Pacific Northwest singer-songwriter Rocky Votolato has maintained a remarkable consistency during his more-than-ten-year solo career. While fronting power-emo group Waxwing he released his minimalist, melancholy self-titled debut in 1999; Waxwing released its last record in 2002, but Votolato continued to make records under his own name—2003’s “Suicide Medicine” and 2006’s “Makers,” one Second Nature Recordings and the other on Barsuk, were highlights. Over time Votolato slowly increased his sound with full-band accompaniment, and also got away from the somber acoustic blood-letting and moved more towards rock-folk and even country, embracing his Texas roots.

Votolato is a family man now with a wife and two kids, and on “True Devotion,” his brand new record for Barsuk, he takes a step back and slows the pace, offering songs with little more than just his voice and his guitar-playing. A subtly hopeful record, devastatingly pretty, “True Devotion” was the result of a year-long battle Votolato had with isolation and depression. Read the rest of this entry »

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The inauguration of the Year of the Tiger, the lunar or “Chinese” New Year 4708, began with the new moon that occurred on Valentine’s Day, and climaxes this weekend with the first full moon of the New Year.  It would be difficult to imagine a better way to celebrate than with the North American debut of the Hong Kong-based Windpipe Chinese Ensemble.

Thanks to the auspices of the Hong Kong Economic and Trade Office of New York, which is sponsoring the tour, and Chicago’s Fulcrum Point New Music Project, the Windpipe Chinese Ensemble will present a free, one-night-only area performance that will spotlight this remarkable group that seeks to preserve traditional Chinese music on indigenous instruments as well as create a new body of contemporary Chinese music for ensemble that feature both traditional and modern instruments.         Read the rest of this entry »

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Chilean-born Swede Alexi Delano has been nothing but prolific, cranking out release after release, remix after remix and collaboration after collaboration on labels like Trapez, Harthouse and Plus8. And with successful collabs with fellow Swedish dance-floor luminaries like Cari Lekebusch and Jesper Dahlback, Delano’s profile has definitely been on the up and up. But most easily identified on his solo material or remixes is Delano’s adept ability in crafting dark melodies and sinister hooks that somehow resonate above other compositions tapped from the same emotional source. Notes that bend, noises that make your ears tingle and neck-hair stand up among the clicks, beeps and robotic voices…there are few who do it better than Delano. And if you’re a lover of that weirdness on the dance floor, Delano’s set tonight is a must-catch. Also joining Delano on the decks tonight are a pair of local Detroit ex-pats in techno veteran Tim Baker, of Elephanthaus and Real Estate Records fame, and Jason Patrick. Baker is well-known for his ability to infuse hard-edged techno, 303-laced acid tracks and other, more soulful elements into his sets, while Patrick has seen his profile rise steadily with bookings and releases on his own Klectik Records imprint. (Duke Shin)

February 26 at Smart Bar, 3730 N. Clark, (773)549-0203, at 10pm.

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Chicago’s hustling Migrashun crew haven’t been afraid to spread their techno and deep-house sounds to this city’s clubs and lounges, having previously held events at the Victor Hotel, Smart Bar, Rednofive and Debonair—the current home for their Prism nights. Tonight, the Detroit-leaning crew welcomes another Motor City favorite to town in Drew Pompa, co-director of the Blank Artists collective, who have been balancing adventurous releases with impeccable bookings and great parties for the last five years. Much like his crew’s propensity for collaboration with other top Detroit crews, Pompa’s tastes are also wide open, as reflected by his wildly ranging sets. And sure, Pompa might streamline his selections for certain parties, for being eclectic is an admirable trait lacking from many other DJs’ recorded mixes, but when charged with the responsibility of a dance floor, he knows when best to keep things moving. But what’s never lacking from the sound is that hint of other influences; Afro-beat, trippy psyche-outs, dubby bottom noise, form emerging from sonic cacophonies…all weaved into the fabric of his take on house and techno. Joining Pompa tonight is a rare live performance from Galuszka, who over the last few years has quietly produced some of Chicago’s best techno—deep cuts that charm the listener with a clean, jackin’ sound and nineties-hearkening warmth, as evidenced on tracks like “Fox Hunt” and “Jets.” Perhaps tonight will provide a glimpse of what this up-and-coming producer has up his sleeve for 2010. (Duke Shin)

February 25 at Debonair Social Club, 1575 N. Milwaukee, (773)227-7990, 10pm.

(Duke Shin)

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Often mistaken for actually being from Glasgow, this dream-pop company hails from Philadelphia. Pairing ambient shoegaze atmosphere with electronic beats and heavenly vocal harmonies, the band’s two full-length records have been artistic successes if not quite homeruns. The group’s EPs have been impressive too, and their most recent, “Nitetime Rainbows,” will be released the first week of March. While the band has enough talent to one day create an astounding record from start to finish, it hasn’t yet; the group does seem to be leaning more towards minimalist techno and away from traditional rock these days, and it suits them well. But that doesn’t mean A Sunny Day in Glasgow can’t be unbelievably frustrating—every time a song seems to be approaching a moment of stunning beauty, the band backs off and injects some sampled weirdness. Live, though, this is all said to be a treat. (Tom Lynch)

March 3 at Schubas, 3159 N. Southport, (773)525-2508, at 9pm. $8-$10.

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They are called The Sandwitches. They have an album, and it’s called “How to Make Ambient Sadcake.” Honestly, just on paper, it’s a struggle to determine if there’s anything not to like. The San Francisco three-piece combines DIY bedroom-sound with sixties girl-group pop. The songs are lo-fi but bursting with pop-songwriting talent—a bit like the Vivian Girls, actually, with less distortion and shoegaze haze. The vocal harmonies that The Sandwitches display are beautiful and strangely haunting—this is like a band that only exists in dreams or David Lynch films. The low quality of the production actually charms this time, as opposed to the growing trend of actually forcing your music to sound like shit, a la Wavves. The songs that feature organ, like “Beatle Screams,” will stay with you for days,” and the straight-up oldies-station-sounding “Back to the Sea” could’ve soundtracked Marty McFly’s first visit to 1955 Hill Valley, instead of “Mr. Sandman.” If The Sandwitches don’t do too much after this record—not saying they are incapable, or that they don’t already have epic plans for the future—”How to Make Ambient Sadcake” has cult record written all over it. (Tom Lynch)

February 28 at Empty Bottle, 1035 N. Western, (773)276-3600, 9:30pm. $3.

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Charging, fist-pumping rock ‘n’ roll with killer leads and, as they call it, “ball-kicking bass,” local troupe Black Actress brings a little damage to Double Door, a furious tornado of boozy blood that could stir a riot. Some seventies punk influence is in here as well, as each song seems set to hyperspeed. Shouting, raging vocals and tireless drum-pounding should bring the crowd to its feet, if the audience isn’t already too drunk to stand. Most of the songs feature some type of hook or chorus that seems destined to be chanted from barrooms. “We’re the kids of yesterday!” is only one of them. Rock music was forever in love with guitar solos, but then seemed to turn its back on them starting in the late nineties. Black Actress brings the tool back with a vengeance. This should be fun. (Tom Lynch)

February 25 at Double Door, 1572 N. Milwaukee, (773)489-3160, at 9pm. $8.

Tuesday is often overlooked. It’s too far from the weekend to seem relevant, no one ever gets a “case of the Tuesdays,” and it’s certainly not hump day. Dr. Zvonimir Tot and the Department of Performing Arts at UIC are trying in earnest to bring some life to the neglected workday with “Tuesdays at 1,” a regularly scheduled concert series at the school. “We wish to expose the audience to a diverse, high-quality music programming featuring reputable artists in a variety of musical styles, including classical, jazz and world music,” Tot says. Along with outside musicians, the series also serves as a showcase for the Department of Performing Arts faculty. Not only is it nice for the faculty to perform for their students but, as Tot says, “Faculty performances also present an opportunity to introduce our teachers as performing artists to the general public.” The concerts are at 1040 West Harrison, building EPASW, recital hall L060. All performances are free and open to the public. Jim Gailloreto’s Jazz String Quintet plays on March 2. (Peter Cavanaugh)

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Touring behind his first full-length release since 2005′s “Everything’s Ecstatic,” Four Tet makes a return to Chicago, where he’s become a welcome visitor. Perhaps it wasn’t always this way—in years past it was easy to praise Four Tet for his unique blends of pristinely produced musical beauty and noise that challenged the definitions of electronic music, but sometimes hard to stomach the indulgent nature of his uneven live performances. But somewhere, over time, man-behind-the-moniker Kieran Hebden began streamlining his live performances, channeling his genius into digestible dance-floor bites, shaped by his increased interest in DJing. Through his monthly residency at London’s famed Plastic People, Four Tet began trying out his new compositions on the unsuspecting public—perhaps standard operating procedure for most producers, but new to avant-jazz and folk-loving Four Tet. The result is apparent from the start of “There Is Love In You,” with leadoff track “Angel Echoes” harkening back to the sonic bliss of a classic like “My Angel Rocks Back And Forth,” but with the added urgency of a 4/4 beat. The album is a delight for both the feet and the head, and tonight’s show at the Empty Bottle should be an incredible night, as Four Tet’s diffused genius gets focused for a dance floor. Also performing—and making his Chicago debut—is Nathan Fake of Border Community fame, who first made waves with 2004′s melancholic club hit “The Sky Was Pink,” and is touring behind his latest and harder-hitting full-length effort, “Hard Islands.” (Duke Shin)

February 19 at Empty Bottle, 1035 N. Western, (773)276-3600, at 8pm & 11pm. $15.

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For the last year and a half, Freakeasy has been lighting up Chicago’s underground scene with its distinctive brand of partying centered around positive vibes, community and live art and installations. Part of what makes their events so successful is the partnering of like-minded organizers including the illmeasures crew, best known for house, techno and downtempo, and DJ/producer Radiohiro, whose ethno-centric breakbeat and dubstep sounds have been building a steady following for the last few years. With the two principals at complete opposite corners of the dance-floor sonic spectrum, Freakeasy boasts among the most diverse lineups, with techno, dubstep, house, breakbeats and the kitchen sink thrown together in a single evening. Tonight, the underground bubbles above ground with an event at Smart Bar, featuring regulars Radiohiro & MC Zulu (pictured), Brad Miner and Striz, with special guests DJ Form (formerly with the Baldwin Brothers) and San Francisco-based, Sri Lanka-born Asian Massive pioneer Janaka Selekta (with JC Stokes). But sadly, I don’t think the fire-dancing performances common at Freakeasy events will be permitted inside! (Duke Shin)

February 18 at Smart Bar, 3730 N. Clark, (773)549-0203, 10pm.