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The last few days of the World Music Festival are upon us, with acts like We Banjo 3, Kardemimmit, and Noura Mint Seymali all set to play, and for free no less. Also rolling into town over these next few days is across-the-board heavy-metal act Inter Arma, Pitchfork Festival highlight Savages, and there's a free Monday at Empty Bottle featuring west-coast pop-punkers Terry Malts and Austin-based no-wave punk band Spray Paint.
Read what our writers have to say about some of the other shows happening this week after the jump.
Death in June's Douglas Pearce is a controversial figure, facing two show shut-downs the last time he was in town. "Ten years ago, when Douglas Pearce came to Chicago with his floating, occult neofolk show, he faced protests and a twice-cancelled show (first at the Empty Bottle, then at the fill-in venue, Deja Vu), mostly due to his persistent penchant for Third Reich fetish objects," writes Monica Kendrick. "That fascination is a specter that hangs over much of that scene—sometimes a rune isn't just a rune, and Pearce can hardly expect people to calm down about Nazi symbology just because he can wear a pink triangle himself. But after 30-plus years of Death in June, you know what you're getting into—Pearce is most guilty of the sin of abstraction, of channeling historical horror into a ritualized aesthetic. And he does it so very well. DiJ's latest release, this spring's The Snow Bunker Tapes (New European Recordings), purports to consist of demo recordings that Pearce gave to pianist Miro Snejdr during the making of 2010's Peaceful Snow, but to me they sound more fully realized than the supposed final product."
Experimental electronic producer Shigeto, from Detroit, will be playing Bottom Lounge this Wednesday. Says Leor Galil, "The latest Shigeto album, this year's No Better Time Than Now (Ghostly International), sometimes suggests soul jazz or organ jazz, with touches of vibraphone or melodies that sound like they're played on a Hammond B-3—the warm notes land like raindrops in a pond and ripple smoothly through the songs. The keyboard parts provide a sumptuous foundation for his engrossing programmed percussion, which might be a syncopated, post-Dilla pileup or a calm, minimalist pattern full of wide-open spaces. The restraint Saginaw exercises on his most soothing tracks makes them particularly striking."