Last year Steve Hauschildt, at the time still a member of recently disbanded Cleveland experimental trio Emeralds, released the most lush and developed work of his career. The credits to his album Sequitur (Kranky) list voice and 18 pieces of electronic gear, and its richly layered songs push forward his fusion of post-Tangerine Dream kosmiche and meandering retro-New Age music by injecting it with Technicolor pop. Hauschildt’s voice, disguised by vocoder, often occupies the foreground, and according to the album’s press materials its neutered sound is meant to suggest the androgyny fostered by high technology—a stale conceit I could’ve done without, given that the music’s plasticine hedonism does all its own messaging. More recently Hauschildt released S/H (Editions Mego), a sprawling double CD of relatively minimal material made between 2005 and 2012, and most of its 37 pieces—some previously unreleased, all of them hard to find—feel like sketches or experiments, in contrast with the meticulous compositions on Sequitur. “Thumbprints,” from October 2012, shares the pulsing, beat-driven feel of the Sequitur tracks, but it’s leaner and rawer. For this solo performance, the final concert in Lampo’s fall season, Hauschildt will be in experimental mode, performing publicly for the first time with the Buchla Lightning, a MIDI controller designed by synth pioneer Don Buchla that translates the movements of two wands into signals Hauschildt can use to manipulate his rig. —Peter Margasak Free with RSVP at eventbrite.com/e/lampo-steve-hauschildt-tickets-8593787249.
On last year’s charming and infectious Mujer Divina: Homenaje a Agustin Lara (Sony Music Latin), forward-looking Mexican pop star Natalia Lafourcade took an unexpected but welcome look at one of her country’s biggest stars, Agustin Lara, a great bolero and ballad singer and composer from the 1930s. On previous records she hasn’t come across as overtly concerned with Mexico’s musical legacy, instead charting her own musical path, so it’s not surprising that she avoids period details on Mujer Divina, preferring sweet, bubbly arrangements that sound like dreamy 50s pop records (but don’t undercut the sadness of the songs). She duets with a different male pop singer on almost every track—the international cast includes elder statesman Gilberto Gil and alt-rock artist Devendra Banhart—but Lafourcade never cedes control or loses the aesthetic thread. The album is as gorgeous and cohesive as anything she’s done, and it’s got me looking forward to her next move. —Peter Margasak Ulises Hadjis opens. $30
This postpunk band from Lafayette, Indiana, recorded its first songs in 2007, when some of its members were still in high school, and this fall Madison label Kind Turkey released them as the Television Ghost seven-inch—two tracks of blown-out, sinister garage rock with the bad vibes and nervous energy pushed to 11. Television Ghost could stand on its own as a weirdo-punk masterpiece, but it’s even more interesting alongside TV Ghost’s fourth album, the epic double LP Disconnect (In the Red), which came out the same month. The amount of evolution that the band has undergone over the past six years is astounding. Disconnect is airy, spooky, and gothic, trading in the overdriven organ of Television Ghost for somber, icy synth—and the deranged howl of front man Tim Gick has become a desperate, dramatic wail. TV Ghost’s recent live sets have consisted mostly of Disconnect material, and the record’s theatrical, over-the-top feel makes for an almost supernaturally engaging live show. —Luca Cimarusti Holograms headline. $10