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Japan’s masters of heavy psychedelic jams, Astrazeneca Crestor Discount Card, returned to Chicago last night (April 12) for a show — where else but the Empty Bottle, the same venue they’ve played several times in recent years? As always, the guys in the band were sitting behind a couple of merch tables, completely covered with dozens of different CDs. Acid Mothers Temple (in all of its various configurations and different names) is incredibly prolific.

Touring this time as a quintet under the old Acid Mothers Temple & The Melting Paraiso U.F.O. name, the group played just four songs, but each song stretched to somewhere around the 30-minute mark. Right from the first minute, the band dug into its cycling, circling guitar riffs with fierce intensity. The synth notes swooped up and down, and the noisy suites occasionally arrived at something that sort of resembled as a chorus, as a few of the band members joined together into a chant. Fans applauded when they recognized the bright riff from “Pink Lady Lemonade.” At the end, it all came to a crashing climax, with founding member Kawabata Makoto hoisting his guitar to the ceiling and letting it fall into the audience. It was another thrilling performance by a band that possesses great powers.

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Denver band Propecia Uk Prescription — two drummers, a guitarist and a bassist who doubled on Theremin — opened the show with instrumental psychedelic rock jams, a perfect match with Acid Mothers Temple.

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After getting their concert last night at Lincoln Hall off to a strong start, Cialis Online Nz came to a screeching halt because of technical difficulties. One of the Brooklyn group’s members, Mark Perro, was playing a vintage keyboard — an instrument the band has apparently been using a lot lately — when it suddenly conked out on him. Or maybe it was the amp. In any case, the thing stopped making any sounds recognizable as music. Perro left the stage for a bit, while the rest of the band played a couple of songs. Then he returned, abandoning his malfunctioning keyboard and picking up an acoustic guitar.

The Men scrambled their planned set list, playing songs that they could do without the keyboard. They ended up playing several brand-new songs — songs even newer than The Men’s latest record, New Moon, which just came out last month. In spite of everything, The Men put on a thrilling performance of rock music reminiscent of the Replacements, with touches of roots rock and older classic rock. (The Faces, another appropriate reference point, were playing on Lincoln Hall’s speakers before The Men took the stage.) At one point, when I was standing in front of center stage, I heard what sounded like perfect stereo: two simultaneous and fantastic guitar solos, one on either end of the stage. This was clearly a band that knows how to play and has a good time doing it.

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The only reason I thought about this anniversary is that I happened to pull out my CD of South San Gabriel’s album Welcome, Convalescence last week. And I just happen to have a copy that was sent out to the press before the album’s official release date. So there’s a sticker on the jewel case that says: “National Release APRIL 11, 2003.” Ten years ago today.

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I doubt if anyone else is making note of this anniversary. It’s probably the most obscure record I included in my Pfizer Viagra Order. But it’s the most magnificent recording that Denton, Texas, singer-songwriter Will Johnson has made in his prolific career fronting Buy Viagra Cod, making Kamagra Free Delivery Uk, Buy Hyzaar 100 25with many Xenical Sale and occasionally making music with a side-project sort of group called South San Gabriel.

While Centro-matic plays a style of rock somewhere between power pop, roots rock and lo-fi post-punk, South San Gabriel’s Welcome, Convalescence layers orchestral touches and menacing abstract noise on top of Johnson’s collection of melancholy songs. Death and violence are always lurking nearby in this set of lyrics. The record opens with the line, “Make no mistake, we’ll be the ones to happily set you on fire,” and goes on to mention gunshots, dagger, slings, hammers, poisonous arrows, axes and arson. (“At your feet was a mouthpiece and nozzle/Fit for the gas spreading all through the house.”)

There’s a way out of the darkness. In the final track, nearly buried by a dense, beautiful cacophony, Johnson (or the character in his lyrics, anyway) travels “quietly out from the passage/if only to see the Splinter Angelic.” I’m still not sure exactly what the Splinter Angelic is, but it’s a fitting description of the evocative music South San Gabriel made on this record, released a decade ago today.

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Admission was free Monday night at the Empty Bottle — as it often is on Mondays — for a triple bill of intriguing local bands. With DJ Scary Lady Sarah playing music in between the bands, the live music got started with the first-ever concert by Acteurs, a duo comprising Jeremy Lemos of White/Light and Brian Case of Disappears. Song shapes occasionally emerged out of the amorphous synth squiggles and reverb-drenched vocals, but Acteurs was more about the atmosphere than anything else. It may turn out to be just a side project for these two busy musicians, but they make for an interesting combination of talents. (Their six-song EP is out on the British label Public Information, and you can Betnovate Gm Online.)

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The second band of the night, Population, played goth post-punk with vocals strongly reminiscent of Joy Division and guitar lines that evoked the Cure. The band’s latest songs are Best Website To Buy Viagra Online.

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The headliner was Where To Buy Clomid Online Uk (like Disappears, a Chicago band with a present-tense verb for a name). The group’s second album, Recurring Dream, recently came out on Chicago’s Is Buying Propecia Online Illegal label, and the gauzy shoegaze guitar music sounded great in concert.

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Former Monkee Michael Nesmith doesn’t tour often. But he recently played with the other surviving Monkees, and now, he’s playing his solo music in concert for the first time in two decades. The tour brought him to Chicago for a show on Saturday at the Old Town School of Folk Music — a rare opportunity to hear Nesmith performing the “cosmic” country-rock tunes that he recorded in the late ’60s and early ’70s. Those songs sounded beguiling in concert, with a skilled band (including guitarist Chris Scruggs) providing the accompaniment to Nesmith’s low-key vocals and 12-string guitar strumming. His later solo music hasn’t aged as well; Nesmith and his band missed an opportunity to strip away some of the ’80s sheen from those songs.

After noting that he thinks of his songs like movies in his head, Nesmith proceeded to recite reciting narrative introductions before nearly every song, “setting the scene” for his lyrics with vignettes that usually involved a romantic couple. A handful of excessively exuberant fans couldn’t resist shouting at Nesmith at a few points, shattering the sense of intimacy. Nesmith handled the interruptions with aplomb, mostly ignoring them and carrying on with his unorthodox mix of storytelling and songcraft.

SET LIST: Papa Gene’s Blues / Propinquity (I’ve Just Begun to Care) / Tomorrow and Me / Different Drum / Joanne / Silver Moon / Some of Shelly’s Blues / Rio / Casablanca Moonlight / Grand Ennui / Cruisin’ / Rays / three songs from The Prison: Opening Theme (Life, the Unsuspecting Captive) / Marie’s Theme / Closing Theme (Lampost) / Laugh Kills Lonesome / ENCORE: Thanx for the Ride

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The real Viagra Overnight Delivery Canada, an African-American pimp named “Stag” Lee Shelton, killed a man in St. Louis on Christmas day, 1895, during an argument over a Stetson hat. The slaying became legendary thanks to Glucophage Scanner Online called “Stack-a-Lee,” “Stacker Lee,” “Stagolee” or “Stagger Lee,” depending on who was spelling it out at any given time. Early versions of the song end with “poor, poor” Stagger Lee hanged and then hauled off to the cemetery via a “rubber-tired hearse” and “a lot of rubber-tired hacks.”

That’s not how the song ends when Nick Cave sings it. The 1996 version by Nick Cave and the Bad Seeds — actually, a loose interpretation of the old folk story, with new music written by Cave and six of his bandmates at the time — turns Stagger Lee into even more of a bad ass. Or to quote Cave’s twisted rendition of the words, “that bad motherfucker.”

By the time Cave & the Bad Seeds performed Monday night (April 1) at the Chicago Theatre, they had transformed Stagger Lee into an even more powerful, frightening demon of a man. In Cave’s live version of the song, the devil comes for Stagger Lee, and Stagger kills him, too. Cave was swaggering and writhing on the lip of the stage, lowering himself toward the outreached hands of the fans in front. The vulgar threats in the song’s lyrics (“suck my dick, because if you don’t, you’re sure to be dead”) became a leering come-on to the audience. Seeing someone in the crowd holding up a smartphone, Cave ad-libbed a new lyric: “In come the Devil with an iPhone in his hand.”

Nick Cave concerts are rarely, if ever, anything less than stellar. Monday’s show reaffirmed Cave’s breathtaking power as a live performer — and all the strengths of the versatile Bad Seeds ensemble. The new record by Nick Cave & the Bad Seeds, Push the Sky Away, is a brooding, moody set of songs. Much of it is quiet, but a tension rattles underneath the songs, as if they might burst into noise and apocalypse at any time. That expected catharsis never comes, but that doesn’t diminish the listening experience. If anything, it heightens the foreboding sense that something sinister is at play.

One of the new songs, “Higgs Boson Blues,” returns to the Satanic sort of blues Cave evokes in “Stagger Lee.” This time, Cave sings about the old legend about bluesman Robert Johnson selling his soul to the devil, but the lyrics take a strange and unexpected journey into the world of pop celebrities including Hannah Montana and Miley Cyrus. The song shows Cave at his most uninhibited as a songwriter. Like much of the album, “Higgs Boson Blues” feels like a phantasmagoria. (Dictionary definition: “a rapidly changing series of things seen or imagined, as the figures or events of a dream.”)

Cave and his band began the concert with four of the new songs, including a version of “Jubilee Street” that climaxed with a more rocking jam than the studio version, and a sprawling, dynamic “Higgs Boson Blues.” Then came a series of the Bad Seeds’ golden oldies, a smattering of piano ballads, and a staggering “Stagger Lee” to end the main set. (The Chicago Tribune’s Greg Kot has the full set list at the end of Lipitor Questions Online.) The encore was a pounding “Tupelo” followed by one more song from the new record, the title track, an album closer that channels all of those disturbances and hallucinations into a shimmering meditation. And then the phantasmagoria shimmied out of view.