Most people got their first taste of Blockhead as the man behind Aesop Rock, producing beats for half of the songs on backpacker classics like Labor Days and Float. On his own, his work veers more towards the abstract and experimental. The songs on 2007’s Uncle Tony’s Coloring Book get a little more uptempo and beat-oriented than those on 2004’s Music by Cavelight or 2005’s Downtown Science, but they aren’t so much bangers for the club as they are music for long drives at night — or music for nodding your head to on the couch with a head full of ideas and a bowl full of opium. Some of his tracks recall the work of RJD2 or NinjaTune labelmate Daedalus, but also electronic masterpieces like Orbital’s "Halcyon." (Appearing with Aesop Rock, Rob Sonic & DJ Big Wiz at Metro on Sept. 13) --text: ELR

With the release of their fourth proper album, The Stage Names, Austin based 6-piece Okkervil River has quickly become one of this year’s most buzzed about bands. Lead singer Will Sheff and group have produced an album encompassing fictional narratives from the pop-orientated "Our Life is Not a Movie or Maybe" to the softness of "Savannah Smiles." Okkervil released their first album Don’t Fall in Love With Everyone in 2002 and followed it up with Down the River of Golden Dreams. Disgruntled with the lack of success in the band, a revolving door of musicians passed through. Sheff is the only surviving original member, and it’s a good thing he stuck it out. 2005’s Black Sheep Boy garnered Okkervil attention with the violently jabbing "For Real" — morphing the band’s sound into something more gritty and rough around the edges. Finally, all the world is a stage for these talented young gents. (Appearing with Damien Jurado at Logan Square Auditorium on Sept. 18) --text: Garin Pirnia--photo: Todd Wolfson

Rilo Kiley is at the crossroads. And judging by the sound of their new album Under the Blacklight, they might have made a deal with the devil. Replacing the whimsical fare of previous albums with a darker, more versatile sound (see lead single "Moneymaker"), Rilo Kiley seems to have made a career-defining decision. Every band reaches a point in which they have to decide on maintaining the status quo or branching out into new territory. It's a classic "damned if you do, damned if you don't" scenario. Remain on the well-tread path and the music becomes boring and familiar. Investigate a fresh sound and watch your own fans label you a heretic. In the end, every rock and roller worth their salt opts for the road less taken, braving the sure assault of critics and fans alike. With Under the Blacklight, Rilo Kiley is ironically becoming the title of their previous album: more adventurous. (Appearing with Jonathan Rice at the Riviera on Sept. 15) --text: Tim Slowikowski--photo: Autumn de Wilde

First-time listeners of Simian Mobile Disco might be surprised that R2D2 (the Star Wars droid, that is) isn’t a major contributor. Londoners James Ford and James Shaw ditched the indie rock lifestyle of their band Simian with one goal in mind: to get your booty shaking. The pair pulls off the tricky task affixed to all electronic acts by creating energizing, cathartic dance music, without drowning in repetition. They aren’t Daft Punk followers, but SMD is definitely in the same league with acts like Justice, Digitalism, and MSTRKRFT, all of whom have learned much from the robot rockers. SMD's music achieves a retro quality from their sole use of analog equipment, but the synthesizer zips and buzzes keep the tracks lively. Frequent low-key female vocals anchor the wild noise, while often injecting a shot of sexiness. Catch them now before they burst at CMJ 2007 in October. (Appearing at Empty Bottle on Sept. 18) --text: Nick Meador

© 2009 Innerview Media, Inc.

:: developed by InfraStrategy