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Transmission

Random Thu Jul 31 2008

Clubland Coming to You Live

The sweet sounds of clubland can now be downloaded from the "Interweb." As of August 1, you can listen to a live performances from Smart Bar (as well as other clubs and venues around the world) via Awdio.com, the first system to broadcast 100% music live over the web. The system was founded in Paris in 2006 by a team of young entrepreneurs in music, entertainment and design. A free 45-day trial membership is available to Smart Bar patrons. For more details visit the Awdio website. Word on the street is that Sonotheque is joining up as well. Now you can go to clubland without stepping away from your computer.

Marla Seidell

News Thu Jul 31 2008

Hearing Things

• If our Lollapalooza guide wasn't enough, here's a couple more: Time Out; The Reader; Chicagoist day 1, day 2, day 3; Metromix.

Greg Kot shares some advice for Lolla-goers.

Thrillist talked to Girl Talk. So did Chicagoist. Maybe we should call ourselves Transmissionist so we can talk to him.

• Wall Street Journal: This was Maxwell Street (previously, in Merge).

• The TOC Blog collects some "fine lines" about the Uptown Theater sale, and interviews Does It Offend You, Yeah?

The Rock Music Examiner picks its top five concert venues.

Double O of Kidz In the Hall got badly beat up by bouncers in a Tempe, AZ nightclub.

The Brauerhouse, a popular Hillside punk venue, burned down this week.

Live Music Blog reviews Umphrey's Magee, to no one's surprise. (We kid, guys.)

• Gowhere has an unreleased Lupe Fiasco track for download.

Pelican is playing a free show at the Subterranean tonight, if you RSVP.

Andrew Huff / Comments (1)

Feature Wed Jul 30 2008

Ring the Bell! Here's Lollapalooza Band vs. Band

lollapalooza2008throwdown.jpg

Friday

2/2:15-2:30/3:15 - The Terrible Twos vs. The Go! Team

Though the kids could get into The Go! Team's dance-pop and rah-rah cheers, there's no way you can compete with a band whose latest album features a song called "Great Big Poop" (which, as some parents may know, earns its own kind of rah-rah cheer!). Headed by former New Amsterdams member Matt Pryor, The Terrible Twos are one of kiddy pop's rising stars — the band's new album, Jerzy The Giant (out this week on the pop-punk label Vagrant), is a charming collection of songs about letters (consonants, specifically), funny creatures and, of course, poop. It ain't so terrible being two, after all, and all kid's music doesn't have to be terrible, either — along with the Twos, this year's Lolla Kidz stage could also entertain those not toting tots. The Terrible Twos, "Math Stomp" [mp3]
-JP Pfafflin

2:30-3:30 - Jeff Tweedy / Rogue Wave vs. Holy Fuck

The rock band / kiddie act crossover is more and more common these days, with moms and dads in bands entertaining their own lil' guys with family-friendly music that won't have you teeming with road rage after hours in a car with Radio Disney on the dial. One such band making the leap from clubs to cribs is darling indie-rockers Rogue Wave, who recently contributed to the comp, For The Kids Three. Wilco frontman Jeff Tweedy is also no stranger to the kids' circuit — he's played shows to support The Old Town School of Folk Music's Wiggleworms, the school's program for wee ones, of which Tweedy's children are former students (they've since gone on to start their own rock band). And while Holy Fuck is probably the most family-unfriendly name at the festival, they're an electro-party rock force not to be missed, and play earlier in the day at the AT&T stage at 1:15pm. So, you can have your cake and eat it, too, Mom and Dad.
-JP Pfafflin

3:15/3:30-4 - Tiny Masters of Today vs. Louis XIV

Memorable Pitchfork reviews aside, it's probably true that the dudes in Louis XIV couldn't hold their own court against the (pre-) teens in the Brooklyn-based duo of Tiny Masters of Today. The siblings of Ivan and Ida — 14 and 12 years old, respectively — made their debut in 2005 with the basement single and anti-Bush ode, "Bushy" [mp3] (See also: Midwestern 'tween punks Old Skull who ranted against Reaganism in the '80s) and gained the attention of Jon Spencer Blues Explosion drummer Russell Simins, who toured with the band last year. The band released its debut album, Bang Bang Boom Cake, in 2007, and featured collaborations with Kimya Dawson, the B-52's Fred Schneider and Yeah Yeah Yeah's Karen O and Nick Zinner.
-JP Pfafflin

4:15-5:15 - Black Keys vs Gogol Bordello

The two-man Akron-based garage rock band and the 10-person self-described gypsy punk group from New York don't have a whole lot in common. One is a lo-fi blues-influenced rock duo with no gimmicks. The other is a cacophony that's only really worthwhile when seen. If you want to see and hear efficiency in music, you will see the Black Keys, who have the distinction of playing Lollapalooza back-to-back years now. These two men produce a sound so thick you'll swear there're more than just two of them. Unfortunately, as good as they are, they're not much to look at. Gogol Bordello, on the other hand, puts on a very entertaining show and you won't walk away feeling like you missed out on anything once they're done. (In a strange coincidence, both bands are headlining post-Lollapalooza shows. So if you miss one at the festival, try to see them at Metro.)
-James Ziegenfus

5:15-6:15 - Cat Power vs. Grizzly Bear

Grizzly Bear are riding strong after a slot on David Letterman last week and as we speak an opening gig for Radiohead on the rest of their tour this summer. Oh Grizzly Bear, how you've grown since that one album two years ago. The ironic thing, however, is that they haven't grown much (they've only added one EP to their catalog since that 2006 album Yellow House). Instead, people have just started noticing. The album itself is a bit lazy, the songs take their whole life to develop, but that's one of the better reasons to go watch them get created and killed right in front of you. Cat Power has not had the best reputation for live performances as of late. Her songs tend to lose their air as she flits around the stage. The blues band she's been touring with, luckily, is spot on for themselves, and it's great as a satisfier for your own personal interest to hear some of her older songs transformed with this new style. Neither of these bands are set out to wake you up, incase you were looking for that. Instead, take a late afternoon nap in the grass circling these performers, chill out to the tunes, and rest up for Radiohead later that night. And for this purpose, choose Cat Power, she's simply more talented.
-Emily Kaiser

5:15-6:15 - Mates of State vs. Million $ Mano

So here’s a hipster dilemma: do you go for the tried and true harmonies of the adorable pair that make up Mates of State, or do you settle in at the DJ stage to hear Chicago son and up-and-comer Million $ Mano? The Mates, hopefully enjoying a broader fan base after their national tour with Ira Glass and "This American Life" last year, are favorites with the head bobbing, foot shuffling set, while M$M is the darling of the bustling Chicago electro/hip-hop scene. This set will likely come down to how mellow or amped you want to be heading into Friday night. Do you want to pace it with the delightfully talented husband and wife team jamming away on their drums and keys? Or do you want to get a little funky over at Perry's tent with some Daft Punk-influenced beats and a hometown flava?
-Anne Holub

6:15/7-7:45/8 - The Raconteurs vs. CSS vs. The Cool Kids vs. Stephen Malkmus & The Jicks

"Returning" to lollapalooza are last year's no shows, CSS from Sao Paulo. With Brazilian flair, punk attitude, and an electro-clash style, CSS will bring an energetic and wild sound to the lolla crowd. Their sophomore album, Donkey, was just released on July 22nd. Back in 2006, they played a small side tent at Pitchfork and the lead singer Lovefoxx got so wild and out of control, she jumped off the stage and broke her arm. Expect random, crazy, raw, and without question the best performance of the day.

Mickey Rocks and Chuck Inglish (aka The Cool Kids) are two of the hottest names in Chicago right now, and being from Chicago means they will be back through again. So why pass up another band to catch them? However there is nothing like feeling that wave of bass in your face, and some of my favorite acts of all time have been hip-hop acts. Also, I am interested in seeing what these two will be wearing. If there is one thing that this new era of hip-hop brings it is some of the craziest retro fashions around. Yet, just like with Kid Sister you make have to pass on these hometown boys.

Stephen Malkmus, two words, legendary and rejuvenated. Stephen has somehow survived the weird and awkward electro phase and has found new life with The Jicks and his latest release, Real Emotional Trash (Matador Records, March '08). If you are a hardcore pavement fan, as many are, I may not be able to sway you, but if you are looking for energy and excitement this set may disappoint.

Jack White can do no wrong. Is that an accurate statement? He certainly has put together an impressive catalog with The Raconteurs and The White Stripes. Over the years both he and Brendan Benson have become accomplished performers and always play with passion and energy. Their latest album Consolers of the Lonely was surprisingly released last March, and it has only worked to expand their fan base. This is the main reason why you may need to take a pass on Jack White and the boys. The crowd may limit how enjoyable the performance will be for you. For the smaller crowd and an energetic performance I would recommend checking out CSS.
-Jason Behrends

Saturday

12:30-1:30 - Does this Offend You vs. The Postelles vs. The Ting Tings

When I first heard The Ting Tings first single "Great DJ" I was really impressed. It was catchy, dancy, fun and it made me want to scream-along. Then I heard their second single, "That's Not My Name", and I bobbed my head with a half smile and a puzzled brow. Not that it was identical, but the formula was the same. We are not even going to talk about "Shut Up and Let Go". So does this band have staying power? Will you look back next summer and say, who was that band that I saw on Saturday morning? What ever happened to them? Yes, they are fun danceable pop, but outside of the three above tracks their album, We Started Nothing, is pure fluff.

Also playing Saturday morning are New York's The Postelles, no not The Fratellis that was last year, although the two bands are similar. They play that speed-up fifties crooner brand of pop music. Yes, much like The Strokes, and no they are not as good as The Strokes. However, Albert Hammond Jr. did produced one of their single. They are a fun and aggressive young band playing in an earlier spot with something to prove. All of those factors could result in a very entertaining set.

There is nothing not to love about UK electro freaks Does it Offend You, Yeah? Their sound may not be unique, but it is extremely fun to listen to. From the pure glitch and big beat of "We Are Rockstars" to the distorted vocals of "Doomed Now", their music will make you move. Besides any band with a song called "Attack of the 60 Ft Lesbian Octopus" has to be witnessed live. Taking their name from the British version of The Office and a line delivered by Ricky Gervais, Does it Offend you, Yeah? mixes organic instruments with their electronic beats to create a forceful sound and a more enjoyable live performance. This band is the reason you should get out of bed early on Saturday morning.
-Jason Behrends

1-2/1:30-2:30 - Devlin & Darko vs. Mason Jennings

Okay, so Mason has a few more people citing his critical acclaim — the Minnesota City Pages named him the "Artist Picked To Click", the Boston Phoenix named him "Best New Band" from Hawaii, and he's toured with this summer's unexpected festival must-have, Jack Johnson. But check it out: this is Chicago, what the hell does Boston know about Hawaii? and this thread should answer all of those points nicely.

Now lets look at the alternative, because oh baby, is there one: Devin and Darko, the boys behind the fat, Crisco-covered beats that had you all banging heads and otherwise over the past year or two. Now its not like you can't see the whole enchilada of Naheem and the Gang later on in the fest, but as of late, D&D have been making some absolutely s%#$-hot remixes that are tearing up dance floors so grimy they're not even level anymore. Lollapalooza is not exactly known for drawing the most elite music snob crowd, and the daylight and extreme heat will cramp the club-kids style. But if you push up front and get that ba-donk-a-donk of yours moving along with what they're spinning, you may find it all very worth it.
-Dan Morgridge

3:30-4:30 Devotchka vs. MGMT

Devotchka is that band that plays all the eastern European songs that wrenched your heart out during Little Miss Sunshine. MGMT is that band that you are waiting for your friends to pronounce out loud first just incase you've been saying it wrong in your head. MGMT has had a huge year already, with Oracular Spectacular storming into our 2008 surrounded by hype, most of it deserved. From afar their blinding live acts looks like the biggest party around, but get a bit closer and you sense an underlying hollow-ness, a fault of the music itself more than anything else. Devotchka plays the exact opposite, storming in solitude from a single spot on stage while they produce a slightly foreign (might be the accordian) but personally touching string of songs. They might not be as fun as MGMT, but that's the price you pay for trying to say something. Substance over showmanship hands this favor to Devotchka.
-Emily Kaiser

4:30-5:30 Brand New vs. Explosions in the Sky

The first image that comes to mind when I think of these two bands in a death match involves a case of PBR and a Halo showdown. While they are certainly not as "Bro"-ed out as the picture I just painted, they are probably asked to hold down that demographic more often then they'd like. For Explosions in the Sky, they can thank the Friday Night Lights soundtrack they are so wonderfully responsible for. For Brand New, it's their ability to write the lyrics you wished you could (or did) sing to your high school girlfriend. Either way both these acts rise above any image you'd like to have of them the second they start playing. Explosions dominates all sensory perception with their doomsday-instrumental jams. Unfortunately the bigger the space, the more Explosions are unable to fill it, and at such a huge festival in such a wide open outdoor space, you'll probably end up noticing just how small the band actually is and once again bedisappointed by reality. Brand New has skyrocketed this last year or so since 2006's The Devil and God are Raging Inside Me showed how much they matured and began to earn them some real credibility. Thought to be plagued by beach angst and a pledge to "stay 18 forever", Brand New is still angry, but expresses it with such a desperate fury that their jams whip you around before you have time to confirm where you're going. Victory here goes to Brand New for their ability to translate and transform their music expertly to the live stage.
-Emily Kaiser

6:30-7:30 - Battles vs. Lupe vs. Broken Social Scene

Whatever the Lolla powers were thinking when they arranged this set is beyond me. Sure, BSS is a little "safer" and Battles is a littler "nerdier" and Lupe is a little more "a rapper", so you could conceivably separate the massive crowds along such gray lines. But god damn, does nobody win here. Lupe is the hometown favorite, and has the most recent release - but it's still been half a year, and The Cool didn't really bring the hits to further flesh out his (admittedly stellar) live act. Battles also had an explosive year last year, breaking onto the scene with Mirrored and capturing critical acclaim like they'd re-invented music (they only partially did this). Meanwhile, The 'Scene have theoretically been stagnant the longest, letting their various solo outings take precedence since their last full-length. But what if some of those songs make an appearance? What if the band gets Emily Haines to sing "Anthems for A Seventeen Year Old Girl"? What if, OMG, they got FEIST!!! to come out! What if her and Amy got into a fist-fight with Amy Millan? Or better, Amy Winehouse? You can't discount the drama factor here, and that pretty much leaves all these bands as must-sees — for shame, organizers!
-Dan Morgridge

7:30-8:30 - Sharon Jones & The Dap Kings vs. The Toadies

You, me, your brother, your mother, the football team, the nerds, and hopefully one hell of a wedding reception somewhere in the world are all in agreement: they would treat you well, my sweet angel — so help them Jesus. Yes, it's been 14 years since the Toadies tore up the charts with "Possum Kingdom", and damned if there's not a better song to get tens of thousands of people to scream along to in Grant Park.

Unfortunately, as much allure as that single shining moment holds, Todd Lewis's excellent vocals just don't hold a candle to the bar Sharon Jones has set time and time again with her work-a-holic Dap-Kings. The purist retro funk of the Dap-Tone label and the all-star cast of musicians performing simply cannot be missed — especially given that Jones, 52, might concievably slow down in the next few decades (although its not likely). Skip only if the summer heat has severely dehydrated you — Sharon's gonna make you sweat buckets out there.
-Dan Morgridge

Sunday

Sunday 12:15-1:15 - Wild Sweet Orange vs. Kid Sister

Wild Sweet Orange plays roots rock with soul and a sweet honest zing. These Birmingham boys are right in the middle of touring in support of their debut album, We Have Cause to be Uneasy (Canvasback Music July, 29th). Their primary draw is the thoughts and energy of Preston Lovinggood. With outstanding single like “Ten Dead Dogs” and “Wrestle With God” the crowd will be singing and swaying. Even though this is their debut album the band has been together and touring for the last four years. They have refined their live sound and as Preston says “taking all of our experiences and bringing them onstage every night”. I have a rule to never watch folk music at a festival, but Wild Sweet Orange add just enough rock to pass the test.

Kid Sister also has zing, but she is not all that sweet. Her hit song “Pro-nails” has made hardcore hip-hop fans cringe, but her beats and attitude are solid. There have been so few dominant and successful female rappers in hip-hop that I am happy to make it. She has sure aligned herself with the right name, and just as Ice Cube had done for Yo-Yo, Kayne has elevated her game. The question is now will she deliver? I am sure she will put on a fine show, and hip-hop is always great live, but I would recommend Wild Sweet Orange for the simple fact that Kid Sister in from Chicago will be in town more frequently.
-Jason Behrends

3:15-4:30 - Amadou & Miriam vs. Black Kids vs. Chromeo

Let's eliminate Black Kids right away. They're touring again in October with an off day in this region literally three days after Lollapalooza's radius clause expires. (Read: They'll be back around soon.) Despite the excellent "I'm Not Gonna Teach Your Boyfriend How to Dance With You", they're still really raw and kinda shoddy live. The Montreal/New York electrofunk duo Chromeo has experience on big stages and always puts on a fun show with heavy grooves. (Fun fact: Singer David Macklovitch's little brother is Kanye West's DJ.) They're not a bad choice for the electronic-minded. However, Amadou & Mariam bring the goods and this is one of only two US shows for them in 2008. The blind Mali-based duo play African blues tinged with rock riffs, reggae hooks, Latin horns and even some electronic influence (thanks in part to their recent work with Manu Chao). Lollapalooza's always done a pretty good job with international bookings and this year is no exception. Take advantage of it.
-James Ziegenfus

4:15-5:15 - Iron & Wine vs. G. Love & Special Sauce

If you're into Lollapalooza as trip down memory lane festival experience, than surely the mid-'90s hits of Philadelphia-born G. Love & Special Sauce will be the right place for you Sunday afternoon. Known by old and young for their laid back anthems "Baby's Got Sauce" and "Cold Beverage" from their self-titled 1994 release, G. Love has been crafting college radio hits for over a decade. This is certainly one set where you'll want to raise your beer and cry "woo!" alongside the masses.

An equally chill stage this hour will be that occupied by lo-fi rocker Samuel Beam (aka Iron & Wine). You might have first been thrust against Iron & Wine's soothing tunes if you had the soundtrack to the movie Garden State where he covered the otherwise dancy Postal Service song "Such Great Heights", or you might have been lucky enough to catch his collaborative album and tour with southwest indie collective Calexico a few years back. Now working hard under the wing of the Sub Pop label, Iron & Wine isn't so much putting out the lo-fi tapes that brought him notoriety back in the day, but instead is putting out lush, brooding albums like 2007's The Shepherd's Dog. Alternately, if you're into beards, this is the set for you.
-Anne Holub

5-6:15 - Saul Williams vs. Blues Traveler

Pros: Blues Traveler have a frontman (John Popper) who is, to use the vernacular, tanned, rested, and ready. Saul Williams, on the other hand, is a man in a perpetual fighting stance. Blues Traveler just released Cover Yourself in 2007 — it's an album's worth of alternate re-workings of the band's classic songs. That could make their set fun - watch folks all around you screaming for "But Anyway" for five minutes, before realizing that the band is playing "But Anyway." Williams' 2007 album, the brilliantly named The Inevitable Rise and Liberation of Niggy Tardust pretty much tells you whether you need to see this rapper/poet/heir to Gil-Scott Heron and the Last Poets or not. Plus, the album features a baker's dozen of big-name acts, including Trent Reznor, who, ahem ahem, will be playing the fest as well ("unexpected" cameo appearance, anyone?).

Cons: If you go see Blues Traveler, you're going to have to watch a bunch of kids 10 years your younger hopping around to "Runaround" with the same "classic rock" reverence that you reserve for the first four Elvis Costello albums. Similarly, Saul's message-raps may make you feel like you're attending school on the weekend.

Verdict: Unless your mom didn't let you go to H.O.R.D.E. way back when and you're still sore about it, Williams seems a bit fresher.
-Chris Sienko

6:15-7:30 - Love and Rockets vs Girl Talk vs Gnarls Barkley

It's difficult choosing between the post-Bauhaus band, the biomedical engineering mashup DJ and the ex-Goodie Mob vocalist's group with that guy who mixed The Grey Album. Each brings so much to the table. On one stage, you could see a classic '80s alternative rock band. On another, there's... a guy pushing buttons on a laptop while sampling, like, every song that's charted in the US since 1983. And on the other is an inevitable costume party. Love and Rockets may not have the draw that they once did (but neither does Rage and they're even headlining a night), but that won't matter to the fans who've either never seen them or not seen them in 20+ years. Girl Talk will be mixing a hodgepodge of everything, probably a lot from his recent Feed the Animals that's still only available digitally. And even though Gnarls Barkley hit a bit of a sophomore slump with The Odd Couple, they're wonderful entertainers that won't let a few not great songs get in the way of putting on a true performance. You want the classic? Love and Rockets. You want to dance? Girl Talk. You want something to look at? Gnarls Barkley.
- James Ziegenfus

6:15-8 - The National vs. Flosstradamus vs. Mark Ronson

Pros: The National sports two sets of brothers in its five-person lineup, allowing for the possibility of some solid bro-down. Flosstradamus met each other at a party and have been spinning together for almost four years, so you know they're tight like bros. Mark Ronson's last name implies that he's the son of Bowie's A#1 bro from the Ziggy Stardust days, Mick Ronson, but it's not true (though his mom did marry Mick Jones…not of the Clash, but of Foreigner!). The National can break your heart with any number of emotionally wrenching terse strummers from its recent Boxer album. Flosstradamus will break your con-sti-pat-ed no-shuns with its ultra-bumpy club-thumpers, getting your rump muscles warmed up for Kanye (or Trent). Ronson got Ghostface to camero on his first album, and produced Amy Winehouse's Fade To Black, so you know he's got the hookup. Plus, his most recent album, Version, contains re-workings of Brit-Pop hits, the type of which you'd spend $198.73 if you tried to acquire them all individually. Might be a good investment.

Cons: The National's music is created "for those little moments," moments that you might not care to relive when trying for the ecstatic abandon of a three-day rock festival. Flosstradamus could be of limited interest to Chicagoans at the show, as they can see 'em any given weekend around town (if not with a speaker system of this magnitude). Ronson's Britpop revival act may leave you cold if the names Kirsty MacColl or Fun Boy Three don't ring any Pavlov-ian bells.

Verdict: Whether you're finishing off with Trent or Kanye, you're going to be getting a musical talking-to at the end of the festival. I recommend Ronson's generally sunny soul-pop for some pre-catharsis levity.
-Chris Seinko

For the full schedule of Lollapalooza Aug. 1-3, 2008 you can take the fight online.

Anne Holub / Comments (1)

Concert Wed Jul 30 2008

Lost in Translation

Really, how wrong can you go with a band named Polka Madre?

One thing is for sure -- it'd sure help if I'd taken Spanish in college instead of Norwegian (hey, it was North Dakota, okay?) Instead, gringo fans of the Mexican gypsy-polka-punkers have to rely on Google's language tools, which muddles through translating the band's MySpace bios: singer and vocalist Eric is Finnish by birth, and he "Dance on stage and sings like an idiot, according Palera and good friends, in the wave Leonard Cohen and Nick Cave." Meanwhile, Raymundo plays the... er, "battery," and apparently "Junky proudly and vague, leaving everything to surrender to the music."

Check them out at their show tomorrow, July 31, at the Empty Bottle. If Polka Mother's band members dancing like idiots and playing what may be batteries isn't enough to reel you in, consider the rest of the line-up, including Chicago's own Black Bear Combo and Lamajamal.

Kara Luger

Concert Tue Jul 29 2008

It’s Time for the Percolator

Thumbnail image for percolator.jpgI’m not sure why I was handed this disc by the band Percolator, it could be my intense addiction to caffeine or maybe it was proximity to the mail box, but nonetheless I am in possession of a homemade disc containing 6 songs by Percolator and 4 song by hometown Jagjaguwar giants Odawas. Local bands take note, this is a very cleaver way to promote a show. In the hand written note the band says they are opening Odawas, one of their favorite bands. Naturally, I expected to hear some influence or similarities, but to my ear there were none. Percolator has a raw, basement band sound, full of energetic bass lines and pop melodies.

The tracks on this disc were taken from their full-length debut album, Man is Not a Bird!, which they currently have streaming on their website. The album was self-recorded last year and self-released last month, and is rich with a multitude of styles culminating in a solid debut. If all of that was not reason enough check out this up-and-coming band their logo/mascot/illustration should put you over the top. I’m not sure what it all means, but I love looking at it!

Percolator are opening for Odawas tonight (yes, tonight, 7/29) at The Subterranean. It is a 21+ show and tickets are only $8. Also appearing are The Four Kicks and The Grownup Noise, and the show starts at 8:30pm, but doors open @ 8:00.

Jason Behrends

News Tue Jul 29 2008

Uptown Saga Continues

This morning, if you had a big fat check for several million dollars in your pocket, you might have been headed to a foreclosure sale for the shuttered Uptown Theater. Players in the game aren't a surprise — Jam Productions remains a highly interested party, along with Live Nation, Madison Square Garden Entertainment (who recently purchased the Chicago Theatre), and C3 (who will bring you Lollapalooza this weekend, as well as shows at Soldier Field and the Congress Theatre). We'll have to see who has the cash, and hopefully, the vision for this dusty diamond. Update And the winner is....Jam Productions!

Anne Holub

Concert Sat Jul 26 2008

He's the DJ...

JazzyJeff.jpg

At last week's Pitchfork, Chuck D noted that some people didn't know that Will Smith used to be a rapper named Fresh Prince. And to add unto that wisdom, Jazzy Jeff wasn't always the bumbling friend, but also a world renown DJ and producer.

Will Smith doesn't rap much any more, but DJ Jazzy Jeff keeps doing his thing. This Thursday, as part of the BlackBerry Luxe Club Series, Jeff will man the 1s and 2s at Lumen, 839 West Fulton Market. Get your RSVP on and see how professionals do it. Even those you may have seen on TV. Show starts at 9.

Troy Hunter

Concert Fri Jul 25 2008

No Sophomore Slump from this David


A young singer/multi-instrumentalist sounds similar to a revered music figure. Hardly a press item about the singer's debut album fails to mention the vocal likeness. Even the production is reminiscent of that on the idol's best records. It's a lot to live up to when everyone's gut reaction is to compare the two - the 22-year old from Michigan and the dead glam rock star from Britain. Yet the debut receives critical praise. The Moonstation House Band may have led to David Vandervelde mentioned in the same sentences as Marc Bolan a lot, but Vandervelde himself would probably say he's been influenced more by Emmit Rhodes.

On the forthcoming Waiting for the Sunrise (Secretly Canadian; August 5), Vandervelde calms down a bit and turns out a perfect summer record. While "Lyin' in Bed" and "Knowledge of Evil" bring to the table some of the electricity that "Nothin' No" and "Jacket" injected into Moonstation, the vibe on Sunrise is generally more in line with 70s pop (as first single "I Will Be Fine" makes clear) than glam or power pop. However, in the past, Vandervelde and his band have been much more raw live than the records would suggest.

David Vandervelde performs at Schubas on Sunday, the 27th. The show starts at 9PM with Danny Black opening and admission is $10.

James Ziegenfus

Concert Fri Jul 25 2008

FestFestFest

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One of the reasons I really love Chicago in the summer is all the shit there is to do. As eloquently as that was just stated, it's true. There is so much free music going on in the city, from the Music Without Borders at Millennium Park, Stevie Wonder at the Taste, and every neighborhood throwing together their own street fest loaded with some pretty solid names. Radius clauses aside, there is always a good show to go to, no matter where or when.

This weekend is no exception, with the Wicker Park Fest setting up shop at the intersection of Milwaukee and North. The lineup hits all bases on the head. Hip hop DJ Bassnectar, who holds his own huge cult following, headlines on Saturday night. Electronic Barcelona DJ Prefuse 73 and experimental instrumentalist Daedelus also share the stage on Saturday. Two music stages make this a bigger fest then most (and only one stage smaller and 40 dollars cheaper than another festival). The North stage holds a more indie cast of characters, giving us Chicago favorites the 1900s, Bishop Allen, and Ra Ra Riot. Sunday brings more of that local indie effort with Aleks and The Drummer, Maps & Atlases, and Algernon. The Dub Trio have too much metal in their jams to accurately follow their name, but it's some strong rock either way and will hold it down Sunday evening.

Keeping reading for full details...

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Emily Kaiser

Feature Thu Jul 24 2008

Atavistic Records - A Survey of Old and New Dreams

Anyone who has cared about adventurous and outward-bound sound in the past 22 or so years has probably drooled after some portion of the Atavistic Records catalog. I first remember them from ads in magazines like Option in the late '80s, hawking videotapes by bands I had only heard and been forced to imagine in my mind — The Butthole Surfers, Einsturzende Neubauten, Big Black, Foetus, Savage Republic, the crème de la crazy at the time. For a home-bound teenage suburbanite with big ears and no close towns, the idea of a label which put out videos by bands as shockingly uncommercial as this was a strong enough pull to drag me into a new city and a new life. Not that I based my decision to pull up stakes and move on state over on some ads in a magazine, mind you.

Early records by the label included multiple recordings by planet-heavy NYC composer Glenn Branca (he of the "100 Guitar Symphony" and the like). Like their logo, a huge satellite dish pointed up into the sky, Atavistic seemed to be pulling in transmissions from the deep black unknown. I knew of Atavistic then as a rock label in the day, but now, even though the label still releases reissues of bands like the Flesh Eaters and 8-Eyed Spy, their first priority is jazz. Modern jazz, free jazz, "Fire Music" to use the vernacular. Not only modern works by new and established acts here, Atavistic also reaches its tendrils into the discographically fraught past with its long-running Unheard Music Series, pulling long-lost gems of free music into the present, for the benefit of those us who were never within 300 miles or 35 years of "being there" the first time around.

Atavistic seems to be reproducing by cell division lately, as their catalog explodes every few months in numbers that other labels must save up for a whole year to accomplish. Enclosed, please find reviews of six modern and classic Atavistic jazz recordings to get you started.

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Sun Ra: Some Blues, but Not the Kind That's Blue (reissue)

First off, Atavistic unearths some very rare small-group Arkestra recordings, mostly focusing on covers/standards in a warm, intimate, though ultimately odd, setting. As the first few minutes of the title track unwind, the busy percussion, abstract basslines and all-around confusion could lead one to the conclusion that this will be a weirdy in the realms of Cosmic Tones for Mental Therapy. However, only a few minutes elapse before the group (including his legendary tenor player John Gilmore, trumpet Akh Tal Ebah, alto and flute from Marshall Allen & Danny Davis, James Jacson on flute and bassoon, Eloe Omoe on bass clarinet, Richard "Radu" Williams on bass, Luqman Ali on drums, and Atakatune on conga) launch into a much jauntier theme.

Like another jazz titan currently obsessed over by this reviewer (Rahsaan Roland Kirk), Ra's concept of jazz knows no genre or chronological constraints, and his jaunty, rollicking piano on this track, as well as on "I'll Get By" are so buoyant, it's almost easy to forget that this is the same man who cut your head into fives with The Helicocentric World of Sun Ra. Especially illuminating is the group's take on "My Favorite Things," finding still more layers of deep melancholy in the original while acknowledging and respecting Coltrane's own epoch-defining rendition. Gilmore works a similar modal field without ever sounding like a copycat, spiraling bluesy, melancholic lines through a minor-chord undertow. As mentioned, the disc contains three renditions of "I'll Get By," a 1928 standard by Roy Turk and Fred Ahlert, and popularly sung by Ruth Etting. This might sound at first like the usual jazz-nerd demand of "having to hear every take in the session," but it's not. The final two versions were recorded four years earlier, with an even smaller band, including Ra on organ, Gilmore on tenor for one version, Akh Tal Ebah on flugelhorn for the other, and Ronnie Boykins on bass. Each take, one featuring Ebah's Miles Davis-under-a-blanket horn line, the other Gilmore's plaintive love cry, more than justifies the multiple versions on display. And listen to the way the group twist the cover of "Black Magic" within an inch of its life without ever really betraying the ghost of the original. Percussion, as usual, is pushed absurdly forward in the mix, a tendency that makes even Ra's most inside performances sound just a little, well, spacier. This disc might not be for you if your only version of The Man From Saturn is Heliocentric Worlds or The Magic City, but for Ra fans down with Jazz In Silhouette or Sun Song, to say nothing of the R&B turns exhibited on the 2-CD singles collection, these blues will be completely essential.

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Clifford Thornton - Freedom & Unity (reissue)

Thornton's name might not even raise an eyebrow on casual free-jazz fans, despite his heavy inclusion in Valerie Wilmer's seminal book As Serious as Your Life. Before this reissue, the valve-trombonist's (that means a trombone that's played like a trumpet) name seemed to have disappeared from the mouths of free jazz fans, if not the history books, and why not? Without any available recordings to hear, what's there to talk about?

Finally, this reissue of Thornton's 1969 LP on Third World rectifies the situation. Mastered from a scratchy vinyl copy (the original tapes are no doubt long gone), the fidelity shouldn't upset any but the most hard-to-please fidelity hounds. The amount of awesome in this disc is almost absurd in its relation to the obscurity it has languored in all these years. Everything tried here is an amplified version of its contemporaries — the swinging stuff swings that much harder than most, the bass player is more melodic, the compositions more detailed…everything is revealed in deeper colors. The group is capable of executing intricate, beautiful compositional pieces (shades at times of Charles Mingus, or someone as grandiose as, say, Oliver Nelson) that can jump the tracks in an instant, turning into squared-circle improv chest-bumping. The lineup on the primary tracks (trombone, alto sax, vibes, bass, and drums) are as subtle and sharp at MJQ, but can get as wooly as New York Eye & Ear Control. The bonus tracks add more bassists, including the legendary Jimmy Garrison, as well as some swell, quasi-regimental cornet from Edward Avent on a few tracks (shades of Don Ayler on Love Cry).

With any luck, this reissue will bring Thornton out of the land of obscurity and into the light, much like the reclamation of Noah Howard from a few years back.

feature 7/24 Atavistic

Vandermark 5 - Beat Reader

Saying you're a fan of jazz in Chicago but that you're not really up on the Vandermark 5 is like saying you're a big Chicago literature buff but haven't read The Man with the Golden Arm yet. It's a patently absurd statement that indicates a huge hole in one's big picture, and it's a confession I make to you now.

Like many other Chicago landmarks, I made the mistake of postponing a date with the Vanderrmark 5 and their long standing nearly-every-Wednesday session at the Empty Bottle. For years. I promised myself I'd go "one of these weeks," kind of like the way you'd take your parents to see the Art Institute when they're in town, but wouldn't think to go yourself, even though it's cheap (free sometimes) and endlessly rewards multiple visits. Sure, I've heard all of these musicians (Vandermark, baritone sax and clarinet; Dave Rempis, alto and tenor sax; Fred Lonberg-Holm, cello; Kent Kessler, bass; Tim Daisy, drums) in numerous large and small groups and admired their invention and musical dexterity. But the Vandermark 5 gigs just seemed like they'd always be there, the way you expect to turn on your tap and have water come out every time. Now, of course, Vandermark's all MacArthur Genius Grant, and he gets offers for gigs all over the world. There's no reason for him to stand around on the street corner, waiting for me and people like me to deign to rouse ourselves from the easy chair for a night of incredible music — he's moved along. Good for him, and bad for me.

If you're listening to Beat Reader, and the band who created it, for the first time, you may feel a sick feeling in the stomach, as a horrible realization dawns that an amazing thing has been going all around you for years, years that you won't get back. The band spins, jabs, and glides over Vandermark's compositions with the easy rapport of a band that have spent so much time together, they could probably approximate the exact way that each person takes a shit. The fluid improvisations, nested inside clear, dexterous composition reminds me not a little of Tim Berne's legendary Bloodcount group (themselves influenced by Julius Hemphill). The NY/Chicago connection is further reinforced on track four ("Signposts (For Lee Friedlander)"), where Vandermark starts spiraling and shrieking on the clarinet like a Klezmer musician with rabies.

The band can change gears facilely, knowing when to get off a certain mode before it's run into a 45 minute rut (unlike Bloodcount), but aren't so quirky about their changes as to suggest something as blocky and cartoony as, say, Naked City. For all his considerable instrumental skill, Vandermark is a man who was born to write — his compositions stand out in all live situations, especially with the expanded reins he's been given when working with the Peter Brotzmann Tentet and other large-group situations.

Make no mistake, though — despite this disc's close proximity to a number of free jazz reissues and the members' dedication to the "one jungle, one machete, no survivors" school of improvisation, this is a jazz record, not a free jazz record. Each track is scripted to a fault, full of rumble-tumble changes and flash-points set ups to change gears on a dime, and, apart from individual solos, could be replicated again and again on stages all over the world. The best compliment I can give Beat Reader is that it is not made up of pieces, but of songs.

feature 7/24 Atavistic

Gregg Bendian's Interzone - Requiem for Jack Kirby

Knitting Factory regular Bendian (vibes) has conducted his Interzone Orchestra as a functioning entity for over a decade, but in that time, only a handful of recordings have surfaced. This one, an 80 minute "chamber-prog-jazz epic" dedicated to Jack Kirby, the legendary Marvel Comics writer/illustrator whose artwork graces the fold-out liner notes/mini-poster, features an uncommon jazz lineup — Bendian on vibes, Nels Cline (of Wilco fame and other, far more significant accomplishments) on electric guitar, Alex Cline on percussion, and Joel Hamilton on bass. It's 80 minutes of smooth, flowing jazz-like composition, improvisational sputters, and occasionally chaotic instrumental interplay. Sonic/tonal palette could be compared to Bill Frisell's trio from the early '90s with Kermit Driscoll and Joey Baron. Despite its considerable running time, the album doesn't make much of an impression, as each track sounds rather similar, and the pattern of amiable chatter devolving into aggressive gestures becomes rote very quickly. Also, apart from the gushing liner notes (including remembrances of Kirby from other Marvel illustrators and writers) and allusions to Kirby's influence among musicians (Paul McCartney was a fan, it seems), it's hard to find the point of the whole thing. If you've ever pined for the glory days of Knitting Factory second-stringer bands like Joey Baron's Barondown or Samm Bennett & Chunk, Mr. Bendian would like you to put your email address on his mailing list for future updates.

feature 7/24 Atavistic

Fire Room - Broken Music

A strange trio lineup, with Ken Vandermark on reeds, Paal Nilssen-Love on drums, and Lasse Marhaug on electronics. Marhaug's electronic sounds, while sonically rich and varied, sometimes feel like a fifth wheel here. Vandermark and Nilssen-Love lock tightly together like Olympic skaters in the opening "Broken Music 1," the drums pounding out an endless array of chattering breaks over which Vandermark spits melodic, fiercely syncopated (I hesitate to use the word "funky") riffs. Meanwhile, Marhaug's spastic electronic bursts do add atmosphere, much in the way that Alan Ravenstine's sounds colored the fringes of all of the best Pere Ubu songs, but he doesn't really "solo" in the strictest sense, and there's plenty of moments where he sounds like he just doesn't know what his role is in the big picture. Elsewhere, Marhaug rips out beastly noise tonalities, during which the other two fall into uncomfortable silence, or maybe rapt attention. And never the twain shall meet.

More fruitful approaches to free music + noise electronics can be found in the group Death Unit (recordings on Important, aRCHIVE, and Hospital Productions), or on the Red Edge CD (Gameboy Records), which also features Marhaug with saxophonist Frode Gjerstad. Broken Music is a fine record of searching, intriguing improvisations, but at the end of it, it suffers from that common feeling you get after hearing an unexpected, but not altogether successful collaboration: "This was good, but I bet their next recording will really nail it."

feature 7/24 Atavistic

Peter Brötzmann - For Adolphe Sax

Like being stuffed with a raven into a sack and being rolled down a steep hill, this reissue of Peter Brötzmann's debut record offers nothing but desperate squawking and ceaseless pecking, and that is a very good thing indeed. For Adolphe Sax, apparently an homage to the inventor of Brötzmann's preferred weapon, the tenor saxophone, was first released in 1967 on his own Brö label (sold essentially out of the trunk of his car), and is, even in this day and age when everything is louder, fiercer, and heavily influenced by records like this one, still kind of hard to take. Because it is a significantly pared-down lineup from his more infamous creation, the Brötzmann Octet recording Machine Gun (also re-released by Atavistic in a 2-CD edition), Adolphe Sax may have been unfairly overlooked in history (its scarcity for several decades didn't help). Even with only three principals (four, including pianist Fred Van Hove on the previously-unreleased bonus track), the nervous, skin-peeling tension produced is enough to wear down even the hardest noise maniac (I raised the white flag a few times while listening to this; those that care for the joys of abrasion will likely take that as an invitation, rather than warning).

Occurring just around (or maybe just after) legendary large-band free jazz masterpieces like Coltrane's Ascension and Ornette Coleman's Free Jazz, Brötzmann and his compatriots (Peter Kowald on bass and Svan Åke Johansson on drums) managed to throttle the spiritual qualities of the new free music, strip them off like a hide, and hang them over the door of the workshop, creating a tin-roof racket that feels almost entirety bereft of generosity or the possibility of ecstatic reverie. It's not unlike the way the heavy metal kids of Norway absorbed Venom records from UK distributors without knowing the group's reputation at home as a bunch of hard-drinking party-boys who think that Satan is "A bad lad," adopting the goats and the pentagrams with no sense of fun or catharsis, just steel-eyed determination. Brötzmann's European vision seems so stupendously detached from the soul-derived free jazz movement in the States as to be grown from a different type of music entirely. If Coltrane, Ayler and Shepp's groups were a Black Power army descending on the forces of bigotry and oppression and grounded in gospel and the blues, then Brötzmann's trio were a squad of German Panzers, ready to unload molten death into all that crossed their path, friend or foe. Yet, for all this, moments within the 20 minute firestorm of the title track indicate that Herr Brötzmann was not entirely averse to sentiment or beauty. One can almost imagine him sniffing a single tear of regret as he executes Polyhymnia, then salting the ground on which she once walked. Get this and the Thornton CD above, and you have heard the two farthest points on the continuum, and two of the very best.


You can stream selections from many of these albums including the Sun-Ra reissue Some Blues But Not That Kind of Blues, Vandermark 5's Beat Reader and Fire Room's Broken Music at Atavistic Records' download site.


About the author:

Chris Sienko isn't impressed by jazz musicians — they're just making it up as they go. Anyone can do that.

Anne Holub

Album Wed Jul 23 2008

Darkness on the Edge of Town

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Above: Locrian. Inset: Cover of Greyfield Shrines LP (Diophantine Discs)

Like a raven perched on an electrical transformer, Locrian summon elemental human dread, the type hinted at in medieval passion plays and Shakespearean dramatic interludes, but do so electrically, without the pretense of ancient wisdom or nostalgia-laden "spectral folk." The duo of Andre Foisy and Terrence Hannum stalk the barren forests (or maybe not, since the cover of their LP contains a picture of an abandoned shopping mall…"Leave the City," anyone?) with delay-laden guitars and round, full, low-end synth textures. Although their music is steeped in darkness, Locrian never condescend to the darkness, nor do they invoke it cheaply or take shortcuts to bring us there. Each summoning is done carefully, thoughtfully, and with considerable toil.


This week, Diophantine Discs releases Greyfield Shrines, the band's debut vinyl LP.

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Chris Sienko

Concert Wed Jul 23 2008

Booty Up

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Travis Wiggins, aka Essex Chanel, is one busy bastard. He's continuously recording and performing his solo work, and still finds time to work on other projects, including The Summer Salts and Fetla.

Check out the Essex Chanel show at Schubas on July 30; after all, the Dancing at Weddings release was a good time, so there's no reason the show won't rock. The Summer Salts will also be performing, along with The Zerostars. Free Essex sampler CDs go to the first 100 people to show, so get there good and early.

Kara Luger

Concert Wed Jul 23 2008

World Class Jazz in Millennium Park

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Another summer, another incredible series of jazz concerts in Millennium Park. This year's series starts tomorrow, July 24th, and spans six concerts that will bring an incredible variety of free programming to Chicago residents and tourists. From an Iraqi maqam-jazz hybrid concert featuring Chicago native Amir ElSaffar to a tribute to Sun Ra from Phil Cohran, this summer's programming promises a diverse and high level of music in every instance.

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Daniel Melnick

News Wed Jul 23 2008

Hearing Things

Time Out asks local bands, promoters and venue owners about Lollapalooza's "radius clause."

Fake Shore Drive heard from someone who claims to have Rhymefest's iPod, containing his not-yet-released album, El Che. Tracks will be leaking. [via]

Centerstage talks with Michael Teach about the Chicago Acoustic Underground, and profiles up-and-coming singer Matthew Santos.

• "Martin [is] the anti-Bono, dancing like an awkward little urchin instead of striking cool larger-than-life poses, and never hesitant to do his Schroeder routine at his black upright piano."

• Peter Margasak celebrates bossa nova's 50th birthday in Post No Bills.

Lindsey Lohan at Lollapalooza?

• On Glorious Noise, an interview with Polvo and a video interview with Chris Mills.

Windy City Rock tracks down local bands on Twitter.

• Haven't read enough about the Pitchfork Music Festival? Read more on Jim DeRogatis' blog: Day 1, Day 2, Day 3. Or Greg Kot's blog: Day 1, Day 2, Day 3. Or Time Out Chicago's coverage.

Andrew Huff

Feature Mon Jul 21 2008

Pitchfork Rewind

Having listened to their singles collection, 03/07-09-07, (out July 22nd on Thrill Jockey) over the last week I could tell that the duo of Robert Barber and Mary Pearson (aka High Places) had a complex sound and I wound how they could possible translate to the stage. The stage they played on Sunday (Stage B) was running a half-hour behind, and I want to say that it took these two maybe five minutes to set-up for their performance. They stood in front of a folding table filled with electronics and cables and shells and bells. I would have loved to take a look inside the case that they had spread over table, and witness the various homemade instruments that contribute to High Places unique beats and noises. Robert focused mostly on percussion, while wearing a t-shirt that read "Support The Scene", and Mary sang and added extra sound. She several bracelets made of bells, and smiled and sang with the same joy and innocence as her songs would suggest.

The second to last slot of summer music festival is a challenging one to play. The crowd is a mixed bag of the exhausted, drunk, burnt, stoned, and the dedicated. When Dinosaur Jr. took the stage J must have made the same observation because the small grin cracked the normally stoned-faced and silent Mascis. He stood there in front of the six stacked Marshall amps and quietly said "Thank You" before tearing into "It's Me" from last years album Beyond. When the band first reformed back in 2005 they vowed they would only play the songs they had written when they were together which limited them to four albums worth of material. However, they have now opened up the entire catalog and performed classics like "Out There", "Feel The Pain", and "Wagon". The set was filled with body surfing, nostalgia, and a surprising amount of energy. As it progressed both the crown and the band heated up, J's solos shifted from structured and album ready to wild and roaring by the time they closed the set with 1988's "Freak Scene". The crowd demanded an encore, and they got their wish as the band came back and continued to rock for just one more song.

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HEALTH (photo by George Aye)

Pitchfork weekend was a weekend of t-shirt slogans, and Jacob Duzsik of the Los Angeles noise band HEALTH really took it to heart by wearing a white t-shirt with the words "If it's illegal to rock then throw my a** in jail" scrawled across in red marker. Yet, it wasn't just a clever saying, he did rock. The four member band was spread around the stage and thrashed and dance violently to the brutal noise they created. Burying the rhythm and melody deep under a raw blanket of what had to be freestyle noise, the band jolted the crowd. Most remarkable was the way Jacob held one mic for screaming and used the mic on the stand for hushed Radiohead-like singing. He would switch fluently through out different songs. Towards the end of the set the band looked almost to be in pain from all of the high energy banging and dancing. Each movement felt labored, but they finished strong and drenched in sweat.
-Jason Behrends

Saturday morning got off to a nice, slushy start with overcast skies and intermittent rain, which just meant the hipsters got to break out their galoshes. The Balance Stage was where it was at, and kicking off the first set of the day was Serbian ten-piece gypsy brass ensemble Boban I Marko Markovic Orkestar. The lengthy warm-up left a few listeners cold, but once the party started — boy howdy! Led by father/son team Boban and Marko, the band burst into one quick 'n dirty song after another, even inciting the crowd to dance to a rousing "Hava Nagila." Luckily, the Boban set was one instance where it was really apparent that the Pitchfork sound system had been upgraded: Instead of last year's squelches and slurriness, the horns came off as bright and crisp. In case your lazy self missed the set, you can check the group out again tonight at Martyr's .

Following in Boban's Balkan footsteps, the similarly inspired A Hawk and a Hacksaw played a more subdued, though no less musically complicated, set. The Albuquerque-based duo added two more multi-instrumentalists to the mix, filling out their Eastern European-inspired set. Violinist Heather Trost is nothing short of amazing, and accordionist/drummer/singer (all at the same time, mind you) Jeremy Barnes managed to draw a sizable crowd despite Jay Reatard's rival set across the way. Unfortunately, AHAAHS suffered from some technical setbacks — the mixing was slow on the take, and as a result many of the instruments were lost, particularly the drumming.

Icy Demons experienced the same mixing-based messy unevenness that befell A Hawk and a Handsaw (particularly with the vocals). The maybe-kinda Chicago-based group seemed to have some personnel changes in the group. Most notably missing was Man Man drummer, Pow Pow, who was replaced by someone who looked an awful lot like him. Anyway, as much as I appreciate that Icy Demons can play a zillion styles of music &mdsah; switching from bass-booty '80s beats and Latin grooves to squiggly jazz and electronica — their method of using every single song to showcase another style just made the performance feel like a sampler platter. It was hard to get a real sense of what the band was about. My favorite descriptor came from my cohort, Arpad, who summed up one of their more rock numbers: "It's as if King Crimson got commissioned to do a song for a Super Mario game."

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Dizzee Rascal (photo by George Aye)

A break from the B-stage was needed, as well as a break from heady world music. London's own Dizzee Rascal provided a good hip-hop escape. Mr. Rascal deftly ran through his singles, including "Fix Up, Look Sharp," "Sirens," and "Where's Da Gs." As the sun came out, off went his shirt (Dizzee's really cut — who woulda thunk?) and up with the hands in the ay-yer. Overall, his set went fairly without incident, and though his performance was missing some of the vocal flips that usually make his albums a lot of fun, Dizzee's quick double-dutch rhymes made up for it.

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Singer/Barber Tim Harrington of Les Savy Fav (photo by George Aye)

Finally, and oddly, one unexpected (but nonetheless well attended) performance was to be found by a clutch of trees. A hand-scrawled sign advertising "Haircuts $2" hung over a fast-working barber who had customers lined up and waiting (see some pics of the barber in action in our Detour photo feature). It turns out the beardy barber was Tim Harrington, the singer for Les Savy Fav. Rogue haircutting! It just doesn't get better.
- Kara Luger

A diverse lineup of bands and a steady fashion parade made for an interesting three days at the Pitchfork Music Festival this past weekend. Add to that rain and mud, treacherous humidity, long lines at the port-a-potties, plenty of shirtless, bearded dudes, girls in hippie-hipster garb carrying gleaming i-phones or designer handbags, and you've got the picture.

For me, the whole thing felt akin to summer camp with the grown-up privilege of beer, as I was there for the whole shebang, soaking up the music and the crowd, and talking up this fine website at the Gapers Block table. I traipsed across muddy fields, braved scary toilets, made new friends, ate unfamiliar food, sat in the sun, eyed cute male creatures, watched the bands come and go, said hello and goodbye. I arrived home on Sunday with boots caked in mud, and fond memories of a distinctly summer-like Chicago weekend.

Friday night the folks slowly trickled in, gathering around the stage to see Mission of Burma, still intense and visceral after twenty years as punk rock veterans. The crowd at this point was a bit mellow (no wild dancing or bodies floating on hands in the audience) as things were just gearing up. After the show I walked through the crowds and was confronted with an overwhelmingly white demographic, which sitting around on the grass looking bored appeared to be living up to its reputation as disaffected youth. Yet nothing cures a case of apathy better than alcohol and pot (which you could smell everywhere), and several hours later the crowd was properly soused and happy.

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Flava Flav (photo by George Aye)

Just the right moment to go see Public Enemy, which swooped down to rescue Pitchfork from being a festival of predominantly white artists playing to a white audience. Being the prima Donna he is, the dynamo known as Flava Flav was late arriving on stage, as apparently he had trouble getting his "family" past security. Sporting his trademark oversized clock of a sparkling white and black variety around his neck (along with several heavy golden chains) he bounced and rapped across the stage, reminding all that it's not good looks but charisma and talent that make a man popular with the ladies. He didn't hesitate to promote his latest reality TV concoction, "All Under One Roof," to which the audience responded with resounding boos. Apparently Mr. Flav is a bit sensitive, as he heatedly retorted by calling everyone who booed him "motherfuckers who should be booing their spouses not him." In the end, it was all part of the Flav schtick, which added an entertaining element to an overall solid performance from these old-school rappers.

My favorite show on Saturday was Jay Reatard, who I saw for the first time. Memphis-born, Reatard has the je ne sais quois element of no holds barred performer. Reatard didn't waste time chatting with the audience; he simply took to his guitar like a bat out of hell and ripped out a half hour of an explosive, heady set. Reatard and his band is garage punk with a heavy dose of Southern sensibility: no frills and super-charged.

A couple of shows on Sunday caught my attention: High Places, Health, and another Southern wonder, King Khan and the Shrines, but the big draw for me was UK space rockers Spiritualized. Although I was right up front I still couldn't see the elusive Jason Pierce, who clad in white and big sunglasses stood towards the back of the stage (conspicuously out of close reach of the audience) next to the two gospel singers. Space rock amped up to the highest degree mixed together with gospel-soaked blues makes for a transcending experience. The music blared through with me with unabashed emotion and deep layers of sophistication that I can only describe as one part symphony and the other part David Bowie and Iggy Pop fused together on steroids. The band played songs from their new album, Songs in A and E, and at the end of a set that brought three electric guitars to a frenzy, Pierce threw his own guitar in hard rock fashion and walked off stage. Not one to indulge in overkill he came out again not for an encore but to say goodbye with a wave and yes, no words.
-Marla Seidell

A good argument could be made that none of Friday's Don't Look Back participants were performing their best release. (Seriously, Bubble and Scrape?) But that certainly didn't deter a large crowd, even with an early afternoon rain, or keep the acts from owning albums featuring songs that they admitted to not touching in more than a decade (if ever) in some instances.

Since reforming in 2002, Mission of Burma has shown that they have not lost the aggression or work ethic that built their reputation in the early 1980s. Considering Vs. was their only full-length release during their first run, it was the obvious choice to be played, even though it doesn't have what're probably their two most-recognizable songs. Highlighted by "Trem Two" and "That's How I Escaped My Certain Fate", MOB kicked off the festival the only way they seem to know how - loud and abrasive. Perhaps the best sight of this set was away from the stage when I spotted a 3-year old girl headbanging with her dad. (Far too many children were without ear protection. C'mon, parents.)

Headlining Friday was Public Enemy playing It Takes A Nation Of Millions To Hold Us Back. Once Sebadoh finally finished (after "Sebadoh sucks" chants from the PE audience), the Bomb Squad opened with a short set showcasing their talents as premier hip-hop producers for 20+ years. As soon as they ended, the crowd began humming the sirens that begin the legendary hip-hop album. Since Nation of Millions had never been performed in the US, it was the first time many had heard some of the tracks live. And aside from fouling during "Bring the Noise", Flavor Flav proved to many that the parody he's become on television is mostly an act. Even though Chuck D was the star, Flavor was on his game, except when trying to plug his latest reality show. Once they wrapped up the album, they performed a few other monster hits for the crowd that, especially far back from the stage, was dancing like it was their business. Even in the mud.

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Jarvis Cocker (photo by George Aye)

Again the crowds were not deterred by heavy rains on Saturday as the grounds filled with people toting blankets and chairs to wildly inappropriate spots. (Between the soundboard and stage should be standing room only for obvious reasons.) Coming off Thursday's tight preview show at Pritzker Pavilion, Fleet Foxes drew a large crowd for a mid-afternoon set that sounded sublime as the sun parted the clouds and relieved everyone bracing for more storms. Near the merchandise booth during Vampire Weekend's humdrum set, Les Savy Fav's Tim Harrington drew a sizable crowd by cutting hair for $2. (This makeshift barbershop had many people wondering how much Les Savy Fav was getting paid for what was one of the weekend's most entertaining hours.) Later in the day !!! turned in a set heavy on their keen musicianship and the three dance moves that Nic Offer's been getting by on for at least five years. Nonetheless, they were definitely one of Saturday's highlights. However, when it came to showmanship, no one topped Jarvis Cocker. The Pulp singer split his time almost equally between songs from his first solo album and the rockers that'll be on the followup still being recorded. Even though he didn't play any of the songs that made people adore him in the first place and he talks a bit much between songs, he was terrific. It's doubtful he made many new fans since he was clearly performing for the already converted. Although, to ingratiate himself with the crowd, he did cover the Chicago house classic "Face It" by Master C & J. Closing out Saturday was Animal Collective with a spectacular light show that kept the interest of those who've previously never had any desire to hear more than two minutes of their music.

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Ghostface and Raekwon (photo by George Aye)

Unfortunately, the weekend's two biggest disappointments were both on Sunday. In the afternoon, the Japanese power trio Boris were plagued with power supply issues and forced to cut their thunderous set at a half-hour. But in that time, they put on a performance worth remembering by everyone. And Australian electro group Cut Copy were caught in flight delays that got them to the festival in time to play just four songs before the 10pm curfew. (When traveling intercontinentally, I usually go a day before I have plans. But I guess not everyone thinks that's necessary.) Their short set dominated the faithful crowd that spurned Spoon and withstood a horrendous jam session from various musicians. However, there was much else to like - such as Apples in Stereo playing their indie psychedelic pop in the beating sun, HEALTH wowing with an energetic set and Ghostface getting huge cheers split between genuine and ironic.

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King Khan (photo by George Aye)

Sunday's 4pm hour created a situation where the 40,000+ audience was split between two of the most potentially entertaining acts of the weekend — King Khan & the Shrines and Les Savy Fav. Neither choice was wrong. King Khan put on one hell of a show that was mightily influenced by Screamin' Jay Hawkins. From the wardrobe to the freakouts to telling people to throw trash (and there was a whole lot of it), it was raw and dirty like any good rock'n'roll performance should be. Across the field, Les Savy Fav's hour was a whole mess of insanity. While the band flew through a good mix across their albums, Tim Harrington was clearly the show, as usual. When watching him perform, it's hard to not try to imagine him away from the stage because he couldn't really be all an act, right? Maybe.

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Spoon (photo by George Aye)

Now, a few days ago, I realized that Spiritualized would be playing in daylight and something about that didn't seem quite right. They just don't come across as a band that'd perform well with the sun out. Somehow J. Spaceman pulled it off with a tremendous "Come Together" and a wall of sound that may or may not have been unplugged in its final seconds. (The sound cut; the band kept playing; the sound came back; Spaceman smashed his gear.) Shutting down the festival were Dinosaur Jr and Spoon. J Mascis and Lou Barlow rolled through a predictably loud set (3 Marshall stacks for Mascis?!) that even delved into the post-Barlow years with "Out There" and "Feel the Pain." The sound was a bit muddled and the play was sloppy, but it was quite tolerable. No one sees Dinosaur Jr because they're concerned about precision anyway. Later in the evening, Spoon contrasted their predecessors by recreating a note-perfect mix of their music in front of an enormous crowd stretching all the way out to the gates. As they wrapped it up (and Cut Copy put the finishing touches on their abbreviated set), everyone who'd stayed was more or less pleased with the weekend. Yet on the way home I heard two people wondering who'll play next year. How about savoring this year for a day, ok?
-James Ziegenfus

Anne Holub / Comments (2)

Concert Mon Jul 21 2008

Pitchfork in Pictures

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King Khan (photo by George Aye)

Working through the night, our fearless photographer George Aye has compiled 72 hours of Pitchfork Music Festival mania into some really tremendous photo sets on flickr. It's a great way to slide into your Monday (or to try and remember how you spent your Saturday afternoon). We've got you covered, Pitchfork Festival, from Animal Collective to !!!.

If you've got great Pitchfork pictures to share, load them up to our Transmission pool on Flickr, where we're always glad to see your Chicago music pics!

(Keep an eye out here in Transmission for more Pitchfork recaps later today.)

Anne Holub

Concert Sun Jul 20 2008

Blucka Blucka Blaow.

Once upon a time, in a section of Brooklyn called Browsnville, two dudes got together and decided to make hip-hop. So in 1993, they released their debut single, "How About Some Hardcore?" and fans worldwide reacted to the promise of violence not seen since Onyx. Billy Danz and Lil Fame brought unfocused anger to the masses in the form of Mash Out Posse, or M.O.P. for short.

For a while they toiled in relative anonymity outside the Northeastern corridor. After a series of albums, mixtape appearances, and general mayhem, then came "Ante Up: Robbin Hoodz Theory". That success brought their brand of New York tinged wilding and an admittedly grimy aesthetic to pockets of hip-hop preciously infatuated with the G-funk and materialism prevalent in 2000. In fact, "Ante Up" was a direct response to the bling, promising the stripping of said consumer goods if common sense was not exercised.

And, thanks to Scion's Live Metro event series, where an online RSVP will get you in, M.O.P. brings it to Chicago tomorrow night. This will not be a place for hipsters standing on the wall. The duo has no auspices to pop credibility, let alone sensibility. There will be adrenaline. It will be hot, muggy, kinetic, and violent.

Even Bert and Ernie get into it. They won't be at the show, though.

RSVP here. 21 and over, show is supposed to start at 9:30.

Troy Hunter

Concert Thu Jul 17 2008

Pitchfork Preview Night @ Millennium Park

Didn't get your act together to make it to this years Pitchfork? Don't want to fork over the cash for another summer hipster fest? Tonight's latest installment in the Music Without Borders series at Millennium Park should be enough to whet that indie appetite for awhile.

While it may be a bit of a stretch for a "world music concert series", the Pitchfork Music Festival Preview night, which goes up in just a few hours, features four acts who will all be at the festival as well, but are giving us just a little sprinkle for taste in this free preview. Taking the stage tonight will be the the indie band from space, Fleet Foxes, representing Elephant 6's international/ polka constituent, A Hawk and a Hacksaw, a "Gypsy brass band" found in Boban Markovic, and Thrill Jockey's own Extra Golden.
It's a wonderful day outside, get out and enjoy the free rock.

Pitchfork Music Festival Preview Night
Music Without Borders Concert Series
Jay Pritzker Pavilion
TONIGHT, 6:30
w/ Fleet Foxes, A Hawk and a Hacksaw, Boban Markovic, and Extra Golden.
**FREE**

Emily Kaiser

Concert Thu Jul 17 2008

Revolution of the Heart

EdHarcourtweb.jpgHow would you define the word prolific? How does five albums in six years sound? London musician Ed Harcourt has done just that, and his fifth, The Beautiful Lie, may just be his best yet. Recorded on an eight-track in his grandmother's house in Sussex, on a piano made for her back in 1917, with the drums set up out in the hallway, this album echoes with warmth and maturity. At the age of 30, Ed is finally coming to terms with life and love, and as with most people, he does not always like what he sees. He has questions like, will you love me when I’m old, and why are good friends so hard to find? Yet, the honesty in his voice and the beauty of his music leaves the listener believing that all of this is more than just a beautiful lie.


[MP3] Ed Harcourt - The Beautiful Lie

Shifting from piano driven pop to heart breaking ballads to stadium anthems, Ed Harcourt has crafted a brilliant album, and you catch him live tomorrow night (July 18th) at Schubas with Jeff Klein. The show statrts at 10:30pm, and it is 21+. Tickets are $12 in advance and $14 at the door.

Jason Behrends

Feature Wed Jul 16 2008

Pitchfork Music Festival 2008 Preview

Friday, July 18

Mission of Burma / 6pm (C)
Mission of Burma have a difficult legacy to live up to. The anthemic bombast of early tunes like "Academy Fight Song" and "That's When I Reach For My Revolver" would eventually earn them the reputation of being American punk rock titans and godfathers of the '80s indie-rock movement. Nonetheless, Burma had their share of artier inclinations. While their 1982 album Vs. lacked some of the overt hookiness of Burma's earlier material, it revealed the group was expanding its sonic palette to cover more moody and experimental material. Still, when the band launched into high gear, they played with an unbridled fervor that at times suspensefully teetered on the edge of collapse. Considering that Vs. is the only full-length the band recorded during its initial run in the early '80s, its candidacy for Friday night is pretty much a no-brainer. Since Mission of Burma reunited in 2002, reports of their live performances describe them as being about as flatteningly loud and ferocious as one could hope for.
-Graham Sanford


Sebadoh / 7:15pm (C)
It's always interesting when the side project overshadows the original band, and regardless of how you feel about Dinosaur Jr, it's hard to argue that Lou Barlow's Sebadoh hasn't managed to eclipse his original band in both popularity and influence. Pitchfork has Barlow and original collaborator Eric Gaffney reunited to perform the band's landmark fourth album Bubble and Scrape, an effort which spawned a million lo-fi imitators since its release in 1993. Flannel shirts and high-waisted jeans optional.
-Nilay Patel


Public Enemy / 8:30pm (A)
It's easy to forget how hard Public Enemy used to be now that Flava Flav is some kind of cartoon pimp, but the pioneering hip hop group was responsible for bringing political consciousness to mainstream rap, and DJ Terminator X elevated scratching to an entirely new level. The 'fork has booked the boys for a straight-through performance of It 1988's It Takes A Nation Of Millions To Hold Us Back, and while you already know "Don't Believe The Hype," chances are you'll be familiar with every other track as well — every hip hop artist since has been ripping them off.
-Nilay Patel


Saturday, July 19

Boban I Marko Markovic Orkestar / 12:30pm (B)
A left-field choice for the festival that seems to be without precedent for Pitchfork or any other western news media source, the choice of Yugoslavian master of the flugelhorn Boban Markovic and his 20-year-old co-band-leader son Marko are strong bets to win over a few stray Beirut fans who showed up early. With a lively, worldly, and multiple-award winning brass section, the band should have everyone fired up immediately, no matter what part of the set their audience shows up for. Get a sneak peak at the band's fist-pumpingly good anthems Thursday night at the Pritzker Pavilion with Extra Golden, A Hawk and a Hacksaw, and Fleet Foxes.
-Dan Morgridge


A Hawk and a Hacksaw / 1:25pm (B)
Dig this: Balkan is the new black. This year, Pitchfork gets into the current trend of gypsy- and klezmer-influenced bands, including Boban I Marko Markovic Orkestar (a bit more authentic than the others on the bill) and A Hawk and a Hacksaw. Featuring violinist Heather Trost and former Neutral Milk Hotel drummer Jeremy Barnes, the Albuquerque-based group will be especially interesting to watch, particularly just how they pull off such lush, emotional music with so few people (assuming they perform as a duo, per usual, of course).
-Kara Luger


Jay Reatard / 1:30pm (A)
If the name Jay Reatard rings any bells with you, chances are good that you've spent some amount of time perusing (or living) the Goner Records catalog. The Memphis-based label has prided themselves for years — decades! — on promoting and revering all blends and flavors of real honest-to-hell rock and roll, with none of the sickening rock-and-roll-never-forgets wedding dancefloor safety-valves, and Jay was one of their original poster-children. He has fronted the Reatards, the Final Solutions, the Lost Sounds, Angry Angles, Terror Visions, and others. Now, Jay returns to his own name, sounding like a person who lives in a perpetual state of rock readiness. His output ranges from anthemic sing-along blasters to detached post-punk (he's no more afraid of keyboards or tricky changes than he is a fist to the face) to tracks that resemble the hardier side of glam — Bowie/Ronson, Slade, that lot. Daniel DiMaggio of Home Blitz has recently followed a similar path of open-faced rock and roll devotion, and received near-immediate (and warranted) recognition for his work. Here's hoping Pitchfork will help Jay catch up for lost time — this man deserves the rock and roll life if anyone does.
-Chris Sienko


Caribou / 2pm (C)
It's completely cool to play a recorder again. Caribou and I firmly believe this. Anyone else? Changing his name from Manitoba after a lawsuit too unnecessary to actually go through with, Daniel Snaith has been releasing his airy psychedelic worlds as Caribou since 2004. 2007's Andorra moved him beyond the niche world and is earning respect among a more widespread indie fan base. He earned an opening spot for math-rockers/ass-kickers, Battles, last fall with a live show that engulfs you with lights, videos, and of course, music. He moves beyond the expected show experience to deliver a spectacular performance that leaves you with absolutely no idea where you've just been and an uncontrollable desire to go back immediately.
-Emily Kaiser


Icy Demons / 2:20pm (B)
The terms "eclectic" and "uncategorizable" get lobbed about pretty frequently these days, but Icy Demons earn the distinction moreso than any other local band. A restless entity, their five-plus member roster is made up of musicians who each play in at least two other bands. The band's current line-up is heavy on percussion and keyboards, with plenty of instrument switching occurring throughout (sometimes in the span of a single tune). With their new album Miami Ice, Icy Demons juggle genres and strip stylistic gears in a brilliantly brilliant and elegant manner. Live, however, they're a much hungrier and more agitated beast. Since their around-town appearances are pretty infrequent, here's your chance to catch one of Chicago's best off-the-radar acts.
-Graham Sanford


Dizzee Rascal / 4pm (C)
Mix meaty beats and a East Ender mouth full of marbles and you got yourself a certain Dizzee Rascal. Backing up his latest album, the Mercury Prize-nominated Maths + English, Mr. Rascal has been wooing audiences since his (Mercury Prize-winning, bitches) 2003 Boy in Da Corner brought grime into college radio stations the world over. Check his single "Sirens" for his trademark mash of synth bleeps and gut-punch vox.
-Kara Luger


Vampire Weekend / 5pm (A)
Bringing a preppy sound to your indie rock channel is much-hyped Vampire Weekend. Not the goth band that their misnomer of a name might lead you to believe, this group is actually part of the more parent-friendly end of the festival's lineup. Their self-titled debut LP met with mad air play (including many a rotation in Chicago bar jukeboxes) and a rush on tickets at their spring show at the Metro. Don't fear though, this isn't any kind of easy-going bubblegum pop music. Vampire Weekend's songs are filled with excessively smart lyrics (some might say too smart... a song about commas? For real?), afro-pop melodies and are topped off with a little bit of that unfamiliar thing called happiness. It's pretty darn upbeat stuff, and you just might like it, or at the very least get up and boogie.
-Anne Holub


Elf Power / 5:20pm (B)
Pitchfork will play host to three relatives of the Elephant 6 collective, Apples in Stereo, A Hawk and a Hacksaw and certainly the most musically buoyant of the bunch at the moment, Elf Power. What may be the only reason to love Athens, GA, these veterans have worked with members of the impressive collective for years such as Neutral Milk Hotel's Jeff Magnum and Of Montreal's Kevin Barnes. Their 2008 release, In A Cave, is no stranger to the characteristic lo-fi sound and spacey lyrics. It oozes with a classicism that makes you want to simultaneously dance and cry, much like being confronted with Jack Nicholson's 1989 (not Dark Knight) Joker bombing your restaurant/city street to a Prince soundtrack. Elf Power is for lovers and children, except not at all.
-Emily Kaiser


Extra Golden / 6:25pm (B)
Extra Golden's origins trace back to Kenya, but their sound spans the globe. They have a unique history, having lost one of their original members to liver disease during the early stages of the band, a fact which actually spurred the remaining members to action to make sure their music was heard. Since then, they've released two fantastic releases on Thrill Jockey, and the band has developed a sound that incorporates many familiar textures and feels of rock and roll while retaining a distinctly international flavor. Their sophomore effort from 2007, Hera Ma Nono, made many top 10 lists for the year, and their live show consistently lives up to the promise of their recorded output, not to be missed.
-Daniel Melnick


The Hold Steady / 7pm (A)
With a powerhouse album released in 2006, Boys and Girls in America, The Hold Steady finally started to make their well-deserved named among the Pitchfork crowd. These crooners call Brooklyn home but rock with a force that is unmistakably southern, yet dominants anything the region could hope to put out. They're latest offering, Stay Positive, released only days ago on Vagrant, overflows with feeling as well as talent. "Sequestered in Memphis" slams with that classic piano jam we love the Hold Steady for, while darker tracks such as "Both Crosses" show a musical maturity in the new album. "Lord I'm Discouraged" transcends the sum of its parts and literally becomes the intense melancholy that is lead singer Craig Finn's acid-washed voice at it's best. There's also a few Northside/Southside references. Perhaps they've been spending more time in Chicago then they're letting on? At least we know they'll be here once, and you'll be sorrily mistaken if you're not there, too.
-Emily Kaiser


Jarvis Cocker / 8pm (C)
There are not many performers in the music industry who've spent as much time languishing in mediocrity as Jarvis Cocker before breaking big. From the late 1970s through the early 1990s, he led different versions of Pulp through lineup changes, red tape and indifference. In 1992, with a new lineup and new perspective, Pulp finally began to show signs of their forthcoming greatness. Over the next ten years, they'd release four revered albums and achieve stardom before going on indefinite hiatus. In 2006, Jarvis released a self-titled album that was clearly a step in a new direction. Jarvis showcased a more sedate and domestic side than Pulp while still keeping the wit. Now he returns to the Midwest for the first time in 12 years hopefully to make up for lost time (and maybe even preview some cuts from the Jarvis followup supposedly in progress).
-James Ziegenfus


Animal Collective / 9pm (A)
Avery Tare, Panda Bear, Geologist and Deakon are four of the weirdest pseudo-stars of the indie world. Constantly threading disparate howls, yelps, and, well, animalistic energies that veer from serene to spasm, the boys of Animal Collective find new nooks and crannies or caves and pits that you want to follow them into. Their latest, — the mildly new Water Curses EP — features a brief but promising tour through where the band could have gone with last year's excellent Strawberry Jam, and where they're heading to now with it under their belt.
-Dan Morgridge


Sunday, July 20

Mahjongg / 12:30pm (B)
With the arrival of their freshman album Kontpab this past February, Mahjongg moved beyond the punk-funk trappings of their prior output and steered their sound percussion-heavy West African territory. While a fair number of artists of opted for the Remain In Light move in the past year or so; but Mahjongg throw themselves into the groove with unmatched abandon. To top it all off, they wrap all this polyrhythmic ping-ponging around plenty of synth-punk bubble and throb in what makes for a brilliant tug-of-was between hot and cold. In its best moments, Mahjonng's music often verges on a deliriously unhinged energy that vaguely recalls the Butthole Surfers in their brain-scrambling heyday.
-Graham Sanford


Times New Viking / 1pm (C)
Best known by some as the band that brought Tom Lax and his Siltbreeze label out of retirement, this ramshackle, crappier-than-thou-fi band from Columbus, Ohio share a sonic affiliation, if not a similar sound, with projects like Sic Alps and Home Blitz. All three bands play within standard rock forms, yet somehow manage to avoid any major comparisons with their musical influences (coincidentally, all three have seen their earliest recordings explode into Ebay fetish objects). While mention has been made of the Vikings' association with Mike Rep, thereby connecting them, six degrees style, to those other fidelity skanks Guided By Voices, TNV are comfier amidst comparisons to another, earlier Mike Rep collaboration, St. Louis' favorite sons the Screamin' Mee Mees, whose "Live From the Basement" 7-inch still shines as a beacon to all who would walk the path of willful scuzziness and intelligent abandon. Times New Viking's Dig Yourself LP will hopefully fill the same role for the next generation of high-octane trash-strutters.
-Chris Sienko


High Places / 1:25pm (B)
Oh the joys of indie pop. Formed in 2008, this boy/girl duo consisting of Rob Barber and Mary Pearson combine playfulness with tribal rhythms to pleasantly weird effect. High Places are Brooklyn-based artists who released their debut self-titled EP on Chicago's own Thrill Jockey in 2008. How they got noticed began with a Chicago connection. A familial relation with Pitchfork Media (Pearson's sister used to work there) led to a review of their self-titled debut EP by critic Mike Powell, sealing them as confirmed members of the indie universe. They blend Hawaiian music with Chinese pop and hardcore, which, strange as it sounds, is danceable, in a jumping around type of oddball fashion.
-Marla Seidell


Boris / 2pm (C)
A few years ago one of my friends saw Boris in Atlanta and wrote the next day, "It was like standing in front of a jet engine. My brain is complete jelly today." That was actually a rousing endorsement. Over the last sixteen years, the trio that emerged from Japan's hardcore scene has stayed out of genre niches by regularly altering their sound. They've played all sorts of metal and even released experimental albums, as well as notable collaborations with Merzbow and Sunn O))). Even though their latest, Smile, is more in line with drone metal, expect an eclectic set from Boris. Turning brains into jelly is just the beginning of what they have to offer. (Plus, they have tremendous equipment for the gearheads to gawk at.)
-James Ziegenfus


HEALTH / 2:20pm (B)
I will never forget the night, standing right in front of a small stage in a café in Dekalb, IL, my ears were brutally assaulted at the hands of the Los Angeles noise band HEALTH. You see my first experience with HEALTH was listening to a few tracks through the tiny speakers of my work computer at a low volume. I wasn't sure what to think and basically wrote them off and moved on. This was is until they opened for Crystal Castles one night in May. I moved close to the stage when I saw some one taping a keyboard to floor. There were electronics and pedals and cables everywhere. Anticipating the sound that all of this might make I moved a little closer to the left speaker, and suddenly the room exploded. This young band plays with so much energy it only amplifies their raw sonic output. The word of the night among the shocked concert goers was "primal". HEALTH released their self-titled debut album last September (Lovepump United), and in May they also put out a fantastic remix album (Lovepump United).
-Jason Behrends


The Apples in Stereo / 3pm (A)
You may not know it, but you probably know Apples in Stereo. Does their "Signal in the Sky" from the Let's Go! EP sounds familiar? That's because it appeared in the Powerpuff Girls movie, you stoner. Does guitarist/singer Robert Schneider look familiar? That's because he introduced the infamous shred-off between The Decemberists and Stephen Colbert. Check out their so-sunshiney, sugary-sweet indie pop as the Denver-based Apples make their Pitchfork debut.
-Kara Luger


King Khan & The Shrines / 3:15pm (B)
King Khan arrived in The States late last month for his first American tour already carrying with a reputation of putting on wild and dangerous performances. He has been noted for combining the erotic and the soulful, and the results are often chaotic. Forming in Germany in 1999, at the age of 22 Kahn started to gain a reputation for his understanding of soul music and his ability to perform. The band, a super bad 10 piece soul inferno which includes Chicago-born Ron Streeter, has been touring Europe with Kahn for the last eight years. Recently signed to Vice Records, the band released a greatest hits collection just last month, and will be tearing up stages across America through August 3rd.
-Jason Behrends


Les Savy Fav / 4pm (C)
Anyone who's seen Les Savy Fav probably doesn't need added incentive to see them again. The energetic Tim Harrington is one of the best frontmen of this era and the band he leads sounds far more dynamic on stage than on any record. Whether it's rolling out slip'n'slides, crawling underneath floorboards, cutting hair or kissing audience members, Harrington manages to be both entertaining and borderline insane at all times. While he provides the visuals, the band nullifies the awkwardly varying production levels on its albums by delivering a chunky post-punk rock sound that they can only seem to pull off live. Even non-fans should make a point to experience the inevitable spectacle.
-James Ziegenfus


The Dodos / 5pm (A)
Meric Long (vocals/guitar) and Logan Kroeber (drums) are two musicians from San Francisco who have been playing together since 2006. The remarkable thing is that it is just two men walking on stage to an acoustic guitar and a worn drum set, and they create the most electric, energetic, sound I have heard in years. With rhythmic strums, graceful vocal tones, and inventive drum play, The Dodos released their second album (first as The Dodos, formerly Dodo Bird) on March 18th via Frenchkiss Records.
-Jason Behrends


Occidental Brothers Dance Band International / 5:20pm (B)
OBDBI is one of the hidden gems of the Chicago music scene, representing an international conglomeration of first rate musicians playing some of the most joyous, danceable music around. Formed by local guitarist Nathaniel Broddock, the band also features Ghana natives Kofi Cromwell and Daniel "Rambo" Asamoah, and local jazz scene stalwarts Greg Ward and Josh Ramos. The band started out as a cover project, playing classic Ghanian highlife and Congolese rumba, but as time has gone on they've developed their own unique compositional voice and style. The result is an infectious mix of African grooves and blistering improvised passages that lives up to the band name's promise to get everybody dancing.
-Daniel Melnick


Ghostface Killah & Raekwon / 6:25pm (B)
At the dawn of the Wu-Tang dynasty, when each of the initial participants started ripping out their own solo records, Ghostface (then Ghostface Killah) and Raekwon (the Chef) established themselves as having the albums that you had to check out first... after you, y'know, checked out Method Man, Old Dirty Bastard, and the GZA. Lacking attention-getting novelties like dope, insanity, or being the head when the group "forms like Voltron," Ghost and Rae had to depend instead of tight, inventive, fluid raps and unique flows (Ghostface's urgent, high-voiced machine gun vs. Raekwon's deeper, duskier noir narratives), as well as solid word-of-mouth from hip-hop fanatics, who know skills when they hear 'em. Looking back now, time's been kinder to the catalogs of these two than just about anyone in the original stable, save perhaps for the GZA. Expect nothing less than sweat, intensity, hand-raising and skills... from the artists, that is. What the crowd will do during this is anybody's guess.
-Chris Sienko


Spiritualized / 7pm (A)
UK psychedelic/experimental Spiritualized counts over twenty-six years of music history under its belt. Members have come and gone as often as the many looks of Madonna, yet front man Jason Pierce remains the steady driving force. Hailing from Rugby, England, the vocalist/guitarist formed the band back in 1990 out the ashes of Spacemen 3, ensuing controversy over the band's breakup. In 1999 Pierce completely stripped the band, hiring brand new members. It's this type of risk taking and unwillingness to compromise that typifies the music of Spiritualized, which has continued to evolve over the years. The band's trademark spacey minimalism is present in Songs in A & E, the band's sixth album, yet the heavy layers of gospel and blues exhibit a new depth of emotion. It took Pierce two years to finish the album, during which time he was hospitalized for double pneumonia. It's not called Songs in A & E for nothing, as A &E is a reference to the UK terminology for ER (accident and emergency), where Pierce spent considerable time on the verge of death. So yeah, if you want to hear what back-to-life music sounds like, go see this band.
-Marla Seidell


Dinosaur Jr. / 8pm (C)
J Mascis is a rock god! I have contended for many many years that he is the greatest guitar player of all time. You may or may not agree, but the fact remains that no other musician take a pop melody and insert a roaring yet majestic guitar solo quite like J. Forming in 1984, Dinosaur Jr. release three studio album before the departure of bass player (and Sebadoh frontman) Lou Barlow. J continued on as Dinosaur Jr. releasing four more albums between 1991 and 1997. In 2005, the original line-up finally reunited and they haven't looked back since. Last year, the band released their first studio album in over ten years, Beyond, and the sound is just as fresh and raw as it was back in '84. It is well documented that the live performance of Dinosaur Jr. are some of the most sonically impressive and loudest shows around. Just to witness the stacks of amps and microphones the J plays in front of is worth the price of admission.
-Jason Behrends


Cut Copy / 8:25pm (B)
While last year's laughingly bad sound problems caused many to flee the Balance Stage early, the final, late, aggro set from the Klaxons put a nail gun to the coffin and let it rip. So it would be unfair to say that Cut Copy have bid shoes to fill — rather, they could do nearly anything they wanted to and top last year's Sunday finale with ease. Yet, the men of Melbourne have proven to be a dance-floor inducing live show even for kids standing around at a rock concert, and thusly do they deserve the honor of finishing off the night for those who want to head home when the dancing stops. With great hipster limb movement power comes great responsibility, so expect the band to push only the best of their classic material while they milk the cohesion and energy of their astounding In Ghost Colors.
-Dan Morgridge


Spoon / 9pm (A)
With the release last summer of Ga Ga Ga Ga Ga, Spoon confused many a tongue-tied radio deejay and delighted most critics who raved about the latest efforts of this Austin, TX-based indie group. Classified as some sort of "gentleman punk" or a lo-fi indie romp, Spoon defied conventions once again with their latest work. At only 36 minutes, Ga Ga... is a whirlwind trip through lyrical mazes, production dubs and crafted percussion — but in a good way. As an album that has been labeled "a grower" and "one to be revisited" by the critics, I wonder how well it'll go off live on Sunday night. I'm not entirely sure why this Texas-bred group seems to have so much trouble getting their energy level up when playing summer festivals, but after watching them play a steamy Lolla set and an equally hot and lazy Pitchfork performance over the past couple years, you got the feeling they just didn't have their hearts in it — maybe a headliner slot is what they craved (and finally received). As it is, my fingers are crossed that Britt and the boys are out there somewhere, taking it easy, getting hydrated, and maybe getting a neck rub, because if the weather holds out with this hazy, hot and humid business, I'm not sure that they're going to make it through the weekend. And hey, it's not the first time you'll hear it, but take a chance on a winner of an encore, boys, and give the fans a little something from the past and play "Chicago at Night" (after all, it will be Chicago... at night).
-Anne Holub

Pitchfork Festival Schedule 2008, Union Park, Chicago, IL

Friday, July 18 (in conjunction with All Tomorrow's Parties/Don't Look Back):
6:00 - Mission of Burma performing Vs. (C)
7:15 - Sebadoh performing Bubble and Scrape (C)
8:30 - Public Enemy performing It Takes a Nation of Millions to Hold Us Back (A)

Saturday, July 19:
12:30 - Boban i Marko Markovic Orkestar (B)
1:00 - Titus Andronicus (C)
1:25 - A Hawk and a Hacksaw (B)
1:30 - Jay Reatard (A)
2:00 - Caribou (C)
2:20 - Icy Demons (B)
3:00 - Fleet Foxes (A)
3:15 - Fuck Buttons (B)
4:00 - Dizzee Rascal (C)
4:15 - The Ruby Suns (B)
5:00 - Vampire Weekend (A)
5:20 - Elf Power (B)
6:00 - !!! (C)
6:25 - Extra Golden (B)
7:00 - The Hold Steady (A)
7:30 - Atlas Sound (B)
8:00 - Jarvis Cocker (C)
8:25 - No Age (B)
9:00 - Animal Collective (A)

Sunday, July 20:
12:30 - Mahjongg (B)
1:00 - Times New Viking (C)
1:25 - High Places (B)
1:30 - Dirty Projectors (A)
2:00 - Boris (C)
2:20 - HEALTH (B)
3:00 - The Apples in Stereo (A)
3:15 - King Khan & the Shrines (B)
4:00 - Les Savy Fav (C)
5:00 - The Dodos (A)
5:20 - Occidental Brothers Dance Band International (B)
6:00 - M. Ward (C)
6:25 - Ghostface Killah & Raekwon (B)
7:00 - Spiritualized (A)
7:30 - Bon Iver (B)
8:00 - Dinosaur Jr. (C)
8:25 - Cut Copy (B)
9:00 - Spoon (A)

Key:
(A) - Aluminum Stage
(B) - Balance Stage
(C) - Connector Stage

(For a full map, click here.)

Anne Holub

Concert Wed Jul 16 2008

Carpooling for Carbon Offsets (and Rock)

Often when a small band makes a plea for you to buy their merch at a show, they'll remark that all the cash they make from the t-shirts and CDs is going to go directly into their gas tank so they can continue on their tour. In the reality of nearly $5/gallon gas, it's a wonder that some small bands are able to go on tour at all.

The other side of that coin is when you're a bigger band, already headed out on tour, maybe in a bus or a two, you're going to make a pretty big carbon footprint as you motor around the country. Or, if you're a band that draws a lot of fans, or playing a gig (e.g. festival) that will draw a large audience, the very people who love you the most are going to leave the biggest carbon footprint. In light of that, at least a few artists heading to the Chicago area are trying to minimalize their impact on the environment.

In a fan newsletter out today, Andrew Bird (who'll play for free in Millennium Park Sept. 3) is requesting that fans help to reduce the show's carbon footprint by traveling to the show via footpower, bikes, or public transit.

[A new version of a video for Bird's song "Lull", featuring Chicago band Dianogah, from the Daytrotter Session is here.]

In a style true to their minimalist indie-rock moniker, Duluth, Minnesota group Low is using a portion of ticket presales for their Sept. 17th show at Epiphany Episcopal to pay for carbon offsets for their fall tour.

[A video for Low's song "Breaker" can be viewed here.]

Do you think about your carbon footprint when you head to a show? How about an out-of-town festival (or for that matter, a Chicago one)? Would you consider changing your travel plans (or buying carbon credits) based on the environmental impact?

Anne Holub

Contest Wed Jul 16 2008

Contest: Three Days of Pitchfork

Don't have your tickets to the Pitchfork Music Festival yet? How's a three-day pass for free sound? We've got a pair to give away, courtesy of Boost Mobile -- just email contests@gapersblock.com with the subject line "Pitchfork Booster" by 5pm today. We'll choose a winner at random from the entries received. Be sure to include your name, phone number and an address where the tickets can be overnighted to you if you win. UPDATE: We have a winner! Congratulations to Jen!

Andrew Huff

Venue Tue Jul 15 2008

Mahjongg, HEALTH, others play Hideout Pfork after-parties this weekend


Drums and wires: Mahjongg

The guys in the L.A.-based noise-rock outfit HEALTH haven’t exactly made things easy for anybody, least of all themselves. First there’s their choice of a Google-that-again name, and the fact that their debut album of last year threw the trend jockeys for a loop with all of its abrasive jolts, asymmetrical arrangements, and spectral vocals. Throwing another curveball into the mix, the band managed to somewhat placate pop-minded listeners when they recently released the follow-up HEALTH//DISCO -- a bubble-wrap remix affair in which artists like Crystal Castles, Acid Girls, and Drop The Lime gave the band’s debut a club-oriented workover.

HEALTH will be playing this Friday night at the Hideout. Better yet -- in an act of astute matchmaking for the evening’s billing, they’ll be appearing alongside Chicago’s own electro Afro-funk experimentalists Mahjongg. Both groups will be performing early on the Sunday schedule for Pfork Fest; but if you’d rather experience both groups in the more cozy and conducive confines of a club, Friday’s show makes for an ideal opportunity. Alex & the Drummer are also slated to play. Doors open at 10 PM and tickets are $10.

For Saturday night’s post-Pfork soiree, the Hideout will be hosting a special edition of their Saturday night dance party event. To celebrate being named “Best Dance Party” by the Chicago Reader, the Hideout’s throwing a big eight deejay pile-up of a throwdown. Scheduled to spin for the evening (in order of appearance) are: DJ Treetop Lover, the East of Edens Soul Express DJs, Gutterbutter DJ Logan Bay, Bald Eagle and Mother Hubbard of the Life During Wartime DJs, and Smashing Time DJs Mary Nisi and Carrie Weston. It all gets underway starting at 9 PM and admission is free.

For further details, see the Hideout’s website, and our own feature run-down of this year’s Pitchfork lineup.

[video]: HEALTH - live (via Pitchfork TV)
[video]: Mahjongg - "Teardrops"

Graham Sanford

Concert Tue Jul 15 2008

Please Don't Call Them Cute...

nownoweverychildren_promo4.jpgOne look at Justin Schweim (bass), Bradley Hale (drums, vocals), Cacie Dalager (vocals, guitar), and Britty Hale (keyboard), and you may think you understand why this Minneapolis band is called Now, Now Every Children. However, don’t let their height or their baby faces fool you, they do pack a very potent punch. Bouncy keyboards and jangly guitars mesh with the Cacie’s soft yet powerful vocals. Yet what has brought them the most attention has been their silly and original videos that attempt to not only introduce themselves to their fans, but to also befriend their fans. Since February they have released two eps, and now are in the studio recording their debut full length.


[MP3] Now, Now Every Children - Everyone You Know

Check them out tomorrow night at Reggie’s Rock Club as they take a break from recording. They will be appearing with Section 4, Mother Electric, and You. The show starts at 8:00pm, and is 17+. Tickets are $5 adv $8 day of show.

Jason Behrends

Radio Tue Jul 15 2008

Radio on the TV

No, that's not a mistake -- I'm talking about vintage TV commercials for radio stations. Through the magic of YouTube, all sorts of embarrassingly bad commercials for stations of varying quality live on.

"If you haven't tried WXRT lately, give our rock a listen!"

"Q101. The Q stands for quality music."

You stay classy, WBMX.

The Loop presages the lip-syncing of the '80s.

The same actress returned a couple years later to lure people back.

This one from WMET is still pretty much in use today in one form or another.

Andrew Huff

Concert Fri Jul 11 2008

Killing Me Quickly (with their song)

Sicalps.jpg

Sic Alps killed me in just over 90 seconds - it didn't take much time at all. The 1:30 slice of perfection in question is "Bells (with Tremolo and Distortion)," off of their recent Description of the Harbor 12-inch (don't bother looking, it's long gone, unless you've got $75 and an Ebay username to spare) and it just nailed me - it's like a breath of air straight out of Lenny Kaye's record cellar, a lost psychedelic Nugget(s) lifted from obscurity, dusted off, and then killed and reborn anew, because it's not a cover, it's a new song with moves for moderns. The main lyric is pretty much one line: "I don't care 'bout what you say/meet me down on the lawn, lawn lawn," and that might not even be how it goes! The singer drawls the last word so exquisitely, it's hard to tell. Or care. (Youtube video here…count the visual music references/influences!)

Continue reading this entry »

Chris Sienko

Feature Fri Jul 11 2008

Bands You Missed, Vol. 2

First Coat, 2003-2007

Hyde Park's First Coat was probably the most beloved of all the bands that came up during the University of Chicago's music renaissance early this decade, combining solid songwriting, experimental flourishes and the instantly-memorable voices of singers Conor Loughridge and Becky Stark to achieve pop-rock-folk perfection.

After starting out as the Shifty Men of Business and then Drexel, the band's lineup solidified for their first proper recording as First Coat in 2003 with Loughridge, Stark, guitarist Will Long, bass player Sean Mahan, and drummer Tom Gaulkin. (Fair warning: Long and Mahan, as well as eventual drummer Paul Brannon were all also in my band during this time, but let's face it, First Coat was infinitely better.) That record, Great Lakes Disorder, stands as the definitive document of this version of the band, with a folkier, rootsier sound that particularly comes to the forefront on Loughridge-penned tracks like Nobody Loves You and Lime, and a bluesier shift on Becky's contributions like Mermaid and Weatherman, which stands as one of the most popular songs in the band's repertoire.

Nestled within and between these relatively straightforward tracks, however, are hints at the more experimental direction First Coat would eventually take, and the record ends with the mild pop of "Money On You" devolving into the cinematic, ethereal opening of "Planets and Stars," which itself resolves into something else entirely — twice over.

With the departure of Stark for California and a new drummer in Paul Brannon, the newly all-male First Coat settled into Chicago's Semaphore Recording to produce 2006's Move Like Sparrows, released on Loud Devices. Fusing rock elements with Loughridge's newfound love of unconventional song structures and deeply personal lyrics, the album is just 8 tracks long, but manages to present itself as a complete whole, as somber tracks like "Drunk Online Shopping" merge seamlessly with the seemingly cheery Britpop of "Listen To Your Kids".

More disclosure: I shot a video for Artichoke, which is here:

After another year or so of shows, graduations and jobs and wanderlust took their toll, and the band dissolved.

There's much more to this story, of course — the band continuously played raucous live shows during its entire run, at venues from U of C basement parties to Martyrs'; and as with all the Hyde Park bands, the First Coat story is really the story of every band on the Mr. Hyde label, and of a moment of inspired creativity that captured an entire group of musicians. But that's all unimportant now — you missed it. What remains, however, are two records that are among the finest ever put out by anyone in Chicago.

(Oh, fine, one more disclosure: Will Long is in the Heaven Seventies with me, but we make dance music, not folk pop makeout songs. So there.)

-Nilay Patel


Breaking Circus, 1983-1988

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Breaking Circus circa late 1987. (L-R: Todd Trainer, Steve Björklund, Flour, and fill-in guitarist Phil Harder.)

"Vital and vibrant." That's how Steve Björklund describes the Chicago punk rock scene of the early 1980s. "During that period, I saw the Ramones play twenty-five times," he tells me. "There was a different cool gig to go to 4 times a week, equally balanced between UK/Euro bands, touring US bands and local bands."

By the mid-'80s, however, that scene had begun to wane and unravel. Bands broke up and reconfigured, with a number of the community's key players and musicians started to work on new ideas and develop new sounds as a means of moving on and pushing the music forward into fresher terrain. The blast-furnace minimalism of local punk titans The Effigies still proved a formidable influence in the years that followed. But in taking stock of the expanded musical landscape, certain artists started to look beyond the limits of three-chord punk — particularly taking inspiration from the post-punk racket being made by the likes of UK outfits such as Gang of Four and The Three Johns.

Björklund, who started the band Breaking Circus with bassist Bruce Lange in 1983, was one such figure. Previously, he'd been the frontman for one of Chicago's premiere early-'80s punk outfits Strike Under; as well as having briefly passed through the ranks of the band Terminal Beach (which also featured future Naked Raygun and Pegboy guitarist Jon Haggerty). As he began working on new songs and material, he dubbed his new music project Breaking Circus, and — with he and Lange supported with the rhythmic backing of a Roland TR-606 drum machine — set about recording the band's first EP, The Very Long Fuse.

The resulting EP was released in 1985 on Gerard Cosloy's independent label, Homestead Records. As demonstrated on the college-radio favorite "(Knife In The) Marathon," Björklund was moving into slightly more melodic territory with some songs — branching out to write tunes that involved something akin to conventional rock-ish riffs and hooks. Still, other tracks evidenced the crafting of a sound that would soon be specifically associated with the Chicago underground scene &mdsah; a bulldozing and noisy "industrial" rock sound that was also being pioneered by Steve Albini and his band Big Black. (Björklund had, incidentally, known Albini very well at the time, and had even worked the soundboard for Big Black when the band toured the East Coast.)

By the time The Very Long Fuse was released, Bruce Lange had exited the picture, leaving Björklund as the group's only remaining non-mechanical member. When it came time to turn Breaking Circus into a viable, proper band, Björklund packed up and relocated to Minneapolis. There he eventually hooked up with drummer Todd Trainer and bassist Flour (aka Pete Conway), both of whom were then working as the rhythm section for the band Rifle Sport. With a full trio lineup in place, the Circus roared into peak creativity mode, touring and recording at every opportunity. They quickly recorded and released their debut full-length album Ice Machine in early 1987, and followed it up with the Smoker's Paradise EP by year's end. Both releases showed the band honing their sound -- tightening it up into a triple-time assault of serrated guitar gnaw and jackhammering rhythms. Lyrically, Björkland howled and muttered about the omnipresence of danger, trouble, psychic shocks and turbulence, at one point croaking something to the effect of feeling like "a piece of burned-black toast threaded on a rusty wire." All such bombast and bloodletting aside, the band also proved pleasingly adept at lateral stylistic moves — from the sinister swagger of Ice Machine's "Song Of The South" to the sardonic lounge-ish swing of "Shockhammer 13."

Despite having a couple of impressive new records and a fair amount of highly positive indie-press attention to their credit, Breaking Circus soon unraveled and ceased activity in 1988. Todd Trainer and Flour both continued to play in Rifle Sport — the latter eventually releasing solo albums on the Touch & Go label, while Trainer would later record under the moniker Brick Layer Cake and also man the drumkit in Shellac. Steve Björklund briefly played in a couple of other bands before eventually turning his attention to electronic music. He currently resides in Chicago.

Breaking Circus's discography was only printed once on its initial vinyl run on the Homestead label, and has yet to be reissued on CD.

-Graham Sanford


Tom Spacey, late '90s-2001

Tom Spacey was a five-piece spacerock act formed in the late '90s, with Cory Osborne on bass, Hammond organ, and vocals; Adam Thompson on guitars, vocals and piano; Daniel Cline on guitars; John Meseke on drums; and KC Saint John on synthesizer and theremin. They started out as The Gnomes, but it was immediately obvious to the group that the name needed to go. They wanted a name that evoked time and space. So why not...Tom Spacey? The name fit their sound well, and also brought to mind Pink Floyd, an obvious influence and touchstone for the band.

feature 7/11

On their only recording, 1998's mars is eden, My Bloody Valentine came through loud and clear as an influence as well, with swirling guitars and built-up walls of sound forming aural landscapes for the listener to explore — this was definitely an album to listen to with headphones on. The first two songs, "silly things," "drone" and "the lost dutchman," flowed into each other on rafts of synth, theremin and guitar feedback. The interplay of echoes and ethereal vocals added to the sense of weightlessness and space the band strived for as well. It all combined for a very trippy experience, perfect for chilling out in a darkened room with the recreational drug or drink of your choice.

Not to say their live shows weren't any good. But they were different. In person, the wall of sound was at the forefront, occasionally drowning out Osborne's sometimes flat vocals, while the synth, theremin and oscillator battled it out with the feedback loops. But the band suffered from a lack of exposure and a relatively infrequent performance schedule. Tom Spacey managed to perform at the Metro and Double Door a couple times (helped by the fact that Saint John worked at the former while in the band), but never as a headliner. The band finally broke up in 2001 (ironic, no? Space, 2001? Never mind.)

While researching this piece, I discovered that Saint John, Thompson and Meseke have continued on together as American Cosmonaut, with guitarist/vocalist Jesse Evans and Lee E. They play more straightforward guitar-driven rock, and released a three-song EP in 2003.

-Andrew Huff


A Special Mux

To hear a sample of tracks from each of our three missed bands this week, head on over to Muxtape and stream our very first Bands You Missed Mux.


About the Authors:

Nilay Patel is a guitarist / producer in The Heaven Seventies, as a well as a video designer and writer. He previously wrote about Millimeters Mercury in a Bands You Missed feature.

Graham Sanford is a writer, editor, and former radio DJ who lives and works in Chicago. He's never been in a riot or ever owned a skateboard, but has sometimes had occasion to feel like a piece of burnt-black toast threaded on a rusty wire.

Andrew Huff works deep into the night at his West Ridge two-flat, writing and editing and playing with the cats. He spends more time online than is healthy; follow along at me3dia.com. He is the Editor and Publisher of Gapersblock.com.

Anne Holub / Comments (1)

Concert Fri Jul 11 2008

Feel the Urge.

Urge Overkill may have had some blows in the '90s when they pissed off a few people and then bombed when their stock was highest post-Pulp Fiction, but the missed potential doesn't erase the fact that for a few years they had the ingredients to be a highly successful American rock band and often delivered excellent results. Even nearly twenty years later tunes like "Ticket to LA" and "The Candidate" sound remarkably raw yet accessible, in a way that anyone who lived and loved alternative rock in the early 90s would know. But that was a long time ago that they took those blows. After a seven-year hiatus ending in 2004, Nash Kato and King are the centerpieces of an Urge Overkill perhaps not so bent on the things that led to their downfall a decade ago. Now they just rock out as veterans with a certain panache.

Chicago garage rock quartet Suffrajett has been rather quiet since their 2007 album Black Glitter. They'll open and hopefully showcase glimpses of what they've been up to since then. Lonesome Cougar also plays. Doors open Saturday at 8PM at Bottom Lounge and $20 gets you in for the rock'n'roll.

James Ziegenfus

Concert Thu Jul 10 2008

The Power of Three


American Ghost Dance: These Are Powers

The hometown three-piece Pit Er Pat will be poking their heads up to play a headlining set at the Hideout this Sunday evening. No doubt that they'll be treating everyone to some selection from their forthcoming album High Time, which is due out on Thrill Jockey in October. Word has it that the band has (once again) been exploring new territory with the music lately, gravitating to a more guitar-oriented, dub-inflected sound. Here's your chance to get a preview dose.

Another great reason to catch the show, however, would be the self-described "ghost punk" trio These Are Powers, who'll be playing a supporting set on the billi. For the second summer in a row, These Are Powers are taking a summer off from their usual Brooklyn haunts to hiatus in Chicago. After last year's summer stint, they took Brenmar Someday drummer Bill Salas into their ranks before heading back to home base. Judging from their new Taro Tarot EP, Salas was the ideal candidate the position. Bassist Pat Noecker and guitarist Anna Barie have crafted a bewilderingly intense and inexplicable sound -- filled with spark-spewing noizoid fret-firings and harrowing caterwaul -- that made their freshman album Terrific Seasons one of the most impressive (if not slightly amazing) underground debuts of 2007.

All of this'll be happening at the Hideout this Sunday evening. Pit Er Pat are headlining, with These Are Powers playing just beforehand. Waterbabies opens. Admission is $10 and the doors open at 9 PM. 1354 W. Wabansia.

[video]: These Are Powers - "Chipping Ice" (video shoot)
[video]: These Are Powers - "You Come With Nothing" (live)

Graham Sanford

Review Wed Jul 09 2008

Free Hipster... I mean Hip Hop Mix!

l_8f548bb744d9388eee5d8be10a473b93.jpgThe term Hipster Rap or Hipster Hop has some how become an insult. When you look at Chicago acts like Lupe Fiasco, The Cool Kids, Kidz in the Hall, Hollywood Holt, Mic Terror, etc. you see extremely successful musicians with inventive beats. Regardless of the label, these acts are gaining fans and major recognition. An example of this is the recent announcement that the Kidz in the Hall track “The Blackout” (from May’s The In Crowd) will be featured on the soundtrack for EA Sports Madden NFL 2009. Steve Schnur, worldwide executive of music and marketing for Electronic Arts, said "we believe that this time next year, Kidz In The Hall will be true Hip-Hop superstars." So if rhyming about jeans, nail polish, cappuccino, skate boards, and Chuck Taylor’s will make you ‘Hip-Hop superstars’ then I say go for it! I suppose mentioning Mark Rippen in your songs doesn’t hurt either.


[LINK] Hipster Hop Presented By Ray Protégé (Link updated!)

Chicago’s DJ Ray Protégé has put together a mixtape that attempts to both chronicle this new movement and in a way remove the ‘ster’ from ‘hipster’. The mix is Chicago heavy, but is also feature The Knux, Donnis, Izza Kizza, and others. The purpose behind the track selection and various sound bites from the emcees themselves is to stress the point that whatever you want to call it it is still hip hop. In fact, as you listen through these tracks they really trace back to the golden era of hip hop and acts like Nice and Smooth, Pete Rock & CL Smooth, Kid n’ Play, Das Efx, and so on. The beats are solid, the rhymes are fun, and the fans are responding.

Continue reading this entry »

Jason Behrends / Comments (2)

Concert Tue Jul 08 2008

Symptoms may include: Dizziness, giddiness, muscle aches...

The stateside interest in vintage psychedelic pop from deep Southeast Asia has been brewing for nearly a decade -- first thanks to the Cambodian Rocks series of compilations and all of the similar bootleg series that followed. Then up sprouted the Bay-area band Neung Phak and the Los Angeles sextet Dengue Fever. The latter was former band was founded after Ethan Holzman and his brother Zac made a trip to Cambodia and discovered the decades-old music that still predominated jukeboxes and airwaves throughout the country. After finding prize vocalist Chhom Nimol in the Little Phnom Phen district of L.A., Dengue Fever ideally rounded out it lineup and got to work building a repertoire of psych-tinged Khmeri cover tunes.

The band's 2005 sophomore LP, Escape From Dragon House, attracted a large amount of praise and media coverage -- resulting in a number of profiles and interviews on NPR, as well as landing them in the role of subjects for the documentary film Sleeping Through The Mekong. The recent release of the band's third album, Venus On Earth, has stirred up yet another wave of enthusiastic press. Admittedly, a few critics are bemoaning a few recent tweaks in the band's em-oh -- particularly their recent decision to start writing their own songs, and to perform some of those songs in English. Nonetheless, the band's music has hooked a big audience and they continue to sell out venues whenever they go on tour. This Friday night, they'll be making an appearance on the top of the bill at the Empty Bottle. The local pan-global, new wave WTFster outfit Brilliant Pebbles are slated to open for the evening. The show starts at 10 PM, and tickets are $14. 1035 N. Western Ave.

[video]: Dengue Fever – "Seeing Hands"
[video]: Dengue Fever – "Sni Bong"

Graham Sanford

Benefit Tue Jul 08 2008

Rock with Tortoise, get warm fuzzy feeling, 7/12

Act quick, and get cheap $10 tickets to see world-renowned Thrill Jockey artists, indie rock innovators, post-rock experimentalists (and Chicago boys) Tortoise (read our review of their 2006 box set A Lazarus Taxon) at the Empty Bottle this Saturday, 7/12. The catch? Only a potential windfall for Stella Ackerman, the daughter of former Bottle employee (and member of Lustre King) Craig Ackerman, who has an undiagnosed blood disease. Proceeds from the (nearly sold out) show will go towards the Ackerman's medical bills and cancer research.

Tortoise plays the benefit show for Stella this Saturday, 7/12 with special guests Tight Phantomz and Disappears starting at 10pm. Tickets are $10 (limited number) and $15 after that. Questions? Ask the Empty Bottle, 773-276-3600.

Anne Holub

Album Mon Jul 07 2008

Album Review: Los Dynamite's Greatest Hits

Bespeaking the cultural effects of globalization via Myspace, Mexican indie act Los Dynamite sings in English, and counts the Clash and the White Stripes among their influences. Oh, and they idolize Interpol, too. This Mexico City band just had their debut at Metro this past Saturday, as part of the INDIEcent Latino music series. Listening to the eleven tracks on their first album, Greatest Hits, it’s hard to imagine these four 20-somethings aren’t the latest indie wonder to emerge from Brooklyn.

Even though they sound American, or anglicized, these guys are pure Mexicano. The band started out as a solo project of Diego Solorzano, who then recruited Eduardo Pacheco, Miguel Hernandez, and Felipe Botello, three of the most prominent indie musicians in Mexico City. Their first single, “TV,” was introduced via the band’s Myspace page, quickly earning them a stable of gigs. It’s not hard to imagine why -- the music is steeped in electronic synth pop sensibility of Daft Punk, yet with the exuberance of well, yes, Interpol. Mexico’s largest cellular company, Telcel, chose “TV” as their main theme song of summer 2005. Other frequently played Greatest Hits played in Mexico: “Ready Read,” “Katonic,” “No me Suelte,” and “Frenzy.”

“Ready Ready” resonates the heady punk influences and detached singing style of the Talking Heads. In contrast, “Frenzy” and “Katonic” exhibit the band’s explosive character. Guitar heavy and swaggering with a sense of unabashed exhibitionism is commonplace. Perhaps that’s what’s most interesting about this band, in terms of their brazen sound and international character: they reflect an amalgam of bands and genres (punk, indie, and electronic) all at once. Los Dynamite has opened for bands like Interpol, Bloc Party, The Killers, Dirty Pretty Things, The Secret Machines, and Radio 4.

Marla Seidell

Concert Thu Jul 03 2008

Speaking of the Dead...


LVMusicFest_web_08.gif


Chicago summers sure love street fests, and the holiday weekend edition packs an exceptional punch. The Lake View Music Fest takes place this Saturday and Sunday from noon to 10 P.M. It's centered on Sheffield & Addison in the heart of Wrigleyville, where some of the best music already hits us on a regular basis from no-mention-needed venues like the Metro.

Headlining the event Saturday night will be Grateful Dead drummer Mickey Hart's newest project, the Mickey Hart Band. Not bad for a little ol' Chicago street fest, huh?

Sunday's headliners are the substantial Chicago jazz ensemble Liquid Soul. Go see them. Seriously.
Other acts include grooving, Les Claypool-style bassist, That 1 Guy, who will be opening for Buckethead on tour in the fall, and Daryl Stuermer, some dude who is completely unknown until I tell you that he played guitar for Genesis and later Phil Collins' solo tours.

A funnel cake, some generic handcrafted jewlery, and warm summer evening should top off this more mellow version of Independence Day celebration (as compared to crowds, beaches, and great balls of fire).
Food, capitalism, music. It's American, dammit.

Keep reading for the complete lineup and event info...

Continue reading this entry »

Emily Kaiser / Comments (1)

Feature Thu Jul 03 2008

Taking Shape (Shoppe): Some Recent Sounds From Chicago


Situated in a converted warehouse loft space on the Near South Side, the Shape Shoppe serves as a cozy and highly-active hub for local fringe-defining musical activity. Owned and operated by bassist and producer Griffin Rodriguez, who first moved into the space back in 1999, the Shoppe operates as a recording studio, a rehearsal space and a revolving-door residence for various Chicago musicians. For a time, it also provided a venue for infrequent parties and musical events. The Shoppe's role as a performance venue, however, came to a sudden halt last Spring after overflow from one event attracted the ire of neighbors and the police. In the months that followed, Rodriguez undertook an extensive renovation of the studio portion of the space, upgrading it with the aim of turning it into a full-fledged recording facility.

In recent years, the Shape Shoppe's attracted its fair share of inter-city traffic, as well. The clangorous beasties in Philadelphia's Man Man recorded a good chunk of their recent Rabbits Habits LP there last year; and the likes of Akron/Family, Beirut, various members of Baltimore's Wham City collective and numerous others have also played and recorded there. As far as the local music scene is concerned, the Shoppe has become a point of convergence for a diffuse, citywide network of musicians that includes such bands such as Michael Colombia, Bird Names, Mass Shivers, Killer Whales, Chandeliers, The Diminisher, and Rodriguez's current outfit Icy Demons. With the renovation and upgrade recently completed, the studio has been ramping up its recording schedule, and this season sees the arrival of a trio of albums by some local artists who are closely allied to the Shoppe and its activities.

Bird Names want to know if you can draw Petey.

Bird Names are a Chicago quartet that we've talked about here before, and they've recently released their third longplayer, Open Relationship on the Portland-based Unsound label. This time around, the band recorded with the Shape Shoppe's Griffin Rodriguez manning the boards, which means that Open Relationship is the one of the band's tidier-sounding audio sojourns to date.

Granted, "tidy" proves a wildly relative term in this instance, because the music of Bird Names is an animal that isn't so easily domesticated. Why's that? Because Bird Names specialize in joyous, celebratory bang-on-a-bucket styled primitivism of the finest sort. This much is clear from the first few seconds of the album's opener "Referents," which evokes the feeling of a late-night campfire jamboree where everyone's huddled — flailing at their instruments of choice and howling to their hearts content — around the light of the flames, with a host of miscellaneous beasts and benevolent spirits hovering in the dark just beyond the trees all joining in to sing along in wordless polyphony.

By the time you get to the cryptic "Regretting Our Fathers" and the dizzy fairground romp of "Shadow Government," you might suspect that Bird Names are supplying the audio accompaniment to some obscure anthology of The World's Most Abject and Dysfunctional Stories for Children. But despite all their caterwauling and apparent looseness and rough-hewn edges, there's a wagonload of primordial pop savviness holding the songs together. Case in point, check out "Discontent Being Men," which strikes the ear like the sound of Hoagy Carmichael, Brian Wilson and Galaxie 500 all getting friendly at a luau in Hawaii after an extended layover in Little Rock.

Admittedly, the regressive, faux-naïf Wild Things act has always been a staple of the leftfield music set, especially lately. But Bird Names' music and energy is exceptionally direct and honest. The fact that they seem to come by this quality innately, without any fussy contrivances or self-conscious artiness, is what makes the arrival of Open Relationship so welcome. Depending on your own preferences, you might find this quality either unnerving or refreshingly delightful. Meaning that the fort they've built is open to all, but you might have to check some of that grown-up baggage before you can fit through the entrance.

Pablo-cruisin' on the third coast: Bronze

The Chicago ensemble Bronze is an ambitious project, so ambitious that its full lineup boasts 18 members — including a full horn section, a flank of backup vocalists, a cellist or two, and the Shape Shoppe's Griffin Rodriguez on bass. It's also a side-project for the most part, with Dylan Ryan (of Michael Columbia, Icy Demons and Herculaneum) and Scott McGaughey (currently of Chandeliers) acting as helmsmen. Given its unwieldy size, Bronze doesn't take the act on the road, and — when they can locate a venue where the stage can accommodate the full band — their around-town appearances are fairly infrequent. If you haven't had a chance to see them, then you can at least hear them, thanks to the release of their debut CD Calypso Shakedown, which also recently arrived by way of the Unsound label.

Bronze work in a semi-ironic, semi-serious retro-schtick mode, reviving a somewhat schmaltzy, formerly zeitgeist-defining sound from days gone by. The music that Bronze has taken to their collective bosom is what some have referred to as "West Coast cocaine music" — specifically that mellow, quasi-jazzy subdivision of the Yacht Rock canon that connects the dots between Chicago VII, the latter efforts of the Doobie Brothers and the blandest offerings from Jackson Browne's early-to-mid '80s output. Meaning that to the degree that Bronze "rock," they do so in an idiom that positively reeks of the sort of Burbank adult-contemporary sophistication that pervaded the post-Nixon years.

Calypso Shakedown has its generous share of impeccably-crafted moments. The kickoff "Jezebel" perfectly sets the tone for many of the album's highlight moments -- it's breezy, offhandedly plush, filled with fuzak-y minor-chord progressions via the electric keyboards, and coasts along on hornwork that soothes rather than swings. Schmoove, in a word. The band kicks it up into an amusing wonderbread boogie mode of "Chinatown" (as in: "What happens in Chinatown / stays in Chinatown"), before setting things back into a more downtempo cruise control with some ballad-like fare. Admittedly, the slower material may not be the band's strongest suit, but things take a turn with the short segue "Artist Of The Beautiful," a languid pastoral that drifts by on some weightless vocal harmonizing reminiscent of a Smile outtake, before kicking up into a more assertive mode with "Only In The Morning" and the bouncy audience-pleaser "On The Clock."

The Bronze guys claim Michael Mann as one their primary influences; but beyond the band's predilection for a certain type of headwear, it's hard to nail down how said influence figures into their music. Judging from how much the piano motif on the bridge of "Jezebel" sounds echoes the theme from "Hill Street Blues," I'm inclined to instead call the key source of inspiration in favor of TV composer Mike Post.

Devils in the deep freeze: Icy Demons

Speaking of Michael Mann, Icy Demons have titled their new album Miami Ice. It's their third LP since bassist Griffin "Blue Hawaii" Rodriquez and Man Man percussionist Chris "Pow Pow" Powell formed the band after their prior outfit Need New Body called it quits a few years back. Whereas the Demon's 2004 debut, Fight Back!, suggested that the band might be little more than a scrapbook side-project for Rodriguez and Powell's other efforts — leftover scraps from Bablicon's prog-y jaunts mixed with the Waitsian clatter of Man Man — they've since moved in their own direction, and have been behaving more and more like a focused, cohesive entity ever since. They've largely smoothed out all the creases and the fits of hububbery, aiming instead for a cooler, more even-handed style and fully-crafted songs.

On Miami Ice, Icy Demons are once again playing five members strong, additionally bolstered by a variety of friends and guest players like Jeff Parker and Josh Abrams. Like the band itself, the album's a shapeshifting affair, one that makes all sorts of moves across the stylistic checkerboard. There's still a restless, agitated quality to the Demons' music; but these days it’s more subdued, its antsier elements cushioned and sheathed under plenty of slick melodies and clever arrangements. As a whole, the album amounts to an astute balancing act — the playing off of bubbling tensions against polished surfaces — from the lurching psychedelia of "1850" to the gliding Brazilian rhythms of "Summer Samba" to the minimal, Kraftwerkian pulse of "Centurion."

As with the Bronze LP, Miami Ice exhibits Rodriguez & company's increased gravitation toward certain sonic affinities and nuances — particularly for lush, in-the-round arrangements held together with subtle, semi-jazzy rhythmic shifts, foregrounded keyboards (be it Fender Rhodes or, in the case of Icy Demons, Farfisa organ), and plenty of rich vocal harmonizing à la Sean O'Hagan and Stereolab's prior excursions into Brian Wilson's endless summerscapes. In the end, it's an intriguing mixture, a combination which — theoretically — shouldn't make for a viable equation. Yet somehow it falls together so seamlessly that everything ends up making its own sort of brilliant and beguiling sense in the end. And what that "somehow" comes down to is how local music is being shaped in the Shoppe these days.


Click here to listen to a Muxtape mix of tunes from the new albums by Bird Names, Bronze, and Icy Demons.


Upcoming Chicago Dates:

July 6 – ICY DEMONS @ Ronny's
July 10 – BIRD NAMES @ Mr. City (in West Town)
July 19 – ICY DEMONS @ Pitchfork Music Festival


Bird Names' Open Relationship and Bronze's Calypso Shakedown are both available on the Portland-based Unsound label. Icy Demons' Miami Ice will be released on the band's own recently-launched Obey Your Brain label on July 12. A fourth Shape Shoppe-related album, Chandeliers' The Thrush, was recently released in the U.K. on the Pickled Egg label, and will be available in the U.S. via Obey Your Brain some time in September.

About the Author:

Graham Sanford is a writer, editor, former radio DJ, armchair musicologist and incessant doodler who live and works in Chicago. He contributes to a number of publications such as Creative Ennui, The Proletarian Gourmet, and Gronk. He is currently fielding publishers for an offer on his recently compiled anthology The World's Most Abject and Dysfunctional Stories for Children.

Anne Holub

Random Thu Jul 03 2008

A Sign of the Apocalypse?

In quite possibly the weirdest news since Obama started his run for president, the remaining members of the Grateful Dead played an Obama fundraiser together and are considering reuniting in support of his campaign.

David Schalliol

Random Wed Jul 02 2008

See the Bird? (Pretty Bird)

Chicago music maker (and expert whistler) Andrew Bird has been writing a monthly column in the New York Times since April. He's writing about songwriting, album making, and hanging with Wilco (who he'll play with in Mass. in August) in the studio. Who knew? Well, now you do!

And don't forget! Mr. Bird will be playing for free at the Pritzker Pavilion in Millennium Park on September 3rd, along with GB favs the Occidental Brothers Dance Band International.

The video for Andrew Bird's "Imitosis" from Armchair Apocrypha:

Anne Holub

DJ / Dance Wed Jul 02 2008

Bass – The Final Frontier


Darkside navigators: Kode9 (center), traveling incognito with emcee Spaceape.

Brooding, bleak, sleek and spacious, the sound of dubstep is a heady concoction of noir-ish urban atmospherics and hauntingly expressionistic, textured melodies intertwined with fat and warmly visceral basslines. A mutant South London brew of two-step garage, grime, minimal techno and post-jungle beat science, dubstep has become the defining sound of the outer fringes of electronica over the past two years. And DJ and producer Steve Goodman, who records under the moniker Kode9, has been at the forefront of trackcrafters that've been spearheading the music's recent evolution.

Kode9 first pricked up ears back in 2004 with the single "Sign of the Dub." An eerie, foreboding versioning of Prince's "Sign O' The Times," the track featured Goodman's frequent collaborator Spaceape on vocals and sounded like an excerpt from some supremely dusted collaboration between Tricky and Linton Kwesi Johnson. More recently, Kode9's released his debut album, Memories Of The Future, and has pitched his tent on the pioneering edge of the subgenre as proprietor of his own Hyperdub label -- a label that netted a huge amount of praise for releasing the two album's by "outsider" dubstep mysterioso Burial (including last year's much-lauded Untrue LP).

This Saturday night, Kode9 will be putting in a headlining appearance on the decks at Sonotheque. DJs Chris Widman and Phaded spin in the opening slots. 1444 W. Chicago ave. 9 PM – 3 AM. Admission is $15.

Graham Sanford

Music & Film Wed Jul 02 2008

Chicago Film, Slow Down

This is the trailer for the new Matthew Broderick film, Diminished Capacity:

Much of the action takes place in Chicago, and the trailer makes prominent use of the song "Slow Down Chicago" by Canasta -- it comes in about halfway through. Trouble is, the band had no idea it was going to be used.

"We're excited to be involved... although I'm actually having trouble figuring out how it was licensed," said Matt Priest, Canasta's singer. "We definitely didn't know about it until a friend saw the trailer. So I'm looking into that right now."

Priest said he didn't even know if the song was in the movie itself. He'll be able to find out on Friday, when Diminished Capacity opens in theaters nationwide. Watch for a review in our own Steve at the Movie's column this week.





UPDATE:
Mystery solved! Details after the jump.

Continue reading this entry »

Andrew Huff / Comments (4)

Event Tue Jul 01 2008

KEXP Invades Chicago

For the third straight year, KEXP will visit Chicago and feature some homegrown talent live in the studio on their airwaves. On July 16, 17 and 18, KEXP hosts 4 bands each day at Engine Studios. Many local acts like Bottomless Pit, The M's, Mahjongg, Occidental Brothers and David Vandervelde will perform. And because they're such nice folks, KEXP is letting almost anyone join them to see and hear them play live. But you have to sign up. And you should do it sooner rather than later because these events fill up. Performers and times are listed at KEXP's Live from Chicago 2008 website. In addition to the studio sessions, Au and Sleep Out will perform for free at Darkroom on the 16th as part of KEXP's Midwest invasion.

James Ziegenfus

Artist Tue Jul 01 2008

Let's Get Stupid


Even though it's only been a matter of weeks since they dropped the hardcopy of their debut EP The Bake Sale, Chicago's indie-rap sensations The Cool Kids aren't taking a breather or kicking back on their laurels. The duo's just released a new downloadable summer jawn mixtape EP entitled That's Stupid. Six tracks deep, the mixtape shows that the Kids are keeping it moving. On cuts like "Oscar The Grouch" and "That'll Work," they're flexing in a slightly different mode from what we've been hearing from them over the past year or so. (And if I'm not mistaken, Chuck's flow is sounding a little bit more like that of Gift of Gab from Blackalicious.)

Download That's Stupid here. And then bump that.

Graham Sanford

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Feature Thu Dec 31 2015

Our Final Transmission Days

By The Gapers Block Transmission Staff

Transmission staffers share their most cherished memories and moments while writing for Gapers Block.

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