`If we were to make some sweeping statement about our goal, it would have something to do with wanting to embrace as many contradictions as possible.”
That’s the word from Jawbox singer-guitarist J. Robbins. And his band’s fourth, recently released album, “Jawbox,” thoroughly adheres to that goal.
The saw-toothed guitar chords that blow open the record let you know that you’re listening to a band steeped in punk. Yet the classically tailored songcraft that immediately follows is something else entirely. That the ensuing songs use complex meters, unconventional song forms and gentle lyricism seems even more paradoxical.
Yet “Jawbox” is not a record of willful eccentricity or eclecticism run amok. It’s a remarkably cohesive collection of bullet-nosed rock infused by method rather than madness.
“We’re all really interested in writing songs that feel like songs even when we’re using heavy dissonance or difficult rhythms,” explains Robbins. “We’re always thinking about formal pop songwriting even if a particular piece is abrasive and unconventional.”
More importantly, while Jawbox’s music can be complex and unorthodox, it never sounds arty or pompous. Instead, the tension between the guitarists’ power chords and the rhythm section’s busy yet precise counterpoint creates a potent rock riptide that vaguely recalls the Who in its prime.
“Our drummer Zach (Barocas) is a fan of people like the Meters and Elvin Jones, and he’s able to take an odd meter and turn it into a great groove,” remarks Robbins. “We don’t want you to be pulled into our music because of its complexity; we want it to pull you in because the songs are great.”
And Jawbox generally fulfills that mission, brandishing real hooks and fine tunes with impressive power and a willingness to experiment.
“I think you have to make a really good case for why the world needs another 4/4 verse-chorus-verse pop song,” concludes Robbins. “Some people do make that case. But we like to turn things around and corrupt them because it’s more fun for us that way.”
Jawbox headlines an early show Saturday at the Metro. 3730 N. Clark St.; 312-549-0203.
Flaco Jimenez, Friday at FitzGerald’s: Flaco Jimenez is a master accordionist and an exemplar of Texas conjunto music — a blend of brisk, countryish polkas and waltzes peppered with south-of-the-border seasoning. Over the years, Jimenez has lent his distinctive playing to records by everyone from Los Lobos to Dwight Yoakam to Emmylou Harris. He’s also been a longtime associate of Doug Sahm, with whom he’s a partner in the mighty Texas Tornadoes. This is Lone Star conjunto at its finest. 6615 Roosevelt Rd., Berwyn; 708-788-2118.
Possum Dixon and Yum-Yum, late show Saturday at the Metro: In a milieu saturated with angry young women and grunge dunderheads, Possum Dixon cranks out unselfconscious, straight-ahead rock. On its recent “Star Maps” album, the quartet garnishes its unassuming rockers with vibes, electric piano and mellotron to generate some unfashionably fun, tuneful bashing. While local outfit Yum-Yum is often compared with baroque pop masters like the Left Banke, the band’s lovely string and brass arrangements mask a mediocre songcraft. 3730 N. Clark St.; 312-549-0203.
Randy Crawford, Friday at the Navy Pier Skyline Stage: Despite a fine voice, stardom in Europe and collaborators that have included George Benson and Cannonball Adderley, soul chanteuse Randy Crawford has yet to make a real dent in the U.S. charts. Crawford’s most recent record, “Naked and True,” invests a collection of R&B staples like “I’ll Be Around,” “Purple Rain” and “Give Me the Night” with plenty of silky charm though only occasional electricity. Illinois Street and Lake Shore Drive; 312-559-1212.
Louisiana on the Lake, Thursday at the Navy Pier Skyline Stage: This festival of Cajun music, food and dancing is hosted by the Old Town School of Folk Music and will feature performances by renowned bayou maestros BeauSoleil, Rosie Ledet & the Zydeco Playboys and Cajun accordionist Eddie LeJeune. Illinois Street and Lake Shore Drive; 312-525-7793.
Biohazard, Wednesday at Thurston’s: This veteran New York City outfit is a feral street mutt sired in equal measure by metal, rap and hardcore punk. The band’s new album, “Mata Leao,” resounds with earnestly howled “screw-the-system-think-for-yourself” platitudes reinforced by thrash metal-hardcore axe blasts. While Biohazard’s sonic fury is unremitting, it often relies on the most timeworn characteristics of the genres it raids. 1248 W. George St.; 312-559-1212.
The Rarely Herd, Friday at the Abbey Pub: With its skittering fretwork, whispering wind harmonies and warm ambiance, the Rarely Herd strums a uniquely mellow brand of bluegrass. Preferring classic songcraft to instrumental breakdowns, the Herd builds its sound around gentle, heartfelt crooning. Though less showy and dazzling than some bluegrass ensembles, these Ohioans still pour out a savory backwoods brew. 3420 W. Grace St.; 312-478-4408.
Ralph Covert & the Bad Examples, Saturday at Schubas: The Bad Examples’ mild guitar pop has been a fixture on the local scene for nearly a decade, and this show coincides with the release of “Popscape,” an 18-song compilation that charts the band’s progress during that period. Unconcerned with honing a unique sound, Covert and Co. cling to affable, tried-and-true melodies and thoughtful lyrics of often unabashed sentimentality. 3159 N. Southport Ave.; 312-525-2508.
Babe The Blue Ox, Saturday at Lounge Ax: On its recent major label debut, “People,” this east coast trio nicely streamlines its porcupine rock. Though BTBO brazenly flirts with straightforward, honeyed melodies, the band still scatters jagged riffs and schizoid meters throughout its tunes. But on this outing the eccentricities blend far more cohesively into the quality songcraft. Edgy yet engaging. 2438 N. Lincoln Ave.; 312-525-6620.
Barkmarket, Friday at the Empty Bottle: These Brooklyn hooligans turbo-charge their slide-blues with heavy metal bombast and the demented aggression of bands like White Zombie. A seemingly incongruous mix, it allows the boys to plunder each genre’s darkest, most ragged mannerisms. The band’s latest treat, “L. Ron,” is the sound of a giant, psychotic junkie marauding through your neighborhood. 1035 N. Western Ave.; 312-276-3600.
June Of 44, Friday at Lounge Ax: On its second album, “Tropics and Meridians,” June of 44 continues its custodial care of the “Steve Albini” sound: earthshaker bass lines, mortar-round drumming, dynamic extremes and Expressionist “singing.” Eschewing melody for shard-like riffing, the quartet erects complex rock formations that encompass dormant stillness and seismic tremblers. More about instrumental interplay than songcraft, June of 44 bridges punk and art. 2438 N. Lincoln Ave.; 312-525-6620.
Lotus Crown, Saturday at the Empty Bottle: Fronted by Jimi Shields (younger brother of My Bloody Valentine’s Kevin Shields), Lotus Crown emits swells of sunny pop music that float tuneful melodies amid bubbly guitar-bass-drum drones. Light and trippy, the songs are a cross between Stereolab and Wire/Colin Newman at their most buoyant. The band’s “Alvar Aalto” EP is a delightful dose of psychedelic pop. 1035 N. Western Ave.; 312-276-3600.
