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The Treatment 

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friday21

cBONDE DO ROLE The haters--after all the hype about the singles, they were bound to come out of the woodwork for the first album--say Bonde do Role are irresponsible assholes who happen to be Brazilian, yelling dumb stuff over ripped-off party beats and disrespecting their own musical culture. But the band's tossed-off hybrid of ghoulish swamp punk, dirty-butt metal, lite baile funk, wacky-pants electro, and foulmouthed favela rap is so buoyant and flip it makes any naysayer sound like a pedant who's missing the point. Do you wanna sit there and talk about your music, or do you wanna dance? I'm pretty sure With Lasers (Domino) won't be remembered as a great album, but it has its moments of sweaty-back ecstasy--particularly the electric "Divine Gosa," with its gobs of gnarly synth mauling a fucked-against-a-wall beat. As Rodrigo Gorky, the group's DJ, admitted in a June interview, Bonde do Role are "just a bunch of kids, without no instruments and a lot of screaming"--exactly the kind of thing I like. Juiceboxxx opens. a 10 PM, Empty Bottle, 1035 N. Western, 773-276-3600 or 866-468-3401, $12, $10 in advance. --Liz Armstrong

c ESG ESG first emerged in the late 70s and excels at the kind of joyous, polyrhythmic pop confections that are perfect for dancing and sampling. But as the title of one postreunion 1992 EP says, Sample Credits Don't Pay the Bills. While a whole generation of hip-hop and indie-dance artists has amassed piles of cash on borrowed beats, the Scroggins sisters are still scrabbling to get by--and to keep playing. Drummer and former MTA worker Valerie Scroggins is embroiled in a workmen's comp case; if she's well enough to drum, they say, she's well enough to drive a bus. She's sitting out this show. The lineup will be anchored by two original members, singer and guitarist Renee Scroggins and bassist Leroy Glover, and rounded out by two Scroggins daughters. Tonight's performance is a part of Estrojam (complete schedule, page TK), which is billing this as ESG's last show ever. Let's hope not. The bill, from top to bottom: ESG, Yo Majesty, Bahamadia, Psalm One, Rita J. a 8:30 PM, Abbey Pub, 3420 W. Grace, 773-478-4408 or 866-468-3401, $20, $75 for a festival pass, 18+. --Monica Kendrick

FROM BETWEEN TRIO Saxophonists Michel Doneda and Jack Wright--a fiftysomething Frenchman and a sixtysomething Philadelphian--have been improvising for a while now, and it seems to have kept them flexible. On their first recording with 37-year-old percussionist Tatsuya Nakatani, From Between (SoSEditions, 2005), they readily adopt the austere, gestural sound that's come to dominate free improv over the past decade, using breathy sibilance, tiny flutters, and striated cries to create a music of exquisite care and patience. For the trio's second album, last year's No Stranger to Air (Sprout), they took the title of the first as the name of their group. Here the results are more aggressive and visceral, reflecting the reedists' free-jazz backgrounds, but still stay clear of any idiom: the focus remains on interaction and exploration, not form. a 9 PM, Elastic, 2830 N. Milwaukee, 773-772-3616, $7 suggested donation. A --Peter Margasak

INFAMOUS STRINGDUSTERS In the midst of the bluegrass boom, it's nice to find a band with killer chops that isn't either pandering to the jam-band set or acting like a bunch of reconstituted hillbillies. This young Nashville sextet covers a lot of ground on its recent debut, Fork in the Road (Sugar Hill), from the pure, lyrical country of "Starry Night" to the Nickel Creek pop-grass of "Letter from Prison." The songs are sturdy--a cover of John Mayer's "3x5" notwithstanding--with elaborate vocal harmonies and a fierce rhythmic drive. Sometimes the arrangements are a bit too polished for my taste, but that energy more than makes up for it. See also Saturday. a 8:30 PM, Oaktoberfest, North Blvd. & Marion, Oak Park. F A --Peter Margasa

saturday22

INFAMOUS STRINGDUSTERS See Friday. This gig kicks off the new season of the invaluable Bluegrass Legends Series. a 8 PM, American Legion Hall, 1030 Central, Evanston, 847-573-0443, $20, $15 kids and seniors. A

c betty lavette On "Before the Money Came (The Battle of Bettye LaVette)," a track off the Detroit soul singer's new Scene of the Crime (Anti-), LaVette looks back with a triumphant sneer on a career that took four decades to get off the ground. She bitterly recalls cutting a shoulda-been classic album in 1972 at Fame Studios in Muscle Shoals, which was inexplicably shelved by Atlantic and didn't see the light of day till a French label released it in 2000--but she got the last laugh, achieving broad success with 2005's I've Got My Own Hell to Raise, an unlikely collection of songs by everyone from Aimee Mann to Sinead O'Connor that she made all her own. On Scene of the Crime, a bluesy powerhouse of a record that deals head-on with intractability, misjudgment, and decline, LaVette picks another improbable context: she's backed by southern rockers the Drive-By Truckers (and Muscle Shoals vet Spooner Oldham on keyboards). In lesser hands this stuff might sound maudlin, but her characteristic feistiness and timeworn voice lend the tunes a feeling of steely resignation. Tonight's show is part of Estrojam; complete schedule on page TK. The lineup, from top to bottom: Grace Potter & the Nocturnals, the Noisettes, Bettye LaVette, Suffrajett. a 9 PM, Metro, 3730 N. Clark, 773-549-0203 or 312-559-1212, $18, $75 for a festival pass, 18+. --Peter Margasak

cMC LYTE It's been a solid decade since she's released a new album, and her Web site has been hyping the same not-actually-out-yet LP for almost two years--but with any luck MC Lyte's recent flurry of touring points to a bona fide comeback. She's kept herself busy with UPN cameos, soundtrack work, and voice-overs, but her talents are probably still better suited to dropping something serious in the studio. The best song on her MySpace page, the Premier--produced "Wonder Years," is supposedly a cut from the album-to-be; per usual, it positions her as competing with other female MCs, even though (as the song itself suggests) she's more like "the female G Rap" than she is the Foxy Brown of 1988. Really, ever since "I Cram to Understand U," Lyte's been nothing less than the Jim Thompson of the old-school Bronx-boogie lexicon, the occasional glossy misstep aside--she's a street-tough realist working an irresistible pop form. The Roots headline and Big Daddy Kane opens; DJ Castle spins. See also Sunday. a 9 PM, House of Blues, 329 N. Dearborn, 312-923-2000 or 312-559-1212, $39-$40.50, 18+. --Jessica Hopper

ZOROASTER Are you a little doomed out yet? Believe it or not, I've been feeling that way myself--guess that's bound to happen with a style of music that's repetitive and oppressive by design. So it's a good thing this Atlanta group just dropped its debut, Dog Magic (Southern Lord). In typical fashion, it's more than an hour long, with several tracks topping ten minutes, but the climactic moments are particularly gorgeous. These guys obviously have an intuitive feel for dynamics, and their heavy use of Moog and Hammond reinvigorates an otherwise familiar sound with a touch of sci-fi fancy. Yakuza headlines and Withered opens. a 10 PM, Empty Bottle, 1035 N. Western, 773-276-3600 or 866-468-3401, $12. --Monica Kendrick

sunday23

c The Bad Plus Few jazz-related groups draw more ire from purists than the Bad Plus, a trio that covers the likes of Nirvana, Aphex Twin, and Black Sabbath and sometimes plays with the energy of a rock band. But pianist Ethan Iverson, bassist Reid Anderson, and drummer David King all have such strong backgrounds in the fundamentals and improvisational language of jazz--and their hybrid is so elaborate and original--that applying genre-based standards misses the point. On their latest album, Prog (Do the Math/Heads Up), they radically and unironically rework rock classics like David Bowie's "Life on Mars" and Rush's "Tom Sawyer," but it's the originals that really demonstrate the trio's power. Anderson's episodic "Physical Cities" is a total-ensemble work that shifts gears like mad, and the improvisation comes in neatly calibrated passages that reject the usual round-robin solo structure. The group plays with a fantastic degree of control, modulating the ebb and flow of each tune with a subtlety that's miles away from pop. a 7 PM, Old Town School of Folk Music, 4544 N. Lincoln, 773-728-6000 or 866-468-3401, $25, $21 kids and seniors. A --Peter Margasak

c Iron & Wine, Arthur & YU Grizzly Adams look-alike Sam Beam has come a long way from the naked austerity of his early stuff. With IRON & WINE's 2005 EP, Woman King, he proved he could write hooks that'd give you goose bumps--as well as make eerie jug-band rock that's actually danceable, at least in a muddy-hippie way. Now he's leading an eclectic, porchy ensemble that calls to mind the rural roots of the jam-band movement--a lot of their set at Pitchfork had me thinking, "Wow, there really was a lot to love about the Grateful Dead." The Shepherd's Dog, Iron & Wine's third full-length (Sub Pop), adds a sprawling, organic, Califone-y feel--no surprise there, since Brian Deck produced it--with instrumental flourishes like old appliances artfully arranged in an overgrown yard. Beam's current seven-member touring band is the same group he brought to Pitchfork, and includes past and present Chicagoans Chad Taylor, Ben Masarella, Matt Lux, and LeRoy Bach. --Monica Kendrick

ARTHUR & YU's debut album, In Camera (on Sub Pop spin-off Hardly Art), is a breezy little trifle. But that is not a bad thing. Sometimes I don't want to be challenged by what's coming out of my stereo--not commanded to dance, not beseeched to engage the singer's feelings. All the tracks on In Camera have lyrics, but I don't have any idea what they're about. With Arthur & Yu, all I'm looking for is a gentle, Velvets-jangly guitar line, a sparse and reverbed-out backbeat, and a guy--and maybe also a girl--singing sort of pretty. It's a simple formula, but properly executed it inspires deep bliss-outs. --Miles Raymer

Iron & Wine headlines and Arthur & Yu open. a 7 PM, Metro, 3730 N. Clark, 773-549-0203 or 312-559-1212, $26. A

cMC LYTE See Saturday. The Roots headline, MC Lyte plays second, and Big Daddy Kane opens; DJ Ryan Norsworthy spins. a 9 PM, House of Blues, 329 N. Dearborn, 312-923-2000 or 312-559-1212, $39-$40.50, 18+.

mouthus The noise tribe is arguably peopled by two basic types: those driven by elevated spiritual ideals and those driven by a desire to offend (and both can be equally pretentious). But this prolific Brooklyn duo doesn't seem to be either, making occasionally cluttered, occasionally beautiful, and occasionally air-polluting percussion-driven noise that reminds me of the pot of mystery meat you point to hopefully when you're in a restaurant abroad and don't know the language well enough to order any other way--that is, it's full of surprises. The Long Salt (Important), released in July, is a bit crisper than past Mouthus efforts and suggests some architectural ambitions, while Saw a Halo (Load), which drops later this month, includes seven tracks that hint at a newfound spirituality. Locrian and Bag of Glass open. a 9 PM, Empty Bottle, 1035 N. Western, 773-276-3600 or 866-468-3401, $8. --Monica Kendrick

monday24

BARONESS This thoroughly modern metal quartet, risen from the bowels of the south, is regularly touted as the next Isis. Judging by their debut full-length, Red Album (Relapse), this has much to do with coincidence--singer John Baizley, like Isis front man Aaron Turner, is a formidable graphic artist--and little to do with sound. Though the boundaries for what's considered metal have moved way, way out in the last few years, Baroness still barely make it over the line--their tuneful simmering and postpunk swelling are far more Slinty than satanic. Sweet Cobra and American Heritage open. a 9 PM, Empty Bottle, 1035 N. Western, 773-276-3600. F --Jessica Hopper

c Chemical Brothers The late-90s big-beat fad pushed dance music into the U.S. mainstream--in the process providing car manufacturers with a decade's worth of music for their, err, racier commercials--but few of its anthems, and fewer of the musicians behind them, sound particularly good today. The Chemical Brothers are a notable exception, proving themselves time and again to be two of dance music's most appealing innovators. History will remember them for "Block Rockin' Beats"--one of the most ecstatically noisy songs to ever reach heavy rotation on MTV--but if their new album, We Are the Night (Astralwerks), is anything to go by, their best work may be ahead of them. The Brothers jump from the retro-lectro of the title track to the goofy, bouncy hip-hop of the Fatlip collabo "The Salmon Dance" to the meditative psychedelia of "The Pills Won't Help You Now" without once tripping up. And while there are no real standout singles to compete with the recent bumper crop of dance tracks out there, strung together these tunes make one of the best electronic albums of the year. Ladytron opens. a 8 PM, Riviera Theatre, 4746 N. Racine, 773-275-6800 or 312-559-1212, $38, 18+. --Miles Raymer

wednesday26

cBADAWI Born in Jerusalem, multi--instrumentalist Raz Mesinai grew up there and in New York, absorbing the sounds of both cities. Dub has been an element in his work from the beginning (as in the wiggy 90s project Sub Dub), but the music of the Middle East has played an increasingly important role. Under his own name he's made three abstract albums for John Zorn's Tzadik label that highlight his interest in pure drifting texture, but when he records as Badawi, his music's more beat driven and stylistically rangy. The earliest Badawi records list heavily to the dubby electronic side, but on last year's Safe (Asphodel) Mesinai brings his competing interests into balance: he sets live Middle Eastern-flavored playing (by the likes of violist Eyvind Kang, violinist Mark Feldman, and tubaist Marcus Rojas) amid hypnotically rippling sound fields demarcated by solemn melodies and spooky harmonies. For Badawi's Chicago debut, Mesinai and bassist Shahzad Ismaily will perform new pieces that (according to an e-mail from the artist) "focus on delay and a lot of sub bass, as well as glassy tones, very atmospheric, and trance orientated." They appear as part of the Adventures in Modern Music festival (complete schedule, page TK); tonight's lineup, headliner first, is White Magic, Badawi, Holy Fuck, and Graveyards with Zac Davis. a 9 PM, Empty Bottle, 1035 N. Western, 773-276-3600 or 866-468-3401, $70 for a five-day pass. --Peter Margasak

cGLENN JONES AND JACK ROSE See Thursday. Jones and Rose will play separate sets. a 8 PM, Rainbo, 1150 N. Damen, 773-489-5999, $3 suggested donation.

thursday27

cPERE UBU, GLENN JONES AND JACK ROSE It's no mystery how this Cleveland avant-garage institution has survived for three decades, despite innumerable lineup changes, the occasional breakup, and a lack of commercial success so consistent it looks like a strategy: PERE UBU is undergirded by the iron will of front man and sole constant member Dave Thomas. Despite his rep as a prima donna--he's a perfectionist with an idiosyncratic definition of "perfect," which isn't something easily communicated to soundmen--even a bumpy Pere Ubu gig has more promise than the most inspired set from a typical headliner. Even more remarkably, Pere Ubu violates the law of diminishing returns--the band's two most recent studio albums, 2002's St Arkansas (Spinart) and last year's Why I Hate Women (Smog Veil), are possibly its best. Thomas's lyrics are threaded together by a deep poetic logic, and the chugging music, which turns on a dime between meters and textures, is both unmistakably Ubu and somehow timeless. After synth player Allen Ravenstine left in the late 80s, he became an airline pilot--I like to think that's the only way he could feel he was in command of the same kind of power. --Monica Kendrick

GLENN JONES didn't go public with his take on American primitive steel-stringed guitar until about five years ago, but he's been a devoted scholar of the discipline since the dark days of the 70s, when blow-dried New Agers nearly vacuumed out its soul. The lunar-rock version of John Fahey's "The Portland Cement Factory at Monolith, California" he recorded in 1990 with his band Cul de Sac was an early attempt to return the music to its iconoclastic roots, and he'd later collaborate with Fahey himself. Jones's new acoustic solo disc, Against Which the Sea Continually Beats (Strange Attractors), is among the best expressions of Fahey's revenant style since his death in 2001, with exquisitely expressive slide work and lyrical fingerpicked melodies rendered in a pristine, golden tone--and Jones's mastery of narrative flow makes it one of the year's best albums in any genre. JACK ROSE, a former member of the Virginia-based Pelt now living in Philadelphia, is a like-minded picker whose guttier, more aggressive sound complements Jones's elegant high--stepping rhythms on the jubilant version of their tune "Linden Avenue Stomp" from the Wire's May giveaway CD. They're splitting this set and playing a little duo at the end. --Bill Meyer

This show is part of the Wire's Adventures in Modern Music festival; complete schedule on page TK. Tonight's bill, headliner first: Pere Ubu, Ulrich Schnauss, Hair Police, Glenn Jones and Jack Rose. Jones and Rose also play Wednesday at Rainbo; see separate Treatment item. a 9 PM, Empty Bottle, 1035 N. Western, 773-276-3600 or 866-468-3401, $15, $70 for a five-day pass.

gruff rhys While Super Furry Animals were working on their latest album, Hey Venus!, front man Gruff Rhys kept coming up with gently stumbling acoustic-pop numbers that didn't fit the record's oversize feel. So he saved them for Candylion (Rough Trade), the follow-up to his 2005 solo debut, Yr Atal Genhedlaeth. The wispiness of the tunes and the playfulness of the arrangements--strings and xylophone and things like that--make for a scaled-back, intimate version of the ambitious rock silliness his band has nearly perfected. And if sometimes he seems just on the edge of a jovial sort of madness (like on the 14-minute closer, "Skylon!"), it's not anything you need to worry about. Really. All Smiles opens. a 9 PM, Schubas, 3159 N. Southport, 773-525-2508, $15. --Monica Kendrick

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