• • AV Club Chicago gets some funny, gross and all around interesting insight into the former Chicago music dive Ronny’s from musicians, journalists and soncert attendees.
• • WindyCityRock.net talks with Shawn Rosenblatt, mastermind behind Chicago indie-psych act Netherfriends, about his 50 Songs/50 States project.
• • Time Out Chicago reviews Saturday night’s Brendan Benson/The Posies show.
• • The Chicago Tribune has a feature on Chicago’s, Smith Westerns, and their buzz band status.
• • Speaking of Smith Westerns, our editor, Richard Giraldi, reviewed the band’s Friday night show at Lincoln Hall for the Chicago Sun-Times. Did they live up to the hype?

Smith Westerns

Hope everyone has a fun and frightening Halloween last weekend. Now, it looks like we’re in the dog days of Autumn and the stretch run of 2010. But all that really means is it’s time to gear up for some amazing shows yet to come for the Windy City! And this weekend is no different.

Our picks for top weekend shows this time around include Smith Westerns at Lincoln Hall, Brendan Benson at the Bottom Lounge, Danzig at the Congress Theater and a whole lot more.

Let’s get to it, shall we?

FRIDAY

SMITH WESTERNS
Tonight marks local glam-rockers Smith Westerns final Chicago show of 2010. We certainly think you should care, even though the band, all younger than 21, already seem a bit jaded on the whole “rock star” system. They have a new album in the works that so far sounds light years, production-wise, ahead of their staticy 2009 self-titled debut. After the show, they’re heading to Europe to open for MGMT. Will they return Chicago’s band of the moment or simply one that got chewed up and spit out by music blogs around the world? No one knows for sure, but at least you can catch them on the cusp. (Richard Giraldi)

10:30 p.m. Friday, 11/5. Lincoln Hall. 18+. $12.

GIANT SYSTEM CHICAGO SHOW
What do Psychedelic punk rockers Rabble Rabble, ambient noise enthusiasts White/Light, noise rockers Black Math, and melodic prog rockers Verma have in common? They’re all playing Giant System Chicago’s curated show at the Empty Bottle. Come down and hear an eclectic mix of what Chicago’s scene has to offer. And if you rsvp’d like we told you, the show is free, otherwise it’s $8. Either way, it sounds like a deal. (Audrey Leon)

9:00 p.m. Friday, 11/5. Empty Bottle. 21+. $8.

LOYAL DIVIDE
Tonight, The Metro is featuring four Chicago bands that, while are also in the whole “blogosphere darlings” phase of their careers, are seemingly enjoying the ride. Headlining is Chicago-via-Columbus psych-poppers Loyal Divide who will soon be dropping a new album titled Bodice Ripper. Then you have another indie psych act in the rhythmic A Lull who have already received the Pitchfork treatment for their video “Weapons For War”. Opening the show are local indie experimental rockers Camera and Louis and The Hunt. Get out there and support local, you. (Richard Giraldi)

9:00 p.m. Friday, 11/5. The Metro. 21+. $8.

AKASHA
Groove on over to Martyrs in time to check out roots/reggae hybrid Akasha perform songs from its latest effort How They Move. The Chicago quintet blend pop and funky ska grooves that will have you dancing and swaying along. Acoustic indie rockers Johnny & Robbie, Katie Todd Band and Coldwater Mystic are also on the bill. (Audrey Leon)

9:00 p.m. Friday, 11/5. Martyr’s. 21+ $8.

SATURDAY

BRENDAN BENSON
Back in the days before this here site trained its keen eyes on our hyper local music scene, I gave Brendan Benson’s latest, My Old Familiar Friend, a lukewarm review. My opinion has not changed, but that doesn’t mean I’m not a fan. The guy pumped out under the radar power pop gems for years prior to getting a little taste of the mainstream as part of The Raconteurs. He’s got a trunk load of good tunes to choose from and even the new tunes sound a whole lot better stripped down in the live setting. Speaking of kicking around, in a little bit of obscurity, opener The Posies might be the poster boys for this. Always a blip but not much more, these guys were good enough to be Big Star when Alex Chilton came calling. That should say something. You want power pop? Well you got power pop! (Ross Meyerson)

8:00 p.m. Saturday, 11/6. Bottom Lounge. 17+. $20.

SHIPBUILDING CO.
Lincoln, Nebraska’s Shipbuilding Co. are ex-Head of Femur Michael Partington’s solo project. It is, precisely, the kind of solo project you like. One guy, writing quirky pop songs, adding little keyboard touches here and there, and not over doing things. Chicago’s Like Pioneers are maybe about to blow up. Their debut, Piecemeal, has gotten much attention in the local media-sphere, and they just seem so damned like-able. Opener, Bird Talk, just got a nice little review from us as they continue to hone their razor sharp indie pop to indie pop perfection. Good stuff these three. (Ross Meyerson)

9:30 p.m. Saturday, 11/6. Subterranean. 21+. $8.

HOLLUS LISTENING PARTY
Chicago’s dirty, psychedelic, hard rockers, Hollus, will be holding a little shin-dig on Saturday. Fans will be able to mingle with the band, purchase advance copies of their upcoming album “PART ONE” and watch the premier of their latest music video for “Lucy Grey”. After our raving review of PART ONE, it would be a shame to miss hanging out with the guys behind some of Chicago’s best rock. (Britni Day)

6:00 p.m. Saturday, 11/6. Five Star Bar. 21+. Free.

SUNDAY

WATAIN
Swedish black metal has all of the subtlety of, well, burning a church I guess. Sweden’s Watain, however, have set about changing that a bit. How so, you ask? Well through production first of all. There are no cardboard drums here. But they also slow things down and let the riffs be heard. Much like our very own Nachtmystium, Watain add levels of, dare I say, sophistication to their black metal assaults. And then there’s New Orleans’s Goatwhore. This is straight old school black metal in the Venom mold which is now making me want to throw on Black Metal or At War With Satan. Riffs, man! Riffs! (Ross Meyerson)

7:00 p.m. Sunday, 11/7. Reggie’s Rock Club. All Ages. $17.

DANZIG
Mother, can you keep ‘em in the dark for life? Can you hide them from the waiting world? Oh, mother. Not about to see your light. And if you wanna find hell with me, I can show you what’s it’s like ‘til I’m bleeding. Finally, I don’t have to listen to “Mother” on repeat anymore. (Audrey Leon)

6:00 p.m. Sunday, 11/7. Congress Theater. 17+. $24.

This week, we bring you Top 10 Albums from 2000-2009 lists as determined by Loud Loop Press editors and contributors. Today, contributor Ross Meyerson shows us his sunny side with his list for the Top 10 Albums from 2000 – 2009.

10. Wolves in the Throne Room – Two Hunters
I have never been a huge fan of death metal often finding its inaccessibility a bit too inaccessible. 2007′s Two Hunters transcends the genre like no other. Yes, there are cardboard sounding drums, and massive bursts of pure speed and screeching vocals, all trademarks of death metal. But there’s also ambiance, layers, textures, and, dare I say, beauty in what WITTR do. Two Hunters changed the landscape of American death metal by expanding its boundaries.

9. Sloan – Never Hear The End Of It
The beginning of the decade had Sloan feeling a bit tired. 2001′s Pretty Together lacked energy and catchiness and 2003′s Action Packed, although more energized, was more one-dimensional than Sloan’s classics “One Chord To Another” and “Navy Blues”. There was no reason to expect the epic, sprawling genius of 2007′s Never Hear The End Of It. But there it was, 30 songs running the gamut of styles that had made Sloan the cream of the power pop crop. Eight albums in Sloan somehow produced a masterpiece of introspection that, through the course of its 70+ minutes, never has a dull moment.

8. Boris – Pink
Boris never make the same album twice. Their albums range from 40 minutes of pure feedback to psychedelic folk to straight forward metal riffing but 2006′s Pink synthesized all these divergent elements into one dizzying display of ferocity and beauty. Rumor has it Pink was Boris’s attempt to make a more Americanized album, usually a recipe for middle of the road crap. But in the hands of such technically sound and adventurous musicians not only did it succeed in sounding more mainstream (as mainstream as in the red guitars and long ambient jams can sound) but it served notice that Boris could play by the rules and still kick ass,

7. Brendan Benson – Lapalco
I highlighted some of the mild highs and lows of Brendan Benson’s career in my My Old Familiar Friend review. But mostly this was based on the industry and not the music. It may have taken six years to get One Mississippi’s follow-up, Lapalco, but it was worth the wait. Lapalco is a charmer. Self-deprecation (Folk Singer) mingles with awkward moments (You’re Quiet) and the joys of the little things (Good To Me) giving Lapalco an everyday charm. Musically, Lapalco hits all the right power pop notes, catchy melodies: power chord progressions, and acoustic diversions. Lapalco was one of those albums you just wanted to tell all your friends about.

6. Sword – Age Of Winters
I’m aware of the debate over whether the Sword are defenders of 80′s thrash or the poster children for hipster metal. As a child of the 80′s scene I have nothing but contempt for the Early Man’s of the world: ironic hipsters looking for the next ironic genre to mine for irony’s sake. As it was before it shall be today: death to false metal. For my money, 2006′s “Age of Winters” is legit. When I first heard it, a bit before the hype took over, all I heard was a record full of heavy old school riffs and Ozzy-like vocals. And wolves. “Age of Winters” synthesized Black Sabbath’s doom with Metallica’s scratchiness and speed and covered it in images of serpents and mythology. Metal, my friends, can be fun. “Age of Winters” reminded me of that.

5. Pernice Brothers – The World Won’t End
I might argue that anything Joe Pernice put out in the aughts is worthy of making a top 10 list but, narrowed to one, 2001′s The World Won’t End has to be it. After wandering away from the Pernice Brothers moniker to record what he deemed lesser material under the guise of Chappaquiddick Skyline and Big Tobacco, both great, Joe returned with a bit more polished and lush sound and a batch of songs to brighten your day and break your heart. And that’s the beauty of Joe Pernice. The World Won’t End is the perfect album to listen to when you’re up or when you’re down. And probably any place in between.

4. High On Fire – Death Is This Communion
Perhaps no band today represents the sound and spirit of straight up heavy metal better than High On Fire. What makes their fourth album, 2007′s Death Is This Communion, so epic is that, with the help of producer Jack Endino, High On Fire introduces a little bit more texture into their sound without losing any of their power. There’s kind of a Middle Easter vibe lurking beneath the wall of distortion this time and a little more focus on melody. None of this takes away from the fact that Death Is This Communion is pummeling metal at its finest.

3. Sparklehorse – It’s A Wonderful Life
Mark Linkous’s life has been, well, weird. There’s no need to cover it here but needless to say every Sparklehorse album feels like a welcome surprise. 2001′s It’s A Wonderful Life was not only welcome but was also the most warm and lovely album perhaps of the entire decade. It was also proof that a heavily produced album didn’t have to lose an organic feel. In a way It’s A Wonderful Life is the flip side to the Flaming Lips Soft Bulletin (both produced by Dave Fridmann). Both retain a warmth despite a lot of producing, but whereas Soft Bulletin sounds like a pop album from Mars, It’s A Wonderful Life sounds more like a twisted batch of backyard porch songs. And for years pretty much every song made its way onto a mix of mine. They still do.

2. Mastodon – Leviathan
Oh, Mastodon. Every album seems to bring in new fans while leaving some old a bit bewildered. It’s amazing how, in such a short time, Mastodon have garnered so much loyalty and distrust. And it all started with 2004′s Leviathan, an album that stretched and refined their sound and signaled to some a sort of selling out and to others the next big leap forward in metal. I’m clearly of the latter. Remission, for me, is a bit too hectic. Leviathan smoothed out some of the rough edges shedding further light onto not only the songwriting skills but the outright technical prowess of the band. And none of it felt showy for showy’s sake. Leviathan has the ability to crush you while your mouth just hangs wide open in awe. Metal has never been the same.

1. American Music Club – Love Songs For Patriots
This one is personal. American Music Club is one of my favorite bands. Ever since I first heard them I’ve been seeking out their out-of-print records, collecting singles for their B-sides and seeing Mark Eitzel wherever and whenever I can. So when they reunited for 2001′s Love Songs For Patriots, I was obviously excited. The thing is Love Songs For Patriots, while maybe not quite Everclear, might be their most cohesive and from top to bottom strongest album of their career. AMC always had trouble settling on a sound. The songs were always brilliant but often the production felt slightly off. Love Songs… finds a nice warm place for Eitzel’s tunes. At the time I felt it would be as good a place as any for the uninformed to start. I still do. And more than that it is still often the one I reach for when I need a fix. Pretty remarkable stuff from a truly remarkable band.

Let me be the first to wish all of our readers a very merry Thanksgiving holiday. While you’re stuffing your gullet with turkey and dressing, we’ll be here all holiday long providing you with the latest Chicago music news and reviews. Also, beginning in December, we’ll start our best of the decade/best of the 2009 lists. So that’ll be fun.

This weekend, we’re spotlighting tonight’s Pixies’ show, Peaches and Permanent Records Third Anniversary Bash at The Hideout.

But before we get to our picks for top weekend shows, a reminder: Loud Loop Radio will once again grace the intertubes tomorrow, Saturday, November 21, at 3 p.m. until 5 p.m. CST on Radio DePaul. We’re going to review the Them Crooked Vultures album, so that should be fun. Joining me in the studio this Saturday will be Loud Loop associate editor Andy Kahn.

Let’s get to it, shall we?

The Pixies
Ok, so not everyone is a fan of The Pixies obvious cash grab tour. Still, it’s The fucking Pixies. And they’re playing all of Doolittle? Yes, please. Say what you want about selling out and so forth, but they put on a damn good show. Our own Audrey Leon gives you some great reasons to try and finagle your way into at least one of this weekend’s shows. Also, No Age is tonight’s support with Jay Reatard opening Saturday night’s show – so that’s awesome. – Richard Giraldi

7:30 PM. Friday, 11/20 & Saturday 11/21. Aragon Ballroom. SOLD OUT.

Peaches
Queen of electro-shock rock, Peaches, will get the audience at the Metro hot and bothered on Friday night with her always wild and provocative live show. Peaches is in town to promote her latest album I Feel Cream, which was produced by James Ford of British electronic act Simian Mobile Disco and features the singles “Talk to Me” and “Lose You.” – Audrey Leon

9:00 PM. Friday, 11/20. Metro. 18+. $23 adv. / $26 door.

Brendan Benson
I might not have given the new Brendan Benson the greatest review, but I did note that his new stuff sounded way better live. Well, you have two chances this weekend to decide for yourself. Friday he’s playing for free at the downtown Apple Store at 6:30 and then hustling on over to Lincoln Hall for a 10:30 show. – Ross Meyerson

6:30 PM. Friday, 11/20. Apple Store on N. Michigan Ave. All Ages. FREE!

10:30 PM. Friday, 11/20. Lincoln Hall. 21+. $20.

The Gorilla Press
A weekend diversion that’s not the Pixies. Local alt-rockers The Gorilla Press will be headlining at The Bottom Lounge tonight with Split, Flights, and The Sweeps. I’ll be there if anyone else wants to come! – Britni Day

8:00 PM. Friday, 11/20. Bottom Lounge. $9.

3 Inches Of Blood
Oh, Canada. Not a metal haven per se but when you bring it you really bring it. Vancouver’s 3 Inches Of Blood bring their throw back to self-referential metal to the Beat Kitchen Saturday night. If songs about metal are your thing or you just miss Overkill-esque vocals go check it out. To sweeten the pot, Oakland’s Saviours open. You very well be reading more on their new album here shortly. Anyways, riffs will be flowing. – Ross Meyerson

9:00 PM. Saturday, 11/21. Beat Kitchen. 18+. $13.

Permanent Records Third Anniversary Bash
Our friends at Permanent Records are throwing a bash at the Hideout to celebrate their third anniversary. It will be, as the kids say (or used to), off the hook. You know I champion the store and the label they started. Well, 4 of the bands on their in-house label will be playing: Cave, Cacaw, Black Math, and Mako Sica, whose review you, of course, have read here. That’s a ton of good stuff for, how much, really, only $5? Go tell Lance and Liz and the rest of the staff how much you dig their little record store that could. – Ross Meyerson

9:00 P.M. Saturday, 11/21. The Hideout. 21+. $5.

The Decemberists - Photo Credit: Richard Giraldi

We’ve already given you a preview of what’s playing in Chicago on New Year’s Eve. We’ve told you about the new club opening up Lincoln Hall and all the great acts scheduled to play there in the coming weeks. Our Daily and Weekly Diversions keep you informed of what’s on the horizon. 

But still, we here at Loud Loop Press felt there were just too many great shows coming up in this fair city of ours that we didn’t want you to miss out on. Below is a compilation of big name concerts we’re spotlighting for the coming months. There’s a little something for everyone, from KISS to Bob Dylan, Scott Lucas to Snoop Dogg and everyone else in between. Maybe we missed a show, if you think we did let us know what you think in the comments section below.

Monday, October 19
Wilco, Tortoise, UIC Pavilion
Sunset Rubdown, Logan Square Auditorium

Wednesday, October 21
Get Up Kids (Something to Write Home About 10th anniversary tour), Metro

Thursday, October 22
Get Up Kids (Something to Write Home About 10th anniversary tour), Metro

Friday, October 23
Scott Lucas and the Married Men, Subterranean

Saturday, October 24
Gov’t Mule, Riviera Theatre
The Lawrence Arms (10th Anniversary Show), Metro
David Bazan (of Pedro the Lion), Schubas

Monday, October 26
Ben Gibbard and Jay Farrar, Lincoln Hall

Tuesday, October 27
Saul Williams, Double Door

Thursday, October 29
Bob Dylan and His Band, Aragon Ballroom
David Gray, Auditorium Theatre

Friday, October 30
Bob Dylan and His Band, Aragon Ballroom
Chromeo, Congress Theater
Dan Deacon, Logan Square Auditorium
Monsters of Folk, Auditorium Theatre

Saturday, October 31
Bob Dylan and His Band, Aragon Ballroom
Disco Biscuits, Auditorium Theatre
Scotland Yard Gospel Choir Benefit, Subterranean
Roky Erickson, Bottom Lounge

Wednesday, November 4
Simian Mobile Disco, Metro
Snoop Dogg, Congress Theater
Ghostface Killah, House of Blues
Damon and Naomi, Empty Bottle

Thursday, November 5
The Mountain Goats, Metro
Future of the Left, Bottom Lounge

Friday, November 6
Black Crowes, Riviera Theatre
KISS, United Center
The Whigs, Bottom Lounge
Basement Jaxx,  MSTRKRFT, Congress Theater

Saturday, November 7
Numero Eccentric Soul Revue, Lincoln Hall

Sunday, November 8
J. Tillman, Lincoln Hall

Tuesday, November 10
Art Brut, Lincoln Hall

Wednesday, November 11
The Walkmen, Schubas

Thursday, November 12
Devo, Vic Theatre
Meat Puppets, Schubas
The Walkmen, Lincoln Hall
Ray Lamontagne, Auditorium Theatre
Peter Bjorn & John, Metro

Friday, November 13
Devo, Vic Theatre
Meat Puppets, Schubas
The Walkmen, Lincoln Hall
Dirty Projectors, Bottom Lounge
Wolfmother, Riviera Theatre

Saturday, November 14
Meat Puppets, Schubas
The Fab Faux, Vic Theatre
Shrinebuilder (members of Melvins, Neurosis, Om), Empty Bottle

Monday, November 16
Devendra Banhart, Vic Theatre
Gil Mantera’s Party Dream, Empty Bottle

Wednesday, November 18
Bad Lieutenant, Vic Theatre

Thursday, November 19
Old Crow Medicine Show, Vic Theatre
Pixies, Aragon Ballroom

Friday, November 20
Brendan Benson, Lincoln Hall
Pixies, Aragon Ballroom
Poi Dog Pondering, Vic Theatre
Peaches, Amanda Blank, Metro

Saturday, November 21
Pixies, Aragon Ballroom
Fuck Buttons, Empty Bottle

Wednesday, November 25
Echo and the Bunnymen, Metro
The Cranberries, Riviera Theatre
Baroness, Earthless, Reggies

Friday, November 27
Jesus Lizard, Metro
Edward Sharpe & The Magnetic Zeros, Lincoln Hall

Saturday, November 28
Jesus Lizard, Metro
Cornmeal, Vic Theatre

Sunday, November 29
Nada Surf, Metro

Monday, November 30
Melt Banana, Bottom Lounge

Thursday, December 3
P.O.S., Bottom Lounge

Friday, December 4
Do Make Say Think, Years, Happiness Project, Schubas

Saturday, December 5
Dan Auerbach (of the Black Keys) and The Fast Five, Vic Theatre
Do Make Say Think, Years, Happiness Project, Lincoln Hall

Friday, December 11
Pelican, Empty Bottle

Brendan Benson’s career path has been a roller coaster of lows such as label disputes keeping records in limbo, and mild highs including the track “Tiny Spark” from his 2002 album Lopalco’s being used in a Saturn ad. Recently, though, his profile got a bit brighter when he teamed up with Jack White to form the super’ish group, The Raconteurs. So, despite putting out three truly great but minimally heard albums, starting with 1996′s totally ignored One Mississippi, an album deemed by my friends at the time as the greatest $2.99 cut-out money could buy, now seemed the time for Benson to finally break through. Unfortunately, My Old, Familiar Friend is not quite the album fans might have hoped for. It, like Benson’s career, is filled with some highs but is fleshed out with a few too many lows.

Benson’s career has been pretty much a microcosm of the power pop genre of which he’s best known. Combining Beatles-esque melodies over power chord progressions seems like a can’t lose proposition, but the genre is littered with few success stories. Most of the time, power pop bands find a small, albeit faithful, following or just fade away into obscurity. (See Sloan’s masterpiece of self-reflection%2Proxy-Connection: keep-alive
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Never Hear The End Of It, for more insight.)

Let’s start with the good because, after all this time, Benson deserves it. Album opener, “A Whole Lot Better,” bristles with energy and is followed with the extremely Todd Rundgren-like “Eyes on The Horizon” that, despite it’s liberal borrowing, has a melody that will stick in your craw. But melody is not the problem with the album. Too much time and budget might be.

With a label firmly behind him it feels like Benson indulged himself. In a way, it hurts some of the material. On Lapalco, a song like “Garbage Day” might be a charming little acoustic song a la “Life in the D.” But here a string section gives the tune a cheesy, Lenny Kravitz faux disco vibe. Lyrically, including an unceasing need to rhyme excessively, it feels like a great Brendan Benson song buried beneath a layer of schmaltz. Following “Garbage Day” up with the the mid-tempo “Gonowhere” kind of brings things to a halt. Fortunately the slow burn of “Feel Like Taking You Home,” with it’s “Watching the Detectives” crawl, brings things back into focus.

There are certainly places where an extra touch of studio time doesn’t hurt as much. The swirling strings of “You Make A Fool Out Of Me” fulfill the McCartney balladry Benson is clearly fond of. I’m not one to judge harshly of someone tapping their inner McCartney. As he pointed out on Lapalco, he’s not John Lennon. But he is at his best when adding the power to power pop and there are some real hits such as “Poised and Ready” and album closer “Borrow,” which is one of his most catchy and just plain rocking songs. But unfortunately there a few missteps including the self-fulfilling prophecy of “Don’t Want To Talk” with it’s blah blah blah lyrics. And maybe a bit of over thinking to make “My Old, Familiar Friend” the commercial or, more importantly, artistic success it should have been.

But let’s end on a positive note because power pop purveyors have endured enough neglect. These past few years have seen a resurgence in truly great power pop including Sloan’s Never Hear The End Of It, Telekinesis’s self-titled debut and the grandfathers of the scene Cheap Trick’s completely surprising The Latest to name a few.

My Old, Familiar Friend might not showcase Benson at the top of his game but expectations may have been a little high because, despite its flaws, you’ll still find yourself walking around singing these songs in your head long after you’ve turned off the, let’s say, stereo. That’s a testament to the man’s ability to combine an infectious melody with a ferocious chord progression. You could do worse.