Colin Stetson: New History Warfare Vol. 2: Judges (Constellation)

Colin Stetson: "Judges"

Everyday music connoisseurs may not automatically recognize Colin Stetson's name, but they're likely to have heard his bellowing and diverse reed work — whether from his efforts with musical luminaries such as Tom Waits, Anthony Braxton, and Fred Frith or, more recently, his opening slots for stadium indie acts such as Arcade Fire and The National.

Armed with a baritone sax and other horns, Stetson uses his solo releases to present looped, layered, and transcendental compositions that may leave listeners puzzled at how they're created.  Most sound only vaguely borne from horns, as Stetson utilizes circular breathing, chordal mouth/throat techniques, and singing through his instruments to achieve sounds that are uncommon to most.

New History Warfare Vol. 2: Judges is his latest, and it's full of swirling, cyclical pieces that can be both meditative and powerful.  Laurie Anderson and Shara Worden (My Brightest Diamond) provide a few spots of guest vocals, but no amount of star power — including Stetson's famous tour-mates — could steal the spotlight from this one.

Julianna Barwick: The Magic Place (Asthmatic Kitty)

Julianna Barwick: "The Magic Place"

Creating her music almost entirely out of overdubbed and looped vocals, singer/songwriter Julianna Barwick is able to achieve a profound and resonant style. Her ascendant voice, particularly when presented en masse, takes a celestial quality and at times resembles high-pitched woodwinds, organs, or keyboards.

With distant wails and chants that swell and retreat, the music sounds like an experimental composer’s take on church choirs, and for good reason: Barwick refined her talents while singing in church and school choirs as a youth. There are a few complementary piano notes and a buried bass line here and there, but largely, it’s Barwick’s shining voice and compositional skills that are center stage.

Earth: Angels Of Darkness, Demons Of Light I (Southern Lord)

Earth: "Father Midnight"

Since restarting his cult-favorite band Earth in the mid-2000s, guitarist Dylan Carlson has offered a much less foreboding take on "drone doom" — using pedal steel, banjo, baritone guitar, and more to inflect a dark "Americana" vibe into what had focused on heavily distorted and slowed-down blues-rock riffs.

Angels of Darkness, Demons of Light I is another return to form — and another new lineup.  Gone are the guest guitars from Bill Frisell; in his place, bassist Karl Blau and cellist Lori Goldston offer resonant low-end riffs that complement and harmonize with Carlson's melodies.

The songs, like usual, are long-form pieces that build around a few lengthy repetitions.  However, they're even a little longer than usual, with two that top 10 minutes and a closer that eclipses 20 — totaling 60 minutes over just five tracks.  All together, the material is another victory for down-tempo music, proving that slow songs don't have to be boring.

Pitom: Blasphemy and Other Serious Crimes (Tzadik)

Pitom: "Head in the Ground"

Combining heavy, fuzzy rock jams with Jewish melodies, Pitom is one of many projects from guitarist, bassist, and composer Yoshie Fruchter.  Blasphemy and Other Serious Crimes, the quartet's second release on Tzadik, follows the same path as its predecessor, but it does so with a bit more cohesion and restraint.

Built from the ground up with distorted bass and violin, the band's music carries similarities to that of Skeletonbreath, an alt-rock trio that embraces worldly motifs, and Miasma & The Carousel of Headless Horses, another eclectic ensemble that combines doomy riffs and string work.  Pitom's lineup, however, has a key difference: Fruchter's pliable skills.

Whether driving a song with an infectious melody, commingling with the violin in the high end, or simply taking over a track with raw ability, Fruchter knows when to go full throttle (the punk power of "An Epic Encounter") or pull back (the dark slow jam of "A Resentful Repentance").

Honorable Mentions

Darkest Hour: The Human Romance (E1)

Gil Scott-Heron & Jamie XX: We're New Here [remix album] (XL)

Rachel Goodrich: s/t

Gutbucket: Flock (Cuneiform)

Peña: Vol. II (Secret Stash)

Six Organs of Admittance: Asleep On The Floodplain (Drag City)

Tera Melos: Zoo Weather EP (Sargent House)

Teeel: Amulet (Moongadget)

Colin Stetson: "Judges"

Powerful, otherworldly, and beautiful, wind player Colin Stetson's upcoming record, New History Warfare Vol. 2: Judges, commands attention from start to finish. Largely recorded live without overdubs, Stetson exploits techniques that yield dense layers of multiphonic sound that seem impossible to have come from a single instrument. Here sounding deep and sonorous as a foghorn, there alternating between percussive popping and plaintive moans, while elsewhere emitting swirling, cyclical lines that could nearly pass for strings, Stetson pushes his horns through every timbral possibility.

With such formidable instrumental prowess, one might expect a display of flashy improvisations, yet Stetson uses his command of his instruments in service of intricate compositions, rich in atmosphere and mood, and unmoored from any genre. Moreover, the pieces function together to create a coherent whole, emotionally resonant and deeply affecting.  A record that will sound arresting and fresh to even the most adventurous listeners, New History Warfare Vol. 2 (out on Feb. 22) is an early bright light among this new year's releases and likely to resurface on many year-end lists.

Adept at bass sax, clarinet, bass clarinet, french horn, and cornet, Stetson studied music at the University of Michigan. From there, stints on both coasts resulted in work with a wide range of music luminaries, including Tom Waits, Anthony Braxton, Fred Frith, and Antibalas Afrobeat Orchestra. More recently, Stetson has startled unsuspecting rock audiences as an opener for stadium indie acts such as Arcade Fire and The National.  Here he explains how this integration of influences creates his own musical worlds.

When I've played your music for people, the unanimous reaction has been "that's a sax?", which is all the more impressive given that much of it was recorded without overdubbing. Can you explain how you're able to create such a rich and diverse range of sounds, both in terms of technique and production?

Technically, regarding the instrument, I'm just employing a lot of extended techniques that improvisers have been using for decades. The basis for most of my pieces is in circular breathing; by breathing in through the nose and continuing to breath out of the mouth, you can create these longer, uninterrupted pieces of music. After that, it's a lot of "voicing," or using mouth and throat placement to form chords instead of single notes, specific arpeggiated lines to move those chords into individual and distinct melodies/harmonies, and also quite a bit of actual singing through the instrument.

Having been working this out for many years, when it came time to start recording this music, I knew that a straight-up stereo recording would only take a snapshot of what was happening, and would ultimately flatten the experience. There's no way to capture the essence of live performance in this manner, not if the idea is to recreate the same image through recording. So what I try to do is to capture every distinct and separate element I can, individually with separate and different microphones, so that this information can then be reorganized in the mixing process, and, rather than an attempt at recreating the live experience, we create an alternate version of that experience, something that is specific to the process of recording. In simpler terms, I wanted to make a record like a Haruki Murakami novel or a Terrence Malick film.

The use of extended techniques on reed instruments has become prevalent in modern improvised music, and your background includes studies with  avant-garde jazz players like Roscoe Mitchell and Henry Threadgill. But your work sounds very compositional in nature and some of the repeated patterns call to mind minimalism. How did you develop this sound?

As I stated before, all of the techniques I employ are pretty much found throughout the history of avant-garde improvisation and the free-jazz scene, of which I've been a part musically for most of my career. I was also raised on a glut of classic rock, mostly Hendrix, the Beatles, and Queen, then later got more into metal, studied classically in university, and have played everything from folk to noise over the past many years. My inclination towards song form and thematics comes from this arc, and the technique which I must use to make it happen is based on the extended history of the instruments I play.

You've also done a lot of work as a sideman for rock musicians, including folks like Tom Waits and Arcade Fire. Has your playing in these contexts had any influence on your solo work?

Most definitely. Working with Tom, for example, I learned, maybe more than anything else, the importance of character and scenery within songs. You have to leave the ego out of it, and only bring those things essential to creating that scene and bringing your characters to life. This has helped me to see different musics, and my roles in them, much clearer over the years. Also, it's caused me to think much more cinematically when composing albums. Recent work with Laurie Anderson has done much the same for me, but in different ways, and [it has] allowed me to see another example of someone creating a whole and distinct reality all of their own. It's really remarkable and inspiring.

The record is titled New History Warfare Vol. 2: Judges. Underneath the dense fields of sound, it is generally somber and even mournful in tone, and includes meditations on the nature of war read by Laurie Anderson and a cover of a gospel blues lament by Blind Willie Johnson. What inspired the choice of thematic material?

The title New History Warfare refers to the hardship of finding and creating meaning in one's life, or to the process of consciously taking action toward impacting one's present place and time on a tangible level. "Judges" specifically speaks to the themes of this record — those being isolation and the pendulum swing between fear and transcendence. I find early American gospel music to embody the essence of the human condition. Through suffering, finding some path towards salvation. Joy from fear.

I suppose that all of the music in this series is my attempt at creating a personal gospel canon, not out of dogma, but rather from the human experience alone. The notion of alone-ness is amplified by the fact that this is music created solely out of one person's efforts and experience, and as I'm learning as I write, record, and perform this music more, I become more and more isolated physically, and so do I experience these themes cyclically, it seems.

Can you describe how the compositional process works for you? How do you get ideas that form the germ of a piece and how are those developed into what we hear on the record?

My songs are mostly born of focused improvisations. I'll normally find my way quickly to some stable pattern that will form the basis for the piece, and then I continue improvising in directions which feel right. Eventually, the thing takes shape, and I play it over and over and over until I become it to a certain degree. This process can take anywhere from a few minutes to a few weeks depending on how close I am to it in the beginning. Then, gradually, while I "wear" it, the song gets tweaked and maybe new sounds are revealed here and there, and it more or less evolves into something I consider finished. That being said, sometimes I just have an idea, and pick up the instrument, and a song comes out all shiny, new, and finished. When this happens, it is awesome.

Watch the new video from Titles for "Lug Me," a track from The Dirt Bell (Safety Meeting Records, 8/13/10). The video features animation by Brad Amorosino, who also did the art and packaging for the band's record.

The New Haven, CT five-piece recorded The Dirt Bell with the help of Greg Giorgio (The National, Jónsi). It's Titles' third full-length, and features more of the band's signature textured pop-rock, shifting effortlessly between exuberant riffing and more restrained, melancholy strumming.

Landlocked Music in Bloomington, Indiana has been around since 2006 and has since proved to be a staple in the small college town. The store has hosted a number of notable in-store performances and curates a collection of music to satisfy almost any taste. With its fifth anniversary coming up in March of 2011, we spoke with Landlocked c0-owner Jason Nickey and got the inside scoop on one of the Midwest's top record stores. A message to any straightforward rock-'n'-roll bands from Bloomington: get in touch with Nickey; he doesn't believe that you exist.

What was your motivation for starting a music store? / What is your background in music?

I had no choice, really. It’s the only thing I’m fully qualified to do; I’m otherwise unemployable. All I ever did at any other job I ever had was talk to people about music and records and try to discover new stuff I hadn’t heard yet. So it was probably inevitable. Also, at a certain point, when you’ve acquired a certain quantity of recorded music, it’s the next logical move.

I worked in record stores all through college, and I’ve worked a bit on the distribution side of things, as well as some writing for magazines, websites, etc., and deejaying at college and then community radio. All of those experiences have come into play to some degree. Also, finding a partner was key. It would be near impossible to do this alone. I’m sort of the behind-the-counter guy; my partner is the marketing/social-networking guy, broadly speaking.
 

Jason Nickey holds the Flamin' Groovies' Shake Some Action

What is the musical community like in Bloomington?

I’m feeling a little negative about it at the moment to be honest, although I’m quite thankful that we have a music community at all given that Bloomington is a small Midwestern town.

There are tons of bands here. But generally speaking, it’s all very arty. Even our punk bands have some sort of conceptual angle. Either that or it’s some horrible crust-folk hobo-bike-pirate friendly punk BS, which won’t ever seem to die here. Not my bag at all.

Showing people a good time seems not to be taken into consideration much. The concept of fun takes a backseat to making some sort of “art statement” or something. I’ve been waiting for years to stumble upon some straight-ahead rock-and-roll band that just plays Chuck Berry or Buddy Holly-type songs non-ironically but with passion and soul.

There are larger musical institutions here like Secretly Canadian and her related labels, and the annual Lotus World Music Festival — both of which have an overall positive effect on the Bloomington music scene. And lest this all sound like a rant, there are a handful of good bands here. Among my favorites are Apache Dropout, who has an LP coming out on Family Vineyard early next year. They’re sort of a ragged caveman-bubblegum band, if that makes any sense.

(And in case you’re wondering, yes, John Mellencamp lives here, but he’s a total nonentity on the music scene. I’ve never seen him at a show or even sold him a record in 15 or so years here, which is a shame.)
 

Tyler Damon holds The Dead C's Eusa Kills

What can someone expect when visiting Landlocked for the first time?

I’d like to think that we have a good balance of the esoteric and the basic catalog that any decent record shop should have. You can find Les Rallizes Denudes next to Led Zeppelin here. We do our best to be helpful guides, so you’ll be asked if you have any questions and then left alone to dig and be surprised. More and more people seem to come in knowing exactly what they’re looking for, or they want to be told what they should buy. Both attitudes I try to redirect.

Sure, I want people to find what they’re looking for, but I’ve tried to create an environment where people find what they didn’t even know they were looking for. That’s what I like personally when I go to a record store, that feeling of serendipitous discovery.
 

Mikey Kapinus (keyboardist from Magnolia Electric Co.) holds a Drakkar Sauna 7"

Give me three great albums that you've enjoyed lately.

Not incredibly new, but the latest Ty Segall LP on Goner, Melted, is probably going to be my favorite of 2010.  The Liminanas LP on Chicago-based label Trouble in Mind is probably the best new release I’ve heard in the past month or so. Sort of reminds me of Shocking Blue, which is a good thing in my book. Also, I revisited The Silos' Cuba LP the other day for the first time in years. So good. Excellent songs.

Which albums has your store sold the most over the past month?

The double-disc version of The National’s High Violet has sold the most, largely due to the label doing a big promotional push on it, offering it to stores at a super-cheap price, and even directing people online to indie shops. Matador/4AD/Beggars Group are true friends of indie record stores.
 

James Paasche holds Reverend Charlie Jackson's God's Got It

What is the strangest request you’ve ever received?

Sometimes friends prank call us and I always fall for it because their questions and requests are always far less strange than the real questions we’re asked. We’ve been asked everything from “Do you carry trombones?” to “Can I get a quote for some work?” thinking we’re the tattoo place around the corner (mind you that this is someone INSIDE the store asking this, surrounded by LPs and CDs).

In terms of the strangest music request we’ve had: since we sort of specialize in strange stuff, strange for us is like Barbara Streisand or something — stuff so common I wouldn’t even waste space on it. The most frustrating questions are less strange than just unreasonable. Like some dude from Denmark or wherever on some cross-country record dig drops in and before even looking at anything says something like, “Where are all your regional private-press funk 45s?” Oh yeah, sure, let me go get them, there’s a whole box back by the toilet.
 

Heath Byers holds most of the Spacemen 3 catalog

Have you had any in-store performances that really stand out?

We’ve had a lot of good ones over the past five years: Besnard Lakes, Indian Jewelry, Daniel Higgs. Our "Breakfast with Bonnie 'Prince' Billy" (Will Oldham) and Lou Barlow in-stores were particularly meaningful to me. More recently, Bare Wires totally killed it to a small but enthusiastic audience.

Any big future plans for Landlocked?

Our five-year anniversary is coming up in March. We’re working on having some sort of show/celebration and customer-appreciation-type shindig. Still in the works. Any good bands want to play? Get in touch. We’re also going to be putting out at least a couple records ourselves in the coming year. Stay tuned.

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 Corner Record Shop in Grandville, Michigan started out in a tiny corner room behind an old Dutch bakery.  Eleven years later, owner Steve Williamson and his “no judgment” staff cater to young and old alike, offering their talents in the two-room spot with an audio-repair shop, stereo showroom, and venue (still in the works). Employee Brian Beckwith shares some thoughts with us.

The Corner Record Shop

The Corner's audio-repair room

Brian Beckwith at The Corner Record Shop

Give me three great albums that you've enjoyed lately.

Let's see — lately? Well, I would have to say the Surfer Blood: Astro Coast album. We are bordering on playing that LP out, but it's solid all the way through. If you have been through our store on any Saturday afternoon, then there is a good chance you have heard us blasting some Canned Heat.  They were just such an amazing band, and it's something that all us employees (ranging from 20s to 50s) can all agree on.

There are other albums that are standards around here too like The Only Ones, Television, Undertones, Steve Earle, Captain Beyond, Neil Young, and Bruce Springsteen, but our newest one is Arcade Fire: Suburbs. It seems that they just keep getting better with every album, and that's hard to do when you start off already being a great band.

Which albums has your store sold the most over the past month?

Well, maybe not the past month, but really [over] the past few months it has to be the new album by The National. It's died down a little lately, but for a while, we couldn't keep that LP in stock. Also, being that we are here in Michigan, our ex-Michigander Jack White's bands seem to sell really well all the time too. Whether it's used originals on Sympathy, or new deluxe ones on Third Man, they always do great.

What's the worst album that you've had to special order?

We really try to be the anti-cool-guy and -scenester record store, and we honestly believe that everyone here has a freedom to be into whatever they dig, to "each his own." But with that being said, stadium-country music is a plague on West Michigan. We love Buck Owens, Les Paul, and even Sons of the Pioneers — you know, the classics. So I cringe every time someone wants me to order them a Toby Keith, or some other terrible joke-based rock group with a dobro and fiddle calling themselves country music this month.

You sell and repair audio equipment at your record shop.  Does this attract more musical professionals to your shop over regular music shoppers?

It kind of goes both ways.  We get the same amount of people who come in for stereo issues (either shopping for a new one, or speakers, or getting one repaired) who wander over into the sections and end up buying some LPs, as we do record shoppers who find out that we do repairs and bring in some amazing old equipment that has been sitting in their basements unused for decades, and we get it up and running for them. Really, everyday we sell a bunch of stylus replacements, and belts, or pre-amps to people that don't have an old-enough stereo for a "phono" stage, and have to use their AUX inputs. Our repair guy, Roger, is a wizard when it comes to guitar equipment, so that does bring in people from the local music scene quite a bit.

What is the most difficult thing you’ve had to repair?

Not sure, but I remember a couple times where we had to wait months just for parts to be shipped to us from China.  That usually upsets the customers. But as for anything that comes in with a power cord attached to it, Roger is a Jedi with it.  It's crazy to see. I have even seen him fix a 1970s miniature light-up Christmas tree for a little old lady, and that took him about five minutes.

Why do people choose your store over major or Internet retailers?

I think it's because we try hard to do right by our customers. We know many on a first-name basis, and we actually care about tracking them down the music they are looking for, be it music they were into in college or back in the '60s, and sometimes just new kids looking to buy their first LP and turntable.

We have such a vast amount of vinyl here, everything from obscure '40s doo-wop, and '60s folk protest songs, to '80s avant-garde and punk, to the new releases coming out each week, and all the generic radio rock in between. We have the largest jazz selection on vinyl in Michigan, and a whole room with 40,000 45s in alphabetical order. I think that people enjoy the fact that we are an actual record store too, and almost some weird type of music time capsule because we still carry all the formats, from Edison rolls, 78s, 8-tracks, reel-to-reels, laser discs, and cassette tapes.

Named after the awkwardly constructed Nintendo device of the late 1980s, Powerglove is a power-metal quartet that combines the shredding, über-harmonized, finger-tapping insanity of a band like DragonForce with the kitschy nostalgia of video-game covers.

On the band's first EP and LP, it tackled late-'80s and mid-'90s classics from Tetris, Mega Man, The Legend of Zelda, Castlevania, F-Zero, and assorted Final Fantasy games.  Now the group turns its video-game MO to the realm of Saturday-morning (and prime-time) cartoons for Saturday Morning Apocalypse, its first release on E1.

With maximum riffage and maniacal beats, lighthearted themes turn epic, sinister, or anywhere between.  Comic nerds whose formative years came in the '90s will smile upon hearing the album opener, the theme to the X-Men cartoon series — which, after three minutes, segues into a classical-guitar breakdown before finishing with full force.

Themes from The Simpsons, The Flintstones, Pokémon, Inspector Gadget, and The Transformers each are remade with squealing pitch harmonics, chugging guitars, and rapid double-kick beats.  There's a dark, powerful rendition of the Batman cartoon theme, with a glockenspiel providing a few complementary passages.  In the Batman theme — and throughout the disc — keyboards play a vital role, as killer programming accounts for the sweeping faux strings, "orchestra hits," synth arpeggios, and general spookiness.

And though these selections primarily are from Saturday-morning cartoons, there are a few other treats as well, including a fantastic metal rendition of "This is Halloween" from The Nightmare Before Christmas.  The absolute highlight is the Winnie the Pooh song ("Heffalumps and Woozles"), taking the grandeur to another level with an interlude of harp, pizzicato strings, bells, and more.

As the teenage antagonist from the 1989 film The Wizard would say, "I love the Powerglove.  It's so bad."

Powerglove: "This is Halloween"

Victoire: Cathedral City (New Amsterdam)

Formed in 2008, Victoire is an all-female electro-chamber quintet that was founded by composer Missy Mazzoli.  In just a few years, the classically trained group has issued an EP and landed a number of notable gigs, slowly building buzz around Brooklyn.

Cathedral City is Victoire's proper debut, and it's a striking album that marries emphatic string motifs to minimal yet clever accents of keyboards, clarinet, melodica, and rapturous vocals.

Other chamber ensembles have pushed boundaries in the 21st Century, but Victoire does so in a way that feels completely natural.  Digitized hi-hat beats, looped/glitched vocals, and touches of electric guitar (courtesy of The National's Bryce Dessner) subtly complement a harmonious blend of violin, double bass, and the aforementioned elements.

Epic classical-rock composer William Brittelle, bassist/composer Florent Ghys, and gifted soprano vocalist Mellissa Hughes also make appearances on Cathedral City, adding more character to an album that doesn't lack it. Cathedral City is an exciting arrival.

Victoire: "Cathedral City"

Aloe Blacc: Good Things (Stones Throw)

Starting his career as an MC in the hip-hop duo Emanon, Egbert Dawkins III — known as Aloe Blacc — transitioned to a solo soul singer early last decade.  The two careers overlapped for a stretch, but Dawkins began focusing on his solo career midway through the decade, following his 2003 debut EP with a 2006 full-length album, Shine Through.

Dawkins sang a lot on Shine Through, but he still offered a few raps to go with hip-hop production values, Latin sounds, and even a few pop vibes (like the Justin Timberlake-esque "Are You Ready?" and "Want Me").  Good Things, his sophomore follow-up, focuses on his soulful and R&B elements — with a few funky twists — in an effort to create "positive social change" through good vibrations.

A lot of it feels as personal as on previous albums, but tracks such as "Life So Hard" tackle political topics like the cruel hand of capitalism.  A similar sentiment is expressed on album opener "I Need a Dollar," a tune that has doubled as the theme for HBO's How to Make It in America.

Thanks to production assistance from the in-house team at Truth & Soul Records, Good Things remains sonically eclectic, tabbing strings, a vibraphone, and more in addition to the usual soul instrumentation.  It doesn't reach as far, stylistically, as Shine Through, but it refines Aloe Blacc's approach while expanding his political influence.

Aloe Blacc: "You Make Me Smile"

Greg Ward’s Fitted Shards: South Side Story (19/8)

Jazz saxophonist Greg Ward has accomplished so much over the past decade that it’s hard to believe he’s still in his late 20s.  His list of musical cohorts is so long that there's only time to mention a few big names — Hamid Drake, Jeff Parker, Von Freeman — and despite his relocation to New York, he's back in Chicago, his previous residence, nearly every other week for one-off gigs.

Fitted Shards is one of Ward's newest ensembles as a leader, and it features three other excellent young Chicagoans: bassist Jeff Greene (Blink.), keyboardist Rob Clearfield (Loom), and drummer Quin Kirchner (Nomo).

From the get-go, the quartet's debut, South Side Story, is unconventional for an album that is thoroughly jazzy.  "Segue," the opener, is built on a short bass repetition, providing latch-able ground for Ward's dexterous runs before an unexpectedly dense wave of keyboards provides some oomph.

The rest of Ward's compositions fall somewhere on the jazz spectrum, but each tune has its own feel and flair, including decidedly un-jazz elements like prog-ish synth accents on "All In" and distorted guitar backing on "Step Forward."  Additionally, Clearfield's talents are indispensable, as he brings Ward's softer melodies to life.

Greg Ward's Fitted Shards: "Step Forward"

Honorable Mentions

Jason Adasiewicz: Sun Rooms (Delmark)

Rahim AlHaj: Little Earth (UR Music)

Bad Religion: The Dissent of Man (Epitaph)

Ben Folds & Nick Hornby: Lonely Avenue (Nonesuch)

Black Anvil: Triumvirate (Relapse)

Enslaved: Axioma Ethica Odini (Indie Recordings)

Floored By Four (Mike Watt, Nels Cline, Yuka Honda, Dougie Bowne): s/t (Chimera Music)

Adam Haworth Stephens: We Live on Cliffs (Saddle Creek)

Alan Moore: Unearthing (Lex)

Rudresh Mahanthappa & Bunky Green: Apex (Pi)

Three Mile Pilot: The Inevitable Past is the Future Forgotten (Temporary Residence)

Unearthly Trance: V (Relapse)

Pete Yorn: s/t (Vagrant)

Instrumental(-ish) Boston group Irepress has completed its sophomore album, Sol Eye Sea 1, which will be released February 17 on Translation Loss (a new song can be heard here). The group's mathy, melodic, chugging, epic songs can be heard on a five-week US tour that begins March 4.

Les Claypool has announced a four-week traveling mini festival, scheduled to begin in early March, that is officially titled The Oddity Faire: A Mutated Mini Fest. The fest's outstanding lineup is different depending on the city; guests include Secret Chiefs 3, Saul Williams, DeVotchKa, Yard Dogs Road Show, O'Death, and The Mutaytor.

And speaking of Secret Chiefs 3, the incomparable Indian/surf/metal group has a concert DVD being released in March on mastermind Trey Spruance's Mimicry label.

Hardcore trio Young Widows has announced a major list of tour dates that run from February through April. See the list here.

Dan Deacon has announced a six-week tour, starting April 3, that will feature a full ensemble in support of Bromst, his new album due March 24 from Carpark.

Marking its final recording with long-time member Reed Mathis, the Jacob Fred Jazz Odyssey has made a new studio album, Winterwood, available for free downloading on its website.

Next Tuesday, February 3, Tibet House US hosts a benefit concert and dinner at Carnegie Hall. Performers include Philip Glass, Antibalas, Keb' Mo', Vampire Weekend, The National, and more.

Nile linchpin Karl Sanders has another solo album in the works, this time to be released through The End Records. Titled Saurian Exorcisms, the album will be out April 14. Some awesome preview tracks are already posted on Sanders' MySpace page.

Despite comments from main member Tobacco that the group was on indefinite hiatus, dreamy hip-hoppers Black Moth Super Rainbow have a new album, Eating Us, that will be released on May 26 via Graveface.

New York jazz group Dred Scott Trio has a live album being released via Ropeadope on February 3.

Hardcore group Pulling Teeth has a new album, Paranoid Delusions | Paradise Illusions, that takes a crushing and despairing direction. The album is available today to preorder from Deathwish Inc. and its official release date is March 31. Hear a preview track, "Foreshadowing," here.

Grindcore group Agoraphobic Nosebleed will release its fourth full-length album, Agorapocalypse, through Relapse on April 14.

The Sword

Friday, November 7

The Sword @ Bottom Lounge

Chicago's new version of the Bottom Lounge includes two bars (one with a tiki theme), an eating area, a large performance area, and a second-floor deck. The recently reopened venue might need every square foot to contain the massive stoner metal sound of The Sword, which hits the Windy City between tour dates with Metallica and Down.

Umbrella Music Festival w/ Bik Bent Braam @ Elastic Vision Gallery

Dutch pianist Michiel Braam convenes a Chicago version of his Bik Bent Braam orchestra, a localized edition of the 13-piece group that he began more than 20 years ago. On record, the group's sound is one of jumpy, horn-heavy jazz that mixes old-time foundations with freak-out solos.

Saturday, November 8

O'death @ The Empty Bottle

Touring in support of its new album, alt-country five-piece O'death stops in Chicago for a pair of shows. That new album, Broken Hymns, Limbs, and Skin, covers diverse stylistic swaths that range from punkish bluegrass to bittersweet ballads and droning Pentecostal chants. The group also plays at Chicago's Hideout on Sunday.

David Boykin Expanse; David Boykin Microcosmic Sound Orchestra @ The Velvet Lounge

Interstellar jazz saxophonist David Boykin pulls double duty at the Velvet Lounge, where he lays freewheeling grooves and solos in a pair of sets with his eponymous Expanse and Microcosmic Sound Orchestra. The Expanse combines free passages with hard bop, over which Boykin spouts unorthodox rhymes; the Microcosmic Sound Orchestra provides inspired improvisation.

Fun Fun Fun Fest (Austin) @ Waterloo Park

How many huge music festivals can Austin hold? Chicago has its share of major festivals, but Austin keeps cranking out the multi-day madness with the Fun Fun Fun Fest.

The lineup includes festival regulars but strong ones at that; if you're in Texas, head down to see Bad Brains, The National, Atmosphere, Young Widows, Trash Talk, Deerhoof, …And You Will Know Us by the Trail of Dead, The Black Heart Procession, Dr. Octagon, Dan Deacon, Tim Fite, Bishop Allen, Dengue Fever, Cro-Mags, Parts and Labor, Minus the Bear, and more.