Philadelphia Weekly

In Woody's Words
Sun., Dec. 16, 11:30am. $150-$200. With John Gorka, Jonatha Brooke, Tom Paxton, Sarah Lee Guthrie and Johnny Irion + Cathy Fink and Marcy Marxer. World Cafe Live, 3025 Walnut St. 215.247.1300. www.pfs.org

When Billy Bragg and Wilco released two successful Mermaid Avenue albums in 1998 and 2000, they gave new life to never-before-recorded Woody Guthrie lyrics ... but they were just scratching the surface of an archive 2,500 songs deep. To celebrate its 50th anniversary, the Philadelphia Folksong Society culls together a lineup (John Gorka, Jonatha Brooke and more) besting that of most folk fests to premiere a slew of "new" Woody songs. At $150, it ain't cheap, but the four-hour event includes a three-course luncheon, silent auction and a musical film featuring Bragg, Wilco and more. You'd think an event like this would pack the Kimmel; in the intimate elegance of World Cafe Live, it should be once-in-a-lifetime spectacular. (Jeffrey Barg)

Like the proverbial nice guy, power-pop's winning demeanor is often passed over by the young for something edgier until, time-wisened, we sidle up to the ringing guitar hooks and the lilting vocal harmonies. Smash Palace took a 14-year break between their ill-fated self-titled major-label debut and their '99 return Fast, Loud, Long, allowing time for their peers to catch up. Since then they've forged a fine catalog recalling Badfinger, and ruled with dulcet melodies and rootsy jangle and twang, with a swath of British invasion verve. It's an effortless blend moving with a catchy rock swagger that's infectiousness enough to require Cipro. (Chris Parker)

French Canadians are totally sexy and pissed off at the same time because they speak the language of love, but are doomed to do so in the godforsaken ball-numbing doldrums of the Great White North. Montreal's We Are Wolves are no different, playing music that'll make you simultaneously thrust your hips and put up your dukes. The francophone trio maintain a slinky posture while banging out heavy synth-rock licks driven by hammering drums that swerve between influences like Lightning Bolt and Ministry. It's kind of like the shit the Jets and the Sharks would knife-fight to if they were around today. (Jean Luc Renault)

Pattern Is Movement's odd, jazz-influenced arrangements leave you feeling funny, and not always in a warm and fuzzy way. Listening to the Philly outfit is like wandering through some really weird forest, utterly lost. You may see a few points of reference along the way--a brief melody here, an unexpected hook there--and maybe a few stray footprints left by Beta Band or Tortoise. But most of the time you're wandering in circles through uncharted rock music territory. Since they recently lost a bandmate to the clutches of the evil sylvan goblin known as matrimony, time will tell if the isotopic two-member PIM will continue their usual unusual shenanigans. (J.L.R.)

Rob Montejo and Monika Bullette have both been in the music industry for years, in Smashing Orange and Licorice Roots, respectively. Now, together as a duo, they're often lazily compared to the White Stripes, though their sound has much more to do with shoegaze--thundering, ethereal, dense and yearning--than garage rock. Intelligent songs full of image-laden lyrics are fleshed out through their euphoric blend of male/female harmony, and their intimate sound is perfect for smaller venues. (Amanda O'Mahony)

Part one of the Ars Nova Workshop's "Out There" series brings this Norwegian trio to Philly (and the U.S.) for the first time. A spinoff of the improvisers' collective No Spaghetti Edition, Huntsville debuted on Rune Grammofon in 2006 with For the Middle Class, an ambient alt-jazz headscratcher. In the mix you'll hear acoustic and pedal steel guitars, upright bass, Indian-derived drones and electro-rhythmic intrigue of every sort. Call it poetic and groovy avant-noise, served up the Scandinavian way. Veteran saxophonist Frode Gjerstad shares the bill, and judging from his latest trio disc Mothers & Fathers &, it'll be a fierce free-jazz throwdown. (David R. Adler)

Last year's Dat Rosa Mel Apibus was very much a grower, and not everyone stuck with White Magic's eerie, cyclical psych long enough to hit that wow moment. The new Dark Star EP is more accessible by miles, packing the same exquisite ghostliness into brighter bursts. Mira Billotte's calmly fixated voice and piano are perfect together, and multi- instrumentalist Doug Shaw is joined by bassist Tim Koh (of Ariel Pink's band) and Dirty Three drummer Jim White, each possessing the ideal ratio of discipline to flexibility. The standout of the four songs is "Poor Harold," a guitar-less ditty built on junky percussion and lyrics about a lonely gravedigger that's somehow bouncy and fun. (Doug Wallen)