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As always, some of our writers' picks for the week are after the jump.
Finnish death-metal band Children of Bodom come to Chicago this week, touring on their eighth full-length record. Monica Kendrick writes, "It's always nice when a band pulls out of the doldrums, and Halo of Blood (Nuclear Blast) harks back to what Children of Bodom seemed to be aiming for in their early days—a crisp, slightly blackened melodic death sound, not too technical and not too thrashy, that sits in the sweet spot where atmosphere and riffage and sweet solos and startling drums come together just right. Of course, once you find that sweet spot, the natural temptation is to never move again. It's OK with me if these guys don't—at least until this tour is over."
Odd Future affiliates the Internet are at Bottom Lounge. "Sydney Loren Bennett, aka Syd tha Kyd, is the in-house producer and lone female member of LA hip-hop collective Odd Future—and the only one without a compulsion for oversharing and/or writing horrorcore lyrics," says Miles Raymer. "'Cocaine,' the 2011 debut single from the Internet (her collaboration with producer Matt Martians), is a sweetly tender confection of thoroughly chilled-out throwback R&B that provides a strangely satisfying contrast to her compatriots' outlandish, often questionable behavior. Since that track the two of them have fleshed out the project into a full band, and last year's LP, Feel Good (Odd Future), has them taking on some of the warm, nag-champa-infused ambience of 90s neosoul—and a little of the stoner spaciness of the same era's out-there trip-hop."
Norwegian singer Susanna Wallumrød is in town promoting her new album, The Forester. About the record Peter Margasak says, "Her clear, beautiful voice imparts a measured calm to the album's five original pieces, which carve out territory between folk rock and medieval madrigals—album closer 'Lonely Heart' even adds post-Brill Building soul pop a la Laura Nyro, with percussive flute and dissonant string smears. The arrangements (by Julian Skar or Jan Martin Smørdal) support Wallumrød's melodies but leave her plenty of space with their lean skeletons and tuneful, melancholy atmospherics; they build on her piano with cello, violin, flute, clarinet, alto sax, sparse percussion, and the beautiful Baroque lute called the theorbo."