The Kopecky Family Band. Photo by Will Morgan Holland.

The second track on the debut album by the Kopecky Family Band is the mid-tempo number "Heartbeat," pleasant but unremarkable until the two-tiered bridge, which ultimately explodes with what sounds like a theremin.

It's actually co-founder Gabe Simon whistling, multitracked and treated with reverb, and those 15 seconds demonstrate a maximalist tendency - understandable for a six-person band with members who play several instruments. The album starts with horns and cello, for instance, before the guitar rock kicks in, and the record employs an expansive sonic palette.

But the key thing about that whistling is that it's right, the perfect touch at the perfect moment. Beyond the typical mix of loud and quiet songs, the Kopecky Family Band on the vibrantly dynamic Kids Raising Kids (out April 2 on ATO Records) has a judiciously sharp sense of how much or little songs require; adventurousness is tempered by discipline.

"Change" is acoustic guitar, some ethereal atmospherics, and vocals - anchored by the inherently poignant singing of Kelsey Kopecky. Straightforward opener "Wandering Eyes" has a swagger bordering on stalker menace. "Are You Listening?" finds Simon whistling again, but in a conventionally tuneful way.

"That's the dynamic of the record: to get that simple or to get as a big as a song like 'Hope' - multiple layers, tons of strings, tons of keyboards ... ," Simon said. "There have to be those moments when you say, 'Does it need everything? ... Can this song survive just by itself? Or does the song need these layers to build it into something great, ... memorable?' That's what I think is cool about the record: It has both of those things. That's what six people allows to happen."

Them Som'Bitches

The title of the second track on the Asphalt Plains EP from the Quad Cities-based garage-country band Them Som'Bitches is "D.G.A.F.," with the first three letters standing for "Don't Give a." You can figure out the rest, and it's about that subtle. For good measure, the phrase turns up in the next song, too.

Despite that symptomatic coarseness, the six songs on Asphalt Plains represent a modest achievement, despair and nihilism delivered with a wink and elevated by consistently engaging performance. Over 20 minutes, the band's shit-kicking aesthetic unerringly evokes a very particular picture: for me, aimless folks marking time in a trailer on the scrubland, with no other sign of human activity.

That's nearly explicit in "Buzzard Ridge," with animal-call samples taking the roles of instruments - and doing it well. I particularly like the owl, which appears to think it's a background vocalist, and the howling. These fanciful flourishes all over the EP are a bit on-the-nose, but that's part of their charm; we ain't talking high art.

Even without the sound effects, though, the punks-doing-country songs suggest a dual nature: the barren beauty of the American Southwest invaded by loners with nothing better to do than drink and shoot stuff.

Donald Ray Pollock

Because there's no rational response to a terminal cancer diagnosis, Willard Russell's course of action following his wife's death sentence doesn't seem as strange as it should.

In Donald Ray Pollock's novel The Devil All the Time, it's a prayer log in the woods, "the remains of a big red oak that had fallen many years ago. A weathered cross, fitted together out of boards pried from the back of the ramshackle barn behind their farmhouse, leaned a little eastward in the soft ground a few yards below them." Willard goes there every morning and evening "unless he had whiskey running through his veins," Pollock writes, and he often takes his son Arvin.

Lest that sound peaceful and perfectly pious for a man who had little use for the church after what he'd seen in World War II, allow Pollock to set the scene as the condition of Willard's wife deteriorates: "Maggots dripped from the trees and crosses like squirming drops of white fat. The ground along the log stayed muddy with blood."

This is in Part One of The Devil All the Time. Out of desperation, Willard begins offering blood sacrifices at the prayer log - animals he killed or scraped off the roads. "But even he had to admit, they didn't seem to working ... ," Pollock writes. "There was one thing that he hadn't tried yet. He couldn't believe that he hadn't thought of it earlier." And that is when Willard decides to kill his landlord.

Day Joy

The vibe of Day Joy's debut album is undoubtedly dreamy. The Florida-based band intends that literally - but not quite in the obvious manner of gentle, mild, peaceful sleep.

Yes, it has cool cello, some warm organ, and spare banjo and guitar in wispy, atmospheric, reverb-heavy arrangements. There are lovely harmonies articulating what Michael Serrin - who founded the band with Peter Michael Perceval III - called "soft-spoken melodies." It usually moves at an aimless pace toward no clear destination.

But the opening track, with the appropriate title "Animal Noise," closes with an aggressive cacophony from nature. The next song is "Bone & Bloody," followed by "Talks of Terror" - which teeters on the edge of a climactic cliff but never leaps off, denying a catharsis that had seemed inevitable. The penultimate song is "Splattered Like Me."

Sweet dreams might dominate, in other words, but they're swirled with nightmares.

Day Joy, on its way to South by Southwest later this month, will perform at Rozz-Tox on March 8, and Serrin said in a phone interview that these contradictions were intentional. The tantalizingly titled Go to Sleep, Mess - released in February on Small Plates Records - was crafted as a concept album. "The idea of it was the mental turmoil that you may have when you can't sleep at night," he said, also comparing it to "that contrast between that beautiful dream and that terrible nightmare you have right after it."

Dan Hubbard & the Humadors

The Web-site bio of Dan Hubbard & the Humadors says the band builds its music on "the classic sounds of Tom Petty, Van Morrison, Neil Young, and Jackson Browne." That's a pretty common set of influences, and one that has produced plenty of earnest but dull music in the hands of less-skilled singers/songwriters.

But with Hubbard and his band - playing their first headlining gig in the Quad Cities on February 8 at Rozz-Tox - those forebears mostly hint at an unpretentious, straightforward, gimmick-free, and song-based style. And when the hooks are plentiful and the arrangements are thoughtful and performed with vigor - as they usually are - the guys pull it off.

Tim SchifferIf you're looking for excitement from Tim Schiffer - the Figge Art Museum executive director who started on August 1 - don't talk to him. Instead, just look at the walls.

In our interview on January 25, the soft-spoken Schiffer articulated a modest plan for the Figge, but one that visitors will be able to see for themselves in "clusters" of exhibits that play off each other.

Schiffer's predecessor, Sean O'Harrow - who left after three years at the Figge to head the University of Iowa Museum of Art in November 2010 - believed that the Figge needed to emphasize education above all else (including being an art museum) and that the endowment needed to be built from $5 million to somewhere between $20 million and $50 million.

Because the process of developing a strategic plan for the Figge is just getting underway, the new executive director didn't offer measurable goals in those areas. But Schiffer - who had been executive director of California's Museum of Ventura County since 1999 - has already put his stamp on the museum in a different way.

If a government body wants to spend tens of millions of dollars for a construction project, there are lots of ways to gauge the public temperature.

It's hard to imagine a more roundabout approach than the one chosen by the Rock Island County Board.

Last week, the board voted to put a referendum on the April 9 ballot, and if your eyes glaze over while reading it, that might be the goal. The measure asks: "Shall the County Board of The County of Rock Island be authorized to expand the purpose of The Rock Island Public Building Commission, Rock Island County, Illinois to include all the powers and authority prescribed by the Public Building Commission Act?"

Of course, most people don't know what the Rock Island Public Building Commission is, or that it even existed - let alone its current or potentially expanded authority.

And there's no way to know from the words what the endgame is. There's no mention of a new or renovated county courthouse or county office building, or of a location, or of a price tag - which could be anywhere from $13 million (the low estimate for a new court facility alone) to $50 million (the high estimate for a new courthouse and county office building in downtown Rock Island).

In short, the referendum appears designed for maximum obfuscation - a seemingly innocuous question about an obscure public body. The move could easily be interpreted as a deceptive attempt to gain public support for something the public otherwise might not support.

Nikki HillBased on her vocal confidence and itinerary, it's hard to believe that Nikki Hill is by her own admission a neophyte on the music scene.

She began singing in the church choir in her native North Carolina when she was six or seven, but her tenure as a performing and touring rock-and-roll artist is considerably shorter - basically less than a year. Yet she co-produced and released her self-titled debut EP last year on her own label, she's planning a spring release of some sort, and this spring and summer she'll be playing in Italy, Germany, Sweden, Norway, and Spain. On Saturday, she'll be performing at RIBCO, and while you might not have heard of Hill, she's doing her damnedest to change that.

"I'm kind of in that ride-it-'til-the-wheels-fall-off mode," the 28-year-old said in a phone interview last week.

Rob Cimmarusti working on an audio-equipment installation at Progressive Baptist Church in Davenport on January 4, 2013.

Rob Cimmarusti calls it a "malady" - a gentle label for the cancer he's been told will kill him in the next few months.

But that term is a fair reflection of the attitude the longtime Quad Cities musician, producer, and sound engineer has about the adenocarcinoma that began in his pancreas and has since popped up in the fatty tissue near his abdominal wall. He received his initial cancer diagnosis on February 1 (his 53rd birthday) and has been through chemotherapy, radiation treatments, and surgeries. In an interview last week, he compared the present state of his tumors to a "shotgun blast"; there are too many of them to target with additional surgery or radiation, and because they're in tissues that get relatively little blood, they don't respond well to chemo.

Cimmarusti conceded that his situation is "not good, not hopeful." A few months ago, he said, a doctor in Iowa City told him: "Get your affairs in order. It's going to be a matter of months." His response was to fight: "We're like, 'Well, we're not going to take that.'"

For the seventh year, I've compiled a selection of favorite songs from the past year and sequenced them into an album - something that can fit on an 80-minute CD, with no artists repeated from previous years and a limit of one song per artist.

This year's edition features 20 tracks and is notably heavier and louder than any of the past six. Read nothing more into that than the possibility that my hearing is likely deteriorating now that I'm north of 40. (And don't infer anything from the inclusion of two Swedish bands and another from Denmark, or my apparent weakness for the second songs of albums.)

Beyond the surface aggression, I'm imposing on my 2012 album an air of finality, both aesthetically and thematically. Whether it's the violence promised and delivered by the Hives or the natural calamity of Alexandre Desplat or the seasonal metaphor of Max Richter or the self-loathing regret of Cloud Nothings or the ominous instrumental clouds of Goat, this sounds a bit like the world is ending. I'm pretty sure the planet as we know it will be here on December 22, but here's a soundtrack for December 21 just in case some interpretations of the Mayan calendar prove correct.

The Hives, "My Time Is Coming." There's always been a threatening edge to the punkish garage rock of the Hives, but it's always been obliterated by cheekiness, matching outfits, and a bright bluster that made it impossible to take anything at all seriously. Here, the title and chorus are far from earnest, but both the music and vocals carry something darker - not of getting one's due but of seizing out of desperation and deprivation ("You see I grew up in a hole / Squeezing diamonds out of coal"). The reverb-heavy guitar and the quiet opening before detonation represent minor aesthetic developments for the Swedes, but the biggest change is how they tap into a rage that for once feels authentic.

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