Combining bone-yard humor and booze-stained sorrow with some of the finest vocal harmonies since The Carter Family, Janet Bean and Katherine Irwin have established themselves as one of the most dynamic country bands performing today. Given the paucity of quality mainstream country, fans of authenticity, lyrical dexterity and steel guitar-drenched woe have been forced to the underground. One of the premier acts to emerge from this arena is Freakwater. Alongside other Chicago country outfits The Handsome Family and Robbie Fulks, Freakwater has expanded the parameters of what country music can be. Bringing fellow Chicagoan and Thrill Jockey labelmate Tim Rutili onboard as a producer and featuring various members of Califone as a backing band, their newest and seventh record, Thinking of You., boasts a fuller sound than previous albums. And after a long absence from the stage, this marks an exciting return for fans as well as an excellent opportunity for the uninitiated to discover one of country's best-kept secrets. (Appearing with The Zincs at Schubas on Nov. 11) --text: Jacob S. Knabb--photo: Drew Reynolds

Stunning in its own right, Grizzly Bear's debut LP Horn of Plenty isn't a very good signpost for the band's current direction. Essentially a home-recorded demo, the sparse arrangements still manage to produce a subtle, quiet beauty that in its finer moments approaches the surreal. Avoiding the fate of many of its downtempo contemporaries, Grizzly Bear thrives in a live setting. Their evolution has pointed them in a slightly more accessible direction that still manages to hold on to the quiet darkness that weaves through the recording. New to their arsenal is a palpable tension between barely-there innuendo and powerful harmonies that crescendo with breathtaking effect. The transitions from mood to mood are seamless, evoking a haunting sort of clarity that brings to mind the more ethereal moments of David Gilmour's work. In an age when it's out of fashion to be subtle, Grizzly Bear reminds us that power is often most profound when one chooses not to use it. (Appearing with Lichens and Soft Circle at Empty Bottle on Nov. 10) --text: Don Bartlett

Million dollar idea: Take Michigan Avenue's best bucket-players, send 'em halfway across the globe to play clubs where jaded motherfuckers stand around watching pretentious indie shows - and watch 'em blow up the avant garde set. For 25 years, Konono No. 1 was a streetcorner band. Fashioning electric likembés (African thumb pianos) from scavenged car parts, they played music that was a cross between Afrobeat, trance, and traditional Congolese folk. Their music is raw, heavy on ass-shaking percussion and call-and-response lyrics. Veritable legends in Africa, most of the world hadn't heard of them until they toured with experimental Dutch weirdoes The Ex two years back. Since then, they've quickly become darlings among the circuit-bending set, world music aficionados, and people that just like to dance. And if they can get enough people from that last group to their show this month, motherfuckers might just tear the place down. (Appearing at Logan Square Auditorium on Nov. 11) --text: Eric Lab Ratt--photo: Vincent Kenis

Seven years after the release of The Party's Over, the album that signaled the breakup of the Smoking Popes, the Chicago-based lounge-punk phenomenon is tapping another keg for a reunion performance at the Metro as part of the Flower 15 charity event, running November 8th through the 13th. The Popes released three albums in an 8-year career that began with an almost perversely loyal underground following which evolved into national recognition, a deal with Capitol Records, and contributions to film soundtracks Tommy Boy and Clueless. Artistic differences and the religious conversion of bassist/co-founder Josh Caterer led to the Popes' dissolution in late 1998, resulting in the cancellation of a 2-week tour of the Midwest that was scheduled to promote a then newly-released compilation. The Popes' November performance will be their first since the band played the Double Door on December 19, 1998. (Appearing with Bella Lea for the late show at Metro on Nov. 11) --text: Mike AlKaraki

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