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Fareed Haque Group, Honeytribe, The Make Believe, Plane


FAREED HAQUE GROUP
Claiming Fareed Haque to be an ideal representative of Chicago music is not as overblown of a statement as it may seem. The virtuoso guitarist not only exudes Chicago music in his multitude of fused styles, but also in his focused energy and detailed string work. Haque’s background growing up all over the world jumps out in his music as he mixes jazz, classical and world in an effortless blend of nimble, relaxing music. A graduate not only of the jazz scene but also of Northwestern’s School of Music, he now teaches at Northern Illinois. Haque’s studio work with Garaj Mahal and his namesake band have produced albums that have won over fans beyond jazz circles, but it is in the live realm that his skills truly shine. Whether onstage at outdoor festivals or tucked away in intimate clubs, Haque’s sound promises to be always near mesmerizing. (Appearing at Green Mill on Jan 12 & 13) –text: Brent Kado


HONEYTRIBE
As if the Allman Brothers didn’t sufficiently secure the continuing role of Southern rock and soul in modern pop, its progeny have taken it upon themselves to ensure the genres’ ongoing representation. Devon Allman’s Honeytribe is the latest addition to what has become a virtual lobby for the survival of classic American rock. The son of soul legend Gregg Allman, Devon fronts the 4-piece outfit on a debut album that foregoes the traditional jam-band model in pursuit of a pure blues-oriented sound. Nonetheless, Honeytribe’s blues focus doesn’t prevent meaningful experimentation with related jazz, folk and reggae influences. Torch is a concise yet inclusive reminder of the power of simple concepts, sweet melodies, and deliberate and understated production. In many ways, the band’s ability to stay within itself despite the imposing success of its musical family speaks to the power of the music it offers. (Appearing with Gregg Allman & Friends at House of Blues on Jan. 12 & 13) –text: Mike Alkaraki–photo: Pamela Paxman


THE MAKE BELIEVE
If you’re looking for a band that follows all the formulas and treads down the musical path map in hand, The Make Believe might lose you along the way. Sitting somewhere between math rock and heavier indie fare, The Make Believe shift styles and forge together sounds as the more daring tend to. While the music might get a bit spazzy or abstract, there is a focus and purpose dripping from the band’s efforts. Consisting of Nate and Tim Kinsella along with Bobby Burg and Sam Zurick, The Make Believe have caused quite a stir since their 2003 debut. Members of the always reliable Flameshovel label, The Make Believe have garnered praise from mainstream sources like Spin and Wire. Their sophomore album, Of Course, is showing the promise that fans of their previous projects (Joan of Arc, Owls, Cap N’ Jazz) are latching onto. (Appearing with Pit er Pat at Schubas on Jan. 8) –text: Brent Kado–photo: Chris Strong


PLANE
Chicago’s Plane has more than just a healthy appetite for Joy Division and New Order. But their soon-to-be-released album, I See Love In the Future, also reveals a band that works well in the shadows. Plane uses light and shade well enough to pull the listener in little by little without ever showing the complete picture. There are no tricks involved here; the songs speak for themselves. Building on the foundation laid out by 2004’s Shake My Ground and 2005’s Hello More, Plane continues to discover the right door at the right time that allows the band’s music to uncover a new source of inspiration. Members Edgars Legzdins and Ed Anderson are poised to keep the road ahead of Plane open with possibility. It’s what they do with those opportunities that either make a career or leave us to wonder, “What the hell ever happened to…?” (Appearing with The Ladies & Gentleman and Welcome to Ashley at Subterranean on Jan. 6) –text: Chris Castaneda

Cairo Gang, Hackensaw Boys, Stiletto Attack, The Waco Brothers


CAIRO GANG
Caught in the post-psychedelic time warp of quiet rock, The Cairo Gang makes the claim that you will abruptly want to shave off your mohawk, buy some old suits, and cozy up with a J.D. Salinger novel. Driven by superior songwriting skill, founder Emmett Kelly sometimes seems to channel a Neil Young-esque Elliot Smith-type of soul while at other times his ouija swings more in the direction of thrashy feedback — as on the track “Assholes”, which reads like a lost Pixies demo. What is truly remarkable about the self-titled album is the diversity between the tracks, on which the jarring shifts between moods and sometimes genres don’t feel at all forced. The Cairo Gang can slide from a neutral acoustic to frenzied noise and end at a lopsided rhythm, all the while making perfect sense. Kelly is a truly gifted writer, an old soul trapped in a 25 year-old body that seems to be writing beyond his years. This is certainly an artist to keep track of. (Appearing with Pit er Pat at Schubas on Jan. 15) –text: Jyn Radakovits


HACKENSAW BOYS
Though only currently supporting their first record released by a label, Charlottesville, Virginia’s Hackensaw Boys have actually been at the bluegrass game for quite awhile. Having essentially toured non-stop for the past seven years or so — thanks in part to the adoption of a 1964 GMC touring coach nicknamed The Dirty Bird — The Boys have brought their brand of mountain music as far as Belgium and even recorded part of their latest, Love What You Do, in Amsterdam. The band, which once boasted a 12-man lineup, pride themselves on incorporating as much country, rock and even punk into their songwriting as they do “old-timey” sounds. As it turns out, Hackensaw Boys are also the ideal live band to get Corona-wasted to on your brother’s dime, but take it from me and make sure you take the necessary precautions in order to prevent the at-work vomiting the morning after. (Appearing at House of Blues Back Porch Stage on Jan. 19) –text: Mike Scales


STILETTO ATTACK
Aptly named, Stiletto Attack vocalist PJ Stiletto has one of those voices that cuts like a blade through the guitar and backing vocals of her bandmates, clear and precise, perhaps a little deadly. The mechanics of how these three ladies came together, they say, defies explanation. SA’s bluesy, slightly Southern-influenced rock and roll takes cues from cultural icons — they name JonBenet Ramsey and Matt Dillion specifically — as well as other musical influences so diverse it’s like they threw darts at the Billboard chart. With Stiletto Attack enabling all of their members to write music with a unique collage of styles, they have the talent to take their act beyond Chicago and the Midwest. I’d like to see them do something less acoustic and more in the style of an Evanescence or Flyleaf — just to see the turnout when PJ ramps up the power and passion behind her voice. (Appearing with The Reptoids and Girl Activity at Red Line Tap on Jan. 19) –text: Jyn Radakovits


THE WACO BROTHERS
Ahh….finally a band that plays shows where everybody gets to have fun. Just reading their write-ups online is fun: “In their rollicking career, they have been called everything from the flagship act of the alternative country ‘movement’ to pure butchery. Both are likely to be correct.” Country songs don’t have to suck, and a night of drinking whiskey doesn’t have to be inspired by heartbreak and horses. It can be inspired by the fact that it’s whiskey and you get to see the Waco Brothers. Perhaps Chicago’s equivalent of Ireland’s Saw Doctors, The Waco Brothers play rock and roll that will draw your girlfriend to the front of the stage while you go get her a beer. Their songs will wake up that one guy who’s been at the bar since noon while waking you up to the sudden notion that maybe you do actually like at least some country. It’s the American way, dammit, so you should own up to your roots and see these crazy bastards. (Appearing at Martyrs’ on Jan. 13) –text: Billy Kenefick

Chris Thile & Edgar Meyer, Earl Greyhound, M. Ward, The Paper Chase


CHRIS THILE & EDGAR MEYER
It is the Best of Both Worlds revisited — sans the rapper and singer but with a mandolin-strummer/vocalist and an eclectic banjo, piano and double-bass player in their stead. Also unlike the forgettable rap and R&B combo Best of Both Worlds, the multi-talented tandem of Chris Thile and Edgar Meyer provide distinct layers and sounds to each other’s music. The acclaimed “child prodigy” Thile has manipulated his mandolin to emanate fused bluegrass, jazz and classical elements since age 13. His young voice also projects with strength and fluidity over his quick-fingered string-plucking aural concoctions. Throw one-man band Edgar Meyer into the two-part equation and you’re left with a robust, orchestral sound minus the orchestra. Although Meyer’s sound is simpler and more subtle, undertones of somber emotion and indiscriminate fevery remain — making for a fitting compliment to Thile’s over-the-top mandolin cadences. (Appearing at Northwestern University on Jan. 18 and at Dominican University on Jan. 20) –text: Nicholas Clar


EARL GREYHOUND
The rock trio is not dead. I could say more, but it would just dilute my main thesis which is that the rock trio is not dead — thanks to bands like Earl Greyhound. Style comparisons are easy, and they are also more fun in question form: Zeppelin? Wolfmother? Hendrix? Speaking rhetorically rocks just as hard as these three New Yorkers, otherwise known as Matt Whyte (guitar, vocals), Kamara Thomas (bass, vocals) and Ricc Sheridan (drums). Kamara sings beautifully (although Whyte sings most songs, she is my favorite of the two) and Whyte knows how to write riffs with equally as heavy distortion-laden solos. Earl Greyhound is about afros, melody, double-Humbucker guitars and rhythmic backbone stronger than Tank Johnson’s gunsafe — with the results sounding something like the Beatles on acid. Oh wait…I mean the Beatles on…nevermind. The rock trio is not dead. (Appearing at Schubas on Jan. 20) –text: Billy Kenefick


M. WARD
M. Ward is a study in simplicity. Just look at that name — five letters (the M stands for Matt), as short as some of his songs, which often don’t reach the 2-minute mark. But this singer/songwriter twists simple components and familiar instruments into beautiful — and sometimes complex — songs. It’s hard to aptly describe Ward’s style of music. It’s rock, sure, but it sounds an awful lot like folk, or…wait…country. Or maybe jazz. Or maybe roots music, whatever that means. But while the genre may be hard to nail down, the songs stick in your head like gum in your hair. Ward was a member of California’s Rodriguez before embarking on his solo career with 2000’s Duet For Guitars #2. A few well-received albums followed before the artist garnered his greatest praise for 2006’s Post-War, a rambling, romantic and rousing collection of little tunes that has wound up on several “Best of 2006” lists, including ours… (Appearing with Freakwater at the Park West on Jan. 29) –text: Chris McNamara


THE PAPER CHASE
The last time I saw the pAper chAse I felt like I was having a 45-minute panic attack. Take a manic depressive schizophrenic, lock him in a bare room screaming and clawing at the walls, put it to music and you have the pAper chAse. When the show ended, I left the room, took a few deep breaths and tried to think happy thoughts. This doesn’t mean the band wasn’t amazing — the pAper chAse easily is one of the best bands I have seen all year. It wasn’t surprising to find out that frontman John Congleton (who produced bands such as 90 Day Men and engineered for everyone from The Roots to the Dallas Symphony Orchestra) started the band as an outlet for his own anxiety attacks and troubled mind. This dangerously raw noise band consists of menacing vocals, maniacal piano, unsettling synthesized string arrangements and other mash-ups of distortion that make for an unpleasantly brilliant live show. (Appearing with I Need Sleep and Haymarket Riot at Subterranean on Jan. 26) –text: Sharyn Goldyn

The Blacks, Blood and Time, Chicago Afrobeat Project, Sonia and Disappear Fear


THE BLACKS
Ever wanted to know what would happen if Hank Williams fronted AC/DC? (No, this is not a pot-induced hypothetical.) This exact scenario is what inspired The Blacks’ frontman Danny Black, who had visions of a rock and roll band with heavy ’20s and ’30s blues and jazz influences. After two albums released on Bloodshot Records, a grueling touring schedule and the tumultuous relationship between bassist Gina Black and Danny Black, the self-described “bastardized” rock/country/punk outfit with a penchant for onstage theatrics disintegrated in 2001. But just when they thought they were out, they were pulled back in. Last summer, at the Taste of Randolph street festival, the band (who briefly went by the name Black Family) reunited with their original lineup intact. Now that’s dedication to the craft: Getting back together with people you can’t live with but can’t live without all in the name of the music. (Appearing with The Thin Man at Schubas on Jan. 6) –text: Dorothy Hernandez


BLOOD AND TIME
Since his solo debut in 2001 Scott Kelly, co-founder of Oakland’s experimental powerhouse Neurosis, has reveled in the solitude of his acoustic guitar. His solo material is a clear departure from the massive riffs of his original band, but somehow not all heaviness is lost. Using his voice more as an instrument, Kelly seamlessly intertwines his calming lyrical drone with strummed acoustic chords and peppers that mix with subtle keyboard and drum play. Lacking that wall of sound Neurosis creates in a live setting allows the lone singer to bear his soul a bit more with, admittedly, the most personal and intense songs he’s ever written. This time around, Kelly will join Neurosis bandmates Noah Landis and Anthony Nelson as they perform as Blood and Time, a semi-solo Kelly project in the style of “apocalyptic folk” — a blending of traditional acoustics and industrial atmospherics. (Appearing at Empty Bottle on Jan. 2) –text: Mike Scales


CHICAGO AFROBEAT PROJECT
Four years ago in a third-story loft on Lake Street in downtown Chicago, some musicians experimenting with afrobeat and Chicago’s own diverse music formed Chicago Afrobeat Project. The afrobeat genre, created by Nigerian musician and political activist Fela Kuti, lends very well to cross-genre experimentation as it mixes American funk and jazz with West African juju and highlife music. Ranging from 7 to 11 band members (and still possibly growing), CAbP is known for their long, jammy songs featuring solos from their horn section, keyboardist, percussionists, bassist, and guitarist. Maintaining an afrobeat vibe throughout, but drawing influence from many different types of music (including hip-hop, rock, and Chicago house), CAbP’s main intention is to make their listeners move. In concert, they are sometimes joined by African dancers from Chicago’s Muntu Dance Theatre. Although they are not as overtly political as Kuti was, they show their support for social action by donating a percentage of the sales of their new record (scheduled for release in 2007) to an organization that helps fight AIDS in Africa. (Appearing at Kinetic Playground on Jan. 6) –text: Ariel Sundel


SONiA AND DISAPPEAR FEAR
When listening to the soulful, moving and funky folk tunes of SONiA and Disappear Fear, one senses something deliberate at work. That’s because SONiA doesn’t simply make music, she makes poetry and raises awareness about oppression in all its shapes and forms. Each note and each lyric contributes to the depth of sound and meaning. But as her lyrics constantly evolve, so does her sound. SONiA plans to perform bits off of her upcoming CD, which will include songs in Spanish, Hebrew and Arabic when she appears at Red Line Tap this month. Though she’ll be touring with drums and guitars — SONiA plays guitar while Disappear Fear (a.k.a. Laura Cerulli) takes care of percussion — she hints that she may include a local guest vocalist or bassist. Her empowering music provides the perfect way to launch into the new year. It’ll get under your skin, moving your body and your soul. (Appearing at Red Line Tap on Jan. 6) –text: Jen Fischer–photo: Todd Framson

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