The Swan King, Bell Witch, Night Terror, and Michael Vallera play the Burlington on Sat 10/13 as part of a benefit to help Indiana-based label Captcha beef up the sound program at artists' residency program ACRE; there's more on that in Three Beats too.
Beach House and openers Poor Moon (authors of yesterday's 12 O'Clock Track) are at the Riviera Theatre on Thu 10/11, and A$AP Rocky, Schoolboy K, and Danny Brown hit the Congress Theater (one of our Fall Arts Best Bets) on Thu 10/11.
And that's not even all. Trumpeter Corey Wilkes plays the Jazz Showcase Thu 10/11-Sun 10/14; Bill Frisell plays the Symphony Center on Fri 10/12 with Ron Miles, Tony Scherr, and Kenny Wollesen; Robyn Hitchcock plays three shows, two on Sat 10/13 at the Old Town School's Maurer Hall and one at SPACE in Evanston on Sun 10/14; the RZA plays Double Door on Sat 10/13; and Indian classical slide guitarist Debashish Bhattacharya plays the Old Town School's Szold Hall on Sun 10/14.
Now on to those Soundboard picks!
"Neil Young became a rock star by writing indelible melodies that can still sound fresh to ears that have been hearing them since the womb," writes Miles Raymer. "He became a rock legend by combining an unstoppable work ethic with an anarchic unpredictability and an astounding consistency that's resulted in several dozen classic albums versus only a few that outright flopped (at least artistically)." This year Young reassembled the mighty Crazy Horse, and on Americana the group bludgeons a set of folk songs and standards into something that sounds like a hootenanny reincarnation of Tonight's the Night, though without the death-wish cocaine-and-tequila binge. An album of new material called Psychedelic Pill, which shows the world's best garage band at the top of its shambolic, grunged-out form, comes out October 30.
"Mako Sica's new three-song LP, Essence, is cave music," writes Kevin Warwick. "That's not a sub-subgenre of Krautrock-influenced psychedelia that somebody invented a name for last month; I mean the band's music sounds like it should be drifting up from the bowels of a dim, murky cavern, where it's being played by faceless men in druidic robes who may or may not be preparing to rip the still-beating heart out of a heretic's chest, Temple of Doom style."
For the forthcoming album Smalhans, Norwegian producer Lindstrom "returns to the dance floor with glowing, dusty-cool beats and the intelligent deployment of spacey, ascending-and-descending synth sounds," writes Kevin Warwick. "Album opener 'Ra-ako-st'—every song is allegedly named after a traditional Norwegian meal—is an ethereal track with a jogging pulse, and it juxtaposes high-toned disco synths with gurgling bass that chills the mix to the bone." Lindstrom is only playing three Stateside shows on this tour.
"I don't know if British tabletop guitarist Keith Rowe intended to mark the tenth anniversary of 9/11 or meditate on the meaning of the attacks when he recorded his new album, September, in New York last year," writes Peter Margasak. "But with its layers of ugly electronic friction, gnatlike static, and washed-out radio broadcasts of classical music (played into the pickups of his heavily modified electric guitar), his performance is pensive and unsettling in a way that feels like an obvious commentary." Rowe pioneered not only tabletop-guitar technique but also the use of the instrument as an abstract sound generator, divorced from any recognizable signifiers; this is his first Chicago concert since 2005.