RECOMMENDED

Following the late-winter release of his impressive “Space Is Only Noise” album (Circus Company), fans of Nicolas Jaar are likely wondering what to expect from his upcoming appearance at SmartBar. Hardly similar to previous adventures in tech-house, Jaar’s latest includes nods to jazz, blues, R&B and ambient breakbeat, resulting in compositions that place him closer to James Blake than Richie Hawtin on the electronic-music continuum. Rest assured that Jaar is also aware of the conundrum this presents, particularly as a touring artist associated with dance music. His slow-burn approach proceeds from the downtempo aesthetic, to which he adds effect-laden layers of bass, instrumentation and vocals. What results could be deep house, jazz-fueled breakbeats or defined by a lack of percussion. Jaar’s body of work is replete with elements often described as organic, ethereal and melancholy, in order to define efforts that defy traditional genre labels. Jaar’s music sits comfortably in that defiant category for his interest in and talent for composing disparate, yet sonically intriguing elements. As such, there is little need to discuss his use of Ray Charles’ samples or what his album says about the state of electronic music. (John Alex Colón)

March 25 at SmartBar, 3730 North Clark, (773)549-0203. 10pm. $10 advance, $12-$15 door.

RECOMMENDED

Simultaneously garnering props from music industry hotshots and technology aficionados, Moldover’s 2009 debut album was more than an Internet flashpoint, it fostered the growth of a paradigm shift in live electronic stage acts: controllerism. Like a phoenix rising from the ashes of a dysfunctional MacBook, Moldover’s work catapults the stoic, laptop-based events of years past into a new era of rockstar idolatry, with the software controller in the driver’s seat. An unmistakable rock influence pervades his musical efforts, which deftly run the gamut from rapid, techno-fused breakbeats to glitch-inspired funk. Moldover will be supported by the DJ skills of Chicago favorites Striz, Magpie and Duke Shin. (John Alex Colón)

March 11 at Darkroom, 2210 West Chicago, 9pm, free before 10pm, $6 after.

Photo: Joe Carsello

By David Wicik

One of the first things to remark about the band Shapers is just how mature of a sound the group has been able to achieve in such a short period of time. But there’s a simple explanation for that. While the four-piece ensemble, who make nuanced experimental music, have only been recording as Shapers for about a year now, they have been playing together and evolving as musicians for nearly a decade.

Shapers is comprised of married couple Zaid Maxwell and Amelia Styer, Todd Waters and Steve Reidell, the latter better known for his work on world-famous music blog The Hood Internet as DJ STV SLV, mash-up maestro extraordinaire (Styer jokes that Reidell looks at the Shapers project as “his crazy little brother”). The four formed the core of May or May Not, a now-defunct pop group that Maxwell says took after late-era Beatles work in its song structure and sound.

The transition from MoMN to Shapers reflects a sea change in the group’s methodology. Whereas MoMN was a group of songwriters working in isolation, Shapers embraces a more aleatoric approach to music making. As Waters explains, “Those (MoMN’s) pieces were mostly written, and we would all make our part for it. In this band we just make it up, we improvise and record ourselves and then try and go back and find the good parts.” Read the rest of this entry »

RECOMMENDED

The Chicago Symphony Orchestra’s MusicNOW series features performances from the CSO collaborating with guest composers, with the last edition featuring avant-jazz, electronic flourishes and dynamic arrangements, highlighted by their talented principal percussionist Cynthia Yeh. But this next edition is definitely one of the more intriguing programs to grace the Harris Theater in Millennium Park, and features none other than Jan St. Werner and Andi Toma—better known to music fans worldwide as German genre-leaping electronic geniuses Mouse on Mars. And from the icy, off-kilter 4/4 beauty of “Send Me Shivers,” to the ambient washes of “Glim,” to the Squarepushing glitch assault of “Milleader,” to the digi-ragga-meets-chimes playfulness of “Scat”—and we could go on and on and on here—Mouse on Mars provide an intriguing amount of sonic possibilities when pairing with CSO musicians. The duo normally incorporate a drummer along with other live instrumentation to augment their electronic brilliance, and with eighteen years and nine LPs of material, this should be an unpredictably unique experience. The evening’s program will also include “A Cat’s Seven Lives” by Martin Matalon, originally written to accompany Luis Buñuel’s 1929 surrealist film masterpiece “Un Chien Andalou.” Local electronic artist Brad Miner of Illmeasures fame will also be on hand to perform two live sets of original electronic music in the lobby before and after the event—stick around for the free food, drinks and an opportunity to mingle with all of the artists. (Duke Shin)

January 31 at Harris Theater for Music and Dance, 205 East Randolph, (312)334-7777. 7pm. $20.

By John Alex Colón

Enter the box set. Such backward trips through past creations, recent efforts and unreleased recordings are reserved for the end of the road, the geriatric frontman’s shameless grasps at the straws of relevance. With Richie Hawtin’s Plastikman project, such relevance is not only palpable, but also possesses an inertia poised to upend the electronic music live performance.

Hawtin acknowledges his defiance of the natural order and explains that his newest project, “Arkives,” encompasses all things Plastikman in an effort to “go back to some of those ideas we wanted to do back in those early days in Detroit, back to the early Plastikman shows.” His goal is to develop the moniker and live performance, which requires an update for longtime and newfound fans.

Such progression requires a sense of history and Hawtin’s answer is this comprehensive box set, which aggregates seventeen years of Plastikman material. The limited collection must be pre-ordered before December 31, 2010, and only the number of orders placed will be manufactured. Read the rest of this entry »

RECOMMENDED

Freakeasy’s two-year run in the underground loft scene is over but the vibe lives on in a post-Thanksgiving soiree at Metro that features Deee-lite’s former songstress, Lady Miss Kier. The Freakeasy 2nd Anniversary Freakin’ Ball celebrates the continued tenure of the fabled Freakeasy initiative and rumor has it this won’t be the last time it visits Metro. Expect the finest underground sounds from the illmeasures DJs, including Striz and Justin Reed, a live set from Brad Miner, Radiohiro and MC Zulu. Additional highlights include live art installations around the venue to complement the musical performances. Presale tickets are available at http://freakeasy.net. (John Alex Colón)

November 26 at Metro, 3730 North Clark, (773)549-4140. 8pm. Tickets $20-$30. 18+.

RECOMMENDED

Os Mutantes were one of the most influential bands to emerge during the late sixties in Brazil. The band was tangled up in the Tropicalismo movement—the country’s response to psychedelics—with Caetano Veloso, Gilberto Gil, Tom Ze and others, but they were lucky enough to escape mostly unscathed from the political persecution that Veloso and others suffered from the military dictatorship that took control of the country after a coup in 1964. The band went on to have a fruitful career that lasted until they ultimately broke up in 1978 after suffering numerous lineup changes. They remained dormant until the Baptista brothers reformed the band in 2006 sans Rita Lee, who refused to participate in the relaunch.

After a successful US tour, Arnaldo Baptista once again left the group in 2007, leaving his brother to lead the new lineup (which includes founding drummer Dinho Leme), which released “Haih or Amortecedor (Anti)” in 2009.

The band’s most direct reference came straight from the Beatles and The Rolling Stones, but they also borrowed from the sounds they grew up hearing in Brazil. Their sound incorporated everything from soul, jazz, samba, early funk and other genres—a mish-mash that ultimately became the band’s signature. Read the rest of this entry »

On their sophomore release (which follows up on 2008′s “Asuncion”), the multinational trio formed by Silvana Kane (vocals), Adam Popowitz (guitar) and Toby Peter (bass), continues to push their clever blend of pop, soul, Latin alternative and Eastern music. Their sound brings together tablas, African drums, electronics and indie-music sensibilities into one cohesive package, and the result is often surprising.

“Supermagique” kicks off with “Close to Everything,” an electronics-laden ballad. The group turns the heat up with the bilingual stomper “Chocolate” and “Ana Maria,” a Cumbia-inspired, percussion-rich tune that is sure to hit World Music-friendly dance floors around the world. The title track is also impressive, with its multi-layered vocals and compressed drumming. Peter’s bassline holds everything together, while Popowitz’s U2-inflected guitar riffs give the track a special edge (pun intended).

While most tunes have a more uptempo feel, slower moments like the French-language “La Matin” are also impressive. Peter clearly borrowed from prog-rock players like Chris Squire here, adding inspired lines where less-gifted musicians would probably have gone for something simpler. It is clear that a two-year layoff between albums was helpful, as there are no duds here. Every track is a small gem with great sonic discoveries along the way, which makes it the end-of-summer disc to have. (Ernest Barteldes)

“SuperMagique”
Pacifika
(Six Degrees Records)

Black Devil Disco Club

RECOMMENDED

Smart Bar and Red Bull Music Academy support the Sónar festival’s inaugural visit to Chicago by presenting quite possibly the show of the weekend. Out of the library and onto the stage bounds Black Devil Disco Club, the reclusive astral traveler whose compositions on early French, Italian and UK experimental labels inspired Richard D. James at Rephlex. Influencing James, aka Aphex Twin, brings a heavy dose of street cred, which explains the fervent anticipation surrounding Bernard Fevre’s visit to this Sonar Club Night. Also on the bill is Skull Disco alum Appleblim, whose work with Shackleton and Tempa Records propelled him into dubstep’s royalty. His nods to techno elements are well-known, his stark, metallic percussion often playing bad cop to Shackleton’s rhythmic, dub-inspired efforts. These two heavyweights are not alone on this special night: Space Dimension Controller offers a live set, Todd Osborn brings his spectral side to bear, and Cosmin TRG drops his signature ‘hitek-house’ dubs. Get there early, folks. At $5 all night, this show is on everyone’s radar. (John Alex Colón)

September 10 at Smart Bar, 3730 N. Clark, (773)549-0203, 10pm. $5 all night.

RECOMMENDED

Listening to Ben Frost’s “Theory of Machines” (Bedroom Community), it’s difficult to concur with the categorization of “post-minimalism.” His compositions fly in the face of any label, at once gorgeous and terrifying. Certainly electronic music in the experimental vein, Frost’s work seems to interpret the would-be sounds of a blissful void, shockingly interrupted by the overwhelming sounds of pain. Imagine the backdrop of Loscil and Brian Eno pierced by the industrial tendencies of Trent Reznor and you might come close to Ben Frost’s sound. Felt as much as heard, his music elicits the feelings of fear and loneliness reserved for horror-film scores and thunderstorms, amplified by guitar-shredding and haunting vocal samples. Frost appears as part of the internationally acclaimed music and multimedia art festival, Sónar, which visits Chicago from Barcelona for the first time. (John Alex Colón)

September 11 at Chicago Cultural Center, 78 East Washington, (312)744-6630. 6pm. Free. Limited capacity.