Keep taking the thrills

The uncompromising US label Thrill Jockey rarely bothers the charts. So what's all the fuss about? Steve Jelbert braves the 10th-anniversary celebrations to find out

It's a decade now since Bettina Richards founded Thrill Jockey, Chicago's answer to the eclectic labels of the past such as New York's often deranged ESP. Although a certain David Bowie may not quite have been on the mark when he claimed, "They couldn't put a bad record out" (has he not heard the Lonesome Organist?), the imprint still pretty much guarantees that you won't be sitting on the fence about any of its offerings. Its releases rarely bother the charts (with the exception of Tortoise – in itself an incredible feat for an uncompromising and experimental instrumental act), but then, chart-bothering has never been Thrill Jockey's motivation.

To celebrate 10 years of sounds from the soothing to the downright impenetrable to the world, a Europe-wide package tour showcases some of their best-known acts. It may not be the Motown Revue, but there are clearly enough devotees out there to justify a mini-festival, which this quite definitely is, akin to the annual All Tomorrow's Parties events without the all-night drinking, the atmosphere more respectful than rowdy. Just why the friendliest metropolis in the Americas should produce such uncompromising sounds is initially inexplicable, but the social side of playing clearly can't be underestimated.

The collective ethos behind many of the label's releases – musicians appear in many line-ups, in the best jazz tradition – remains intact in performance. Thus, Chicago Underground Duo (today a quartet) in effect become Brokeback when the hard-working Doug McCombs joins them. He later appears with the veterans Eleventh Dream Day (who've been at it longer than the label) and as a member of the headliners, Tortoise.

Even without artists as respected as Giant Sand and the longtime P J Harvey collaborator John Parish, who've both released excellent albums on Thrill Jockey this year, the evening bill is strong. Sadly, National Trust, whose wonderful Dekkagar album is certain to register on many end-of-year lists, have withdrawn because of visa problems, which somewhat skews the running order.

The Sea and Cake almost have the civilised air of men who really like their day jobs, so unprepossessing is their set, but when Bobby Conn takes the stage for his "karaoke" slot, things come alive. Denuded of his unlikely-looking band and, mercifully, the overwrought violin work of his spouse, the diminutive Conn stands alone as a true star. The label's token entertainer sometimes gives the impression that his talents might be better used in other fields, such as acting or featherweight boxing, but with only his deft guitar-playing to protect himself, he's outstanding. His intricate, almost annoying, songs (owing much to Prince yet, yes, madder) make more sense without a backing group grimly working through them.

Washington DC's Trans Am, adept in many seemingly incompatible styles, are similarly theatrical, but their jumps between Kraftwerk-influenced synth-rock (which bears an odd resemblance to Emerson, Lake and Palmer, possibly deliberately) and ludicrously heavy riffing with roaring metal vocals just whiff of artifice. Though a healthy reminder that American suburbia once rocked to Tangerine Dream as well as Led Zep, such contrivance fails to convince.

Though often damned as tasteful jazzy noodlers, Tortoise are anything but gentle tonight, kicking off with the fearsome "Seneca", all analogue distortion and wobbly synth-lines. John McIntire's amorphous collective, as ever unafraid to prove their worth on different, unusual instruments (the "duelling vibes" justify their existence by themselves), are quite superb, and are captured perfectly by a crystal-clear PA.

Having pretty much defined "post-rock" with their eclectic attitude to different musics, they've now transcended that somewhat played-out genre, instead becoming instantly identifiable whatever direction they pursue. Their delightful tendency seemingly to expand on concepts as if trying to recreate the mood of anything from film soundtracks to carnival rhythms after hearing them once, a technique that might be drily academic in the wrong hands, repeatedly hits the spot. The delighted crowd respond as such, even the many Men Who Dance Alone. A fitting end to an excellent event, then, and one that proves that a sense of community can exist among the audience as much as the performers. Can we have a similar event for Fat Cat, home of Sigur Ros and others, please?

Thrill Jockey's 10th anniversary tour takes in La Boule Noir, Paris, tonight; L'Elysée Montmartre, Paris, tomorrow; Les Nuits Botanique, Brussels, on Sunday; Amager Bio, Copenhagen, on Monday; and Metropol Loft, Berlin, on Tuesday