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AK1200, Pinebender, The Polkaholics, David Vandervelde & The Moonstation House Ban


AK1200
Back in college I had a crazy Persian friend who used to drive around campus and the greater Los Angeles area bumping drum ‘n’ bass super loud from his silver BMW. He used to pull up to the sidewalk next to me and say something to the effect of, “Sup brah! Where da bitches at?”, but I could never understand him because the bass from his car was so damn loud. One day I asked him what he was listening to and he handed me an AK1200 mix. I went back to my dorm and proceeded to blow my speakers and my own mind simultaneously. Aggressive, heavy, layered and thick…AK1200 (Dave Minner) is the real deal. Hailing from Florida and spinning since 1989, AK was one of the first Americans to contribute to the mostly U.K.-centric drum ‘n’ bass and jungle scenes. It’s hard to find a live jungle act anywhere these days, let alone in America, so don’t skip out on this one. (Appearing with Phantom 45 and Doctor Groo at Smartbar on Feb. 1) –text: Billy Kenefick


PINEBENDER
The Chicago trio Pinebender expertly blends together noise and melody until the two are virtually indistinguishable. Playing loudly and slowly, the band ekes all kinds of dissonance from their amplifiers, rattling paint off the walls to leave behind beautiful patterns that simply need a bit of coaxing to appear. There’s something jazzy and improvisational about this trio which makes their sound very honest. There’s a definite structure, but it’s still raw enough to feel like it could go off in a darker direction at any time — and often does. With this blend of melody and noisy aggression in mind, it makes the listener realize that if you’re not allowed to be the same person you are at work as you are at home, something’s lacking. On their latest full-length Nine to Wolf (Lovitt Records), Pinebender show us nothing’s lacking in their camp. (Appearing with the Retribution Gospel Choir and Artsy Golfer at Empty Bottle on Feb. 2) –text: Brendan Dabkowski


THE POLKAHOLICS
“Hot as a grilled kielbasa and crunchy as a potato pancake,” the music of The Polkaholics sears traditional Bohemian/Czech dance music with the spirit and intensity of punk rock. In their 10th year as a band, it seems as if founding guitarist/vocalist Dandy Don Hedeker, bassist Jolly James Wallace and drummer Action Jackson Wilson have never stopped partying. They’ve rocked just about every venue Chi-town has to offer, from Fireside Bowl and The Baby Doll Polka Club (RIP) to House of Blues and the Chicago Cultural Center. The Polkaholics have kept the ball rollin’ through the new year with their self-released, brilliantly titled CD, Polka Uber Alles. With new burners like “Beer, Broads and Brats”, “Polka Your Troubles Away” and “Let’s Kill Two Beers With One Stein”, you’ll want nothing more than to follow their advice and get your demented polka on like never before. (Appearing at Quenchers on Feb. 3) –text: Mike Scales


DAVID VANDERVELDE & THE MOONSTATION HOUSE BAND
In a refreshing air of individuality, David Vandervelde’s music doesn’t slap its listeners in the face with influences. Instead it consistently delivers a sound completely sure of itself — a funky, mellow blend of rock tunes wrapped up in a neat (but not overproduced) package. No matter what decade you grew up in, these ’70s-esque creations with a modern twist conjure up the soundtrack to that time in life where you’re old enough to feel like an adult but young enough to run around unburdened. Think being blown away by summer love, but not of the entirely innocent variety. Think lying on a hillside getting high under the stars. Vandervelde’s voice has a quality that’s hard to pinpoint, but is nevertheless magnetic and The Moonstation House Band’s instrumentation matches it perfectly. Vandervelde’s first full-length album couldn’t be more delightful. This is the emergence of something good. Real good. (Appearing at Schubas on Feb. 3) –text: Jen Fischer–photo: Matthew Kanable

Ad Astra Per Aspera, The Big Sleep, Do Make Say Think, Denison Witmer


AD ASTRA PER ASPERA
Remember that weird experimental art rock band you knew in college? The one that had some cool ideas but was just too freaking bizarre? Cue in Ad Astra, which is that band but grown up. They know how to use their samplers and they play without pretension. Listening to their Sonic Unyon-released 2006 debut album, Catapult Calypso, is like listening to 10 different bands for the price of one. This is not music for the simple-minded or the attention span-challenged. The Lawrence, Kansas-based band (their name is the state’s motto) doesn’t shy away from boundaries but rather jumps over them, tackling all types of genres with relish — from boot-stomping country twang to punk to noise rock that would make Sonic Youth proud. And vocalist/guitarist Mike Tuley elevates screaming to an art form. For people who say they like everything, this is your new favorite band. (Appearing at Ronny’s on Feb. 25) –text: Dorothy Hernandez


THE BIG SLEEP
NYC rockers The Big Sleep are quickly becoming the musical equivalent of Austin, Texas…anyone who has experienced either seems to walk away with the highest of praise. The magic of this particular band stems from the way in which the trio shifts effortlessly from Mogwai-esque walls of psychedelic drone to melodic riff-rock without seeming bipolar. While Danny Barria’s guitar pulls the band towards darker corners, the rhythm section of drummer Gabriel Rhodes and bassist Sonya Balchandani keeps the wheels pointed forward with a sharp post-punk energy. At times they do approach the line of drone-overload, in particular on “You Can’t Touch The Untouchable”, but there is always enough energy bristling beneath the surface to keep you on board. Their album Son of the Tiger was released last year on French Kiss Records, which has had a hell of a batting average as of late, and their bands always bring the goods live. (Appearing with The Thermals and Tight Phantomz at Subterranean on Feb. 28) –text: Don Bartlett–photo: Ofer Wolberger


DO MAKE SAY THINK
Taking their name from four action verbs printed on the wall of a classroom where they practiced, Toronto’s Do Make Say Think play a droning blend of psychedelic jazz-laden space rock somewhat akin to Godspeed You! Black Emperor. This is the kind of band that would make a fine instrumental backdrop for your art show, complete with nonsensical found films being projected as the band unhinges traditional musical expectations before your eyes. Much like the majestic live shows of Broken Social Scene (a band with whom they share trumpet player/bassist Charles Spearin), it’s hard not to get swept up in their more rockin’ numbers. DMST are entirely instrumental, which helps them retain that arty aloofness and intentionally vague minimalist vibe necessary to build a mystique. Their music has also recently been featured in films such as The Corporation and Syriana, so you may get an idea of their politics… (Appearing with Holy Fuck for the late show at Empty Bottle on Feb. 24) –text: Brendan Dabkowski–photo: Katia Taylor


DENISON WITMER
The music of Denison Witmer has shown little transition over the last 10 years, but that’s meant in a good way. While some great artists see their creative spark burn out over time, Witmer still paints the same flawless lullaby he created in his youth — with an aura of intimacy and honesty that has stayed with him over the years. After famously recording his 2005 Are You a Dreamer? album in one 24-hour period, Witmer is embarking on another epic accomplishment with 2007′s proper release of Safe Away — a record that he originally recorded in 1998 as a gift for family and friends that he pieced together as a teenager. Its tracks are laced with coming of age content (the ending of a first serious relationship, losing best friends, seeking religious answers, finding hope, post-teen angst and skepticism) that has earned Witmer a hefty number of Elliot Smith and Jeff Buckley comparisons. (Appearing with Noah Harris at Beat Kitchen on Feb. 25) –text: Jyn Radakovits

Inspector Owl, Musical Outfits, Teitur, Young Love


INSPECTOR OWL
Chicago’s Inspector Owl is either a little late for two current waves of experimentation or just in time to combine them. Since 2004, the ensemble has penned sweeping tunes a la The Secret Machines. Frontman Corey Wills uses palatable electronic undertones to make either atmospherically somber or undeniably danceable soundscapes. And depending on which, his tunes can subtly accent or clearly define a moment. But after a recent line-up change — including the addition of a violin player and a keyboard/horn multi-instrumentalist — Wills and his comrades seem poised to follow in the Arcade Fire’s brand of baroque chamber pop. Yet this quintet is at its best when fusing elements of these two phases. Keeping the theatrically long reach of those space-rock anthems while embracing the lush, more human element of the current cast allows Wills’ guitar rock stories to fall somewhere between the soil of Earth’s lithosphere and the stars of its mesosphere — which is right where they belong. (Appearing with The Felix Culpa and Dr. Manhattan at Metro on Feb. 18) –text: Derek Wright


MUSICAL OUTFITS
Being from Chicago, it’s not surprising that Musical Outfits possesses a certain degree of those wholesome, secure, Midwestern values so often linked to middle America. They sound like the type of band you’d want dating your daughter, that is, if you’d want your daughter in a steady relationship with four dudes and their guitars. It’s this type of safe-but-not-boring dynamic that’s heard on the band’s debut LP, 2005’s Left Here. But there’s an undercurrent just beneath the jangly chords and heart-on-their-sleeve balladeering that hints the band could make a turn at any moment and knock out a cocksure blues riff. It’s as if their good-natured first impression would make you think they like John Mellencamp; but when they get you alone they put on Tattoo You. While that’s nowhere near the best Rolling Stones record, its no Dance Naked, either. They are currently putting the finishing touches on their new EP, which they will unveil during a residency this month at Wise Fools Pub. (Appearing at Beat Kitchen on Feb. 21 and at Wise Fools Pub on Feb. 13, 20 and 27) –text: Derek Wright


TEITUR
In 2004, after landing a record deal with Universal, the Faroe Islands awarded Teitur the title of “Businessman of The Year.” If you’ve never heard of the Faroe Islands, it’s a tiny nation between Ireland and Norway and if you’ve never heard of Teitur then pay attention. After he got dropped from Universal, it was former tourmate John Mayer who came to his defense in Esquire magazine saying that Teitur’s 2003 release Poetry & Aeroplanes “may be one of the best albums to come around in the last five years.” Then again, Mayer is responsible for “Your Body Is a Wonderland”, so maybe we shouldn’t trust him on this. The “Businessman of The Year” may have parted ways with Universal, but his latest album Stay Under The Stars (Equator Records) deserves some credit. The album is elegantly light and best of all, it’s the only acoustic album I own that doesn’t give me suicidal flashbacks of past loves. (Appearing at Beat Kitchen on Feb. 18) –text: Sharyn Goldyn


YOUNG LOVE
Isn’t it already assumed that nightlife is about having fun and getting down on the dance floor? In case you forgot, Young Love has the music to keep reminding you. In the New York band’s just-released album, Too Young To Fight It, lead singer Dan Keyes sings in catchy, pop-ish tracks like “Discotech” to create a kind of musical collage of nightlife and love. Keyes, who is from Texas and was a member of the Austin-based band Recover, began Young Love after he got an offer from a friend in New York to pursue a solo music career. Then after moving to the city, self-describing his only possessions as one bag with demos and his guitar, Keyes started the indie/electro rock band and was eventually able to gain a spot on tour supporting Lady Sovereign. And in the band’s most noted, danceable tracks like “Find A New Way”, Young Love’s music encourages you to keep getting romantic on the dance floor. (Appearing with Moros Eros for the early show at Beat Kitchen on Feb. 23) –text: Jackie Bernardo

The Eternals, Midlake, Mr. Scruff, Josh Ritter


THE ETERNALS
The greatest thing about experimental music is that you never know what you’re going to hear next. Chicago-based band The Eternals have expressed this concept in their latest album, Heavy International, to be released with Aesthetic Records early this month. Just as in the first track on the album, “This Mix is So Bizarre”, the band throws in songs that seem to be a slight mix of hip hop, R&B, rap and electronic music with hints of reggae and funk, but their flow of instruments and unusual melodies cannot be categorized. The Eternals formed in 1997 when band members Damon Locks and Wayne Montana (former members of Trenchmouth) joined drummer/percussionist Tim Mulvenna. And while the band’s eccentric sound doesn’t seem to have any kind of conventional structure, their music is both interesting and unpredictable. (Appearing with The Watchers at Empty Bottle on Feb. 16) –text: Jackie Bernardo


MIDLAKE
Midlake’s latest album, The Trials of Van Occupanther, could have easily been plucked from the annals of California during the early to mid ’70s. With a mix of an elegiac Neil Young and folksy Fleetwood Mac, Midlake manages to evoke an aura of wide open spaces. But where the California sound was steeped in the burgeoning singer/songwriter movement, Midlake is a Texas rock and roll band stripped bare into layered vocals, acoustic guitars and percussive piano. Their echo of vocals also evokes a decidedly different behemoth from the ’70s: That of Pink Floyd circa the unforgettable side A of Meddle. All of this is to say that while the music seems a companion to a bygone era, Midlake does it with a panache that mere carbon copies can’t muster. As lead singer/songwriter Tim Smith puts it, “The sound is related to ’70s folk rock but not in a gimmicky way, hopefully.” Midlake has gotten it so right it’s haunting. (Appearing with St. Vincent for two shows at Schubas on Feb. 14) –text: Tim Slowikowski


MR. SCRUFF
Mr. Scruff is an unassuming guy who prizes a good cup of tea, is amused by sea creatures and draws curious cartoons featuring bulbous stick figures in seemingly semi-autobiographical adventures. He’s also one of the world’s top DJs known for marathon sets that keep the dancefloor moving for hours on end as the musical blend steadily evaporates the divisions between genres and styles. Last time through Chicago, Scruff’s 7-hour set found ways to fit in bits from Jay Dee, Erik B. & Rakim and The Cure while translating jazz, funk, Latin, soul and reggae sounds into one common language. His original compositions add his cheery spirit to the best elements of those same sounds. News that he’s road-testing some new bits of material these days was more than welcome — as Scruff’s last major release was 2002′s Trouser Jazz. (Appearing at Smartbar on Feb. 16) –text: Noah Levine–photo: Anthony Crook


JOSH RITTER
After hearing Bob Dylan and Johnny Cash’s duet of “Girl From the North Country,” in his hometown of Moscow, Idaho, Josh Ritter’s passion for folk music was born. He first appeared on radar when Irish band The Frames discovered him at an open mic in a Boston coffee shop. They asked Ritter to open for the Irish heroes during a tour of their homeland, during which Ritter was a hit with the natives. He then spent almost two years touring, forcing a lifestyle that no longer felt human to him. Hence, he named his fourth studio album (produced by former Red Red Meat member Brian Deck) The Animal Years. Ritter is currently touring for the album, which incorporates much of the Idaho native’s own social commentary. A lover of history and language, he was inspired by the writings of the notably un-rock-’n’-roll Mark Twain, Thomas Jefferson, and John Adams — and it shows. (Appearing at the Park West on Feb. 11) –text: Ariel Sundel

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