombone, saxophone, flute, clarinet, and piano. At times, the album is evocative of composer Leonard Bernstein’s work. Its compounded melodies and droning roots make We Are All from Somewhere Else one of the year’s finest albums.
Thrill Jockey: www.thrilljockey.com

Grinderman: s/t

A side project for Nick Cave and Bad Seeds members Warren Ellis, Martyn Casey, and Jim Sclavunos found the foursome embracing rock ’n’ roll at its rawest, resulting in an album akin to The Stooges or Cave’s The Birthday Party without being merely a revival act.

Whether crooning or screaming, even at age fifty, the sound of Cave’s voice is enough to inspire listeners to do naughty things with the one they love, or at least the one they lust. The snarling “No Pussy Blues,” with Ellis’ wild psychedelic guitar fills, is infectious and unforgettable.

Fun and intelligent rockers such as “Honey Bee (Let’s Fly to Mars)” and “Depth Charge Ethel” are balanced by the more subdued “Man in the Moon” and silky “Electric Alice.” Hopefully, the success of Grinderman’s debut will lead to a follow-up in the not-so-distant future.
Anti: www.anti.com