“There’s nine million people in Chicago,” says Sharkula. “A thousand new people here everyday. I got to sell CDs.” Chicago’s population is closer to three million, but it doesn’t really matter. The feeling, the sense of urgency, is the same. “Even if I’m taking a lunch break, I’ll be like ‘Hey, you like hip-hop?’” says Sharkula.

People whisk up and down Milwaukee Avenue cursing the lingering cold weather. Outside of a shoe store Sharkula stands, bag of CDs in one hand, wearing his usual hoodie-and-wool-cap uniform, and a comforting yet sly smile. A mom and her two sons walk by. “Hey, you like hip-hop?” She shoulders her sons past, letting a “no thank you” escape. A young man in a suit walks by, two college girls. All give the same response as the mom. Sharkula looks into the shoe store, waves at the familiar faces of the employees and walks up the street to another spot. “I love to go on tour,” he says. “I have been on tour since ’98. The tour of Chicago.” Read the rest of this entry »

RECOMMENDED

Sometimes Spoon is just too cool. Britt Daniel bubbles over with swagger and a low-key sort of rock-star intelligence, capable of making you dance and, you know, making you think. 2007′s “Ga Ga Ga Ga Ga” somehow caught a lot of people by surprise for being as strong as it was—all the while the records Spoon crafted before that, especially the magnificent “Kill the Moonlight,” should’ve prepared the world just fine. Spoon’s new record, “Transference,” doesn’t have the catchy hooks of “Ga Ga,” but is powerful just the same, with killer tracks like lead single “Written in Reverse” (piano is back!) and deep cut “Got Nuffin.” Overall, the album’s a little all over the place, as if the band was just fine and comfortable with what it’s done so far and this time around relaxed and had a little bit of fun. Understandable, and a little scary, considering how good “Transference” becomes with repeated listens. Bonus: Deerhunter plays tonight as well. (Tom Lynch)

April 1 at Aragon, 1106 W. Lawrence, (773)561-9300, 6pm.

Photo: Lisa Kereszi

RECOMMENDED

Upon hearing the name of this Brooklyn-based band, you half expect to see a group of ranchera-belting Latinas with bleached hair, sombreros and maracas. Instead, you get are is a group led by two classically trained gringas backed by a group that includes musicians from France, the U.S. and Colombia paying tribute to Latin American music while taking on Mozart as they go along.

The group got its start about five years ago when Emily Hurst and Alyssa Lamb got together to start a classical vocal duo. Unable to find suitable duets, they began playing around with the music of 1930s Mexican singer Lydia Mendoza. “We had so much fun that we wanted to do more, and just took it from there,” Hurst explains via an email interview.

On their third disc “Ziguala” (Barbes), Las Rubias sought to expand their sound by adding strings and also an electric organ, a direct influence from Chicha Libre, the band led by quatro player (and Las Rubias’ producer) Olivier Conan. Apart from that, the album follows the group’s tradition of combining classical elements into a Latin point of view—this time including a very personal version of Bizet’s “Sequedille.” (Ernest Barteldes)

8pm, April 1 at Morseland, 1218 West Morse, (773)764-8900. No cover.

RECOMMENDED

Flying Lotus is touring in support of his upcoming Cosmogramma album on Warp and early notices cite an impressive array of instrumentation and several high-profile collaborators. Fusing elements of dubstep, hip-hop and soul with breakbeat variations remains the thrust of his sound, but an earnest appreciation for Lil Wayne, Prince and Björk, and heavy inspiration from aunt and Alice Coltrane are pushing FlyLo to new heights. Along for the ride is Hyperdub honcho and London dubstep producer Kode9, whose efforts are best described as “bass-driven electronic music.” His use of dub samples and varied song structures offer listeners a rhythmic journey through glitch-influenced breaks and the layered pads and keys of house music. Catch these innovators at Double Door this weekend, and don’t forget it’s an early show. (John Alex Colón)

April 2 at Double Door, 1572 N. Milwaukee, (773)489-3160, at 8pm. $5 advance, $10 at the door.

Photo: Huy Ngo

OK, so Xiu Xiu’s new album is called “Dear God, I Hate Myself.” While this would’ve been a believable title for a 1990s emo act, or maybe Weezer, or more appropriately The Magnetic Fields, now it’s a little cringe-worthy, even coming from Jamie Stewart, who above all else surely hates himself. I don’t doubt that. I only question the final decision-making process that led Stewart to decide on this title, a title that not even Morrissey dared employ. (I’m sure countless bands over the years, when discussing potential titles for new records, tossed the tag around self-mockingly and with great laughter.) There is a title track, a traditional—if you could use the word traditional when discussing Xiu Xiu—Stewart track that’s only a little catchy and features jarring structural shifts that render it practically unlistenable. There have been moments in the past in which Stewart’s talent has risen above all of this experimental bullshit and he’s produced a song that actually makes him seem human—unfortuantely, on “Dear God, I Hate Myself,” he smothers under the weight of his own self-obsession. Next! (Tom Lynch)

April 3, 2424 N. Lincoln, (773)525-2501, at 9pm.

RECOMMENDED

Pendulum forcefully entered the drum ‘n’ bass scene in 2002 with epic, synth-driven anthems that fused the genre’s darker soundscapes with arena-rock flair. The Australian group channeled its successful sound into live-band efforts and struck gold again as it pushed the genre into festival and concert lineups. This appearance promises sounds from their new album and a return to classic Pendulum DJ sets, with vocal support from MC Verse. L.A. Riots will drop their their oft-lauded approach to club-pop fusion on the Bottom Lounge dance floor and the drum ‘n’ bass deck skills of Chicago’s Stunna and Alfonz de la Mota are sure to keep it filled. (John Alex Colón)

April 3, 8pm, at Bottom Lounge, 1375 W. Lake, (312)666-6775. $15.

RECOMMENDED

The legendary Brazilian musician Gilberto Gil has gone from the angry electric guitar-heavy music of sixties-era Tropicalia, to explorations of reggae (the first to introduce the genre to his country back in the 1970s), samba, contemporary rock and many other genres. In 2008, he flirted with advanced technology, resulting in his acclaimed “Banda Larga Cordel” (Universal Music), which he promoted with an extensive US tour.

This time around, Gil will bring a much more intimate format. Instead of his usual ten-piece band, he will be backed solely by his guitarist son Bem Gil and legendary cellist Jaques Morelembaum, who has produced or performed with the likes of Jobim, Caetano Veloso, Marisa Monte and countless others. Expect a mix of spontaneity and structure—just the kind of thing that Gil likes to tackle and recreate in his own way. (Ernest Barteldes)

Friday, April 2 at 8pm at The Symphony Center, 220 South Michigan.  $15-50.

RECOMMENDED

Oakland’s backbreaker veteran metal act High on Fire, led by vocalist and virtuoso guitarist Matt Pike, has been one of the most exciting American metal acts since its inception in 1998. The band took the roots of stoner metal and sped it up to a blistering pace—Pike’s assault, both with voice and often unbelievable speed on the fret board, crushes you into submission. New record “Snakes for the Devine” continues High on Fire’s path of destruction; incessant, powerpush drumming, wicked riff-heavy guitar upheaval and, of course, Pike’s throat-destroying vocal growl build up to a beautiful, chaotic symphony. When metal is done right—as it has been by this trio time and time again—the fundamental thrill of hearing driving musical madness comes to the surface and there’s little else in the world as enjoyable. “Snakes for the Divine” may be imperfect if you pick it apart piece by bleeding piece, but if taken fully at the right moment, it does, indeed, feel perfect. Divine, even. (Tom Lynch)

April 2 at Lincoln Hall, 2424 N. Lincoln, (773)525-2501, 8pm.

RECOMMENDED

The Drag City star’s third album, the two-hour-long triple-record “Have One on Me,” is an expansion of Newsom’s gaze, as the songstress weaves more baroque passages into epic storytelling. The harp remains Newsom’s instrument of choice, though the piano makes notable appearances as well; lyrically, she’s playing in the same field of elevated sorrow, though some of the arrangements have been punched up. Newsom couldn’t have written a song like “Good Intentions Paving Company,” chamber pop all jazzed up, before now—it’s that sort of stretching of the muscles, and increase in confidence, that makes this record keep pace with the other two. Newsom’s aching numbers ultimately serve as the backbone of this massive collection—”Go Long,” terrific, is a serious mourner, “In California breaks you in half and closer “Does Not Suffice,” driven by Newsom’s simple piano playing, could be the record’s top achievement. “Have One on Me” is an exhausting affair—simply too much much to be taken in during one sitting—and that harms the effectiveness. (The album could’ve been cut by four or five songs, at least.) Newsom may not be able to match the ingenuity and freshness of her debut, “Milk-Eyed Mender,” but as far as monumental records of colossal scope, you could do much worse. (Tom Lynch)

April 3 at Vic Theatre, 3145 N. Sheffield, (773)472-0449, at 7:30pm.

Bryan Zentz

RECOMMENDED

Bryan Zentz, a self-professed studio junkie, has been DJing and producing music since the early nineties. An in-demand remixer, Zentz’s sound has evolved over the years, but always has a strong techno backbone with heavy emphasis on original sounds, rather than sampling. Zentz made a name for himself with several essential acid releases as “Barada”  and his early productions were released on the legendary label Definitive. Zentz also has releases on Primate, Tronic, Richie Hawtin’s Plus 8, and many more. He has generated some brilliant releases in recent years on CMYK and Morris Audio under his stare5 alias, which showcases more stripped-down techno and house-inspired sounds. Zentz returns to Chicago to headline a techno-heavy showcase at Smart Bar. Detroit’s first lady of techno, Punisher, will also be performing. The Smart Bar event will celebrate the sixth release for Punisher’s label, Hej Records. Joining Bryan Zentz and Punisher is Chicago techno don Frankie Vega, who will be playing a birthday set. Chicago-based up-and-comer Jason Dunlap will perform his first hybrid Live PA/DJ set, while Chicago’s Matt Main will take on opening duties. (Elly Rifkin)

April 2 at Smart Bar, 3730 North Clark, (773)549-0203, at 10pm. $12 after midnight.