Gapers Block published from April 22, 2003 to Jan. 1, 2016. The site will remain up in archive form. Please visit Third Coast Review, a new site by several GB alumni. ✶ Thank you for your readership and contributions. ✶
Interestingly enough, his hidden celebrity has brought him admiration from his own heros in the world of electronic music. Hernan says,
I meet people on the dancefloor throughout the world; they'll introduce me as the "Mortal Kombat voice guy" and you can see their eyes get as big as plates. These are people that I respect within the industry, that I'm a fan of, and they'll look back at me and say, "I'm am so glad to meet you!" Then the conversation eventually comes around to, "Hey can you please do 'Finish Him!'" or something like that, and it becomes an exchange of fandom from one world to another.
Hernan performs locally under his own name and as Bastard with Brian Franzen.[via]
Kristin Hersh made her name in the '80s and early '90s as the voice and songwriter, along with stepsister Tanya Donelly, of Throwing Muses. (Donelly left the group in 1991 for The Breeders and later Belly.) Signed to the pathologically eclectic 4AD, the band's songs were (and are) intelligent, angular, unorthodox compositions full of catchy, hard hitting hooks. Among other current projects, she's performing a show called "The Shady Circle", based on the dark end of Southern and Appalachian folk music; the show makes Chicago on Saturday at the Old Town School of Folk Music. (See the entry in Slowdown for more info.) It's a solo performance, with Hersh accompanying herself on guitar. The setting is intimate; previous shows have been in living rooms, including one from 9/25 that was recorded and is available for download.
In an introduction to the show, Hersh says with some humor that "almost all of [the songs] are about murder ... some are about Jesus, but mostly it's about getting drunk and killing your girlfriend." Country-ish rockers with a fascination for the dark side of folk songs are nothing new, (particularly around here) so the bar is set a little high, and in general, it's easy to feel that this sort of thing amounts to musical window dressing. That said, this particular show doesn't make slavish devotion to the historic tunes, from the distorted guitar sounds to the inclusion of the Throwing Muses song "City of the Dead" and a cover of the Latin Playboys' "If". It has a sound all its own, which prevents the feeling that you'd be happier listening to old Ralph Stanley records. Some of the best moments ("To A Man", "I'm Waiting For The One Train") remind one of the brooding blues of "To Bring You My Love"-era PJ Harvey; Hersh's voice and guitar have a lot of the same slow-burn intensity that makes that record work. Moreover, it allows her to seamlessly set down rock material next to classic ballads like "Wayfaring Stranger", mixing their qualities and evocations. All in all, the show has a lot of genuine appreciation for classic material, and is forward thinking enough to show how rock and roll fits in here.
Occidental Brothers Dance Band International is just what their name suggests... a band that will make you want to get up and dance with their West African grooves. Even if you don't know how to dance the meringue, you'll pretend like you do. The different members have backgrounds in jazz, rock and African music, and they all bring something to the table.
This summer they performed at Pitchfork Music Festival and Chicago's Summerdance series. They also opened for Andrew Bird at his Pritzker performance in September. They have a lot more to come including free downloads you can get at the news section of their website. Catch them tonight at Schubas where friend W.W. Loman opens. 3159 N. Southport. 10:30pm. 21 & up. Tickets are $10.
Clouds had been on tour for a good while before being invited to join back up with Boris for a jaunt through the Midwest and on back east. They hit Chicago on Saturday, November 29th, rolling into the Empty Bottle just in time to cure everyone of their excessive exposure to turkey and family. Based out of Boston, for all that they haven't seen that east coast city for a while, Jim Carroll chatted of the cities they've seen and the bands they've seen those cities with.
This past March Clouds hit SXSW promoting the release of their album "We Are Above You" on Hydra Head Records. As always, the four day music fest an onslaught of music from around the worlds, as well as a showcase of fans' willingness to flock to Texas to see their favorite, or soon to be favorite bands. SXSW may swell the population of Austin by about ten times, but according to Jim, the vibe is really the same that weekend as on any given Monday night.
There's a wonderful urgency about punk rock -- that's what makes it so enticing. No matter the message, there's that undercurrent of "Listen now! Hurry!' that for one moment makes the listener perk up and pay attention. Whether the music can maintain that level of interest is a whole 'nother matter entirely.
Nonagon, a local band boasting lots of local cred -- the trio includes Tony Aimone (The Blue Meanies, Taylor, J. Davis Trio), Robert Gomez (der lugomen, Martian Law), and John Hastle (Jumpknuckle). Their debut EP, No Sun, was recorded in town by Greg Norman, and the awesome screenprinted packaging was printed by The Bird Machine folks with help from poster boy Jay Ryan. All that's missing is a Chi flag tattoo, a Hot Doug's dog, and a bottle of Malört.
What No Sun brings to the table is the punka rocka requisites: fast riffs, supertight drumming, and screamy vocals that demand attention. What's their message? It's hard to say, frankly, but the clean, poppy melodies mostly distract from any lack of diction or liner notes. There's something rather nice and early '90s much of the release, particularly about the instrumental "Peterson." But it's really "Fake Baby Lucius" that is the best example of what Nonagon's capable of: cohesive, kick-in-the-face punk.
Unfortunately, toward the end of the EP, No Sun falls into the familiar punk rock trap of what we'll call "sameyness." It's sort of hard to differentiate the tracks at this point, and while their experiments with time signatures is admirable, it's not quite enough to pull it out of the rut.
But, you know, for an EP, four outta six ain't bad. I'd love to see what these guys do live, and even moreso what they could do with a full-length album.
Considering today's relatively paltry options in the rock music category, you may have been seriously in need of some really good (maybe old?) music. So much so that you may have even resorted to listening to old albums like, say, the Jesus Lizard's classic, Shot. Now, it's been announced that the classic band from Chicago is, in fact, being resurrected. For the first time since 1999, the original line-up of David Yow, Duane Denison, David Wm. Sims and Mac McNeilly will reunite for a handful of shows. They've announced that the tour will include Chicago at some point, but will begin in England at the All Tomorrow's PartiesFans Strike Back festival in May of next year. The dates and prices of any of the shows on the tour (including the festival) are still unannounced, but we'll keep you posted.
Not content to make things happen simply by performing live again, their record label, Touch and Go, will be remastering and re-issuing their albums; Head, Goat, Liar, and Down. Color me excited.
Let's just start off by saying that in case you haven't heard it yet, The Thin Man's music is certainly not for children. I wonder if they ever manage to sneak an all ages gig in? One of their classics An Undertaker Muses rattles off a nice list to fend off even the least conscientious parents. "This one's for the junkies. This one is for the tweakers. This one is for the unsafe sex practitioners. And oh, here come the good old days."
Over the years and albums the themes of The Thin Man's songs haven't changed much. Fueled by whiskey, disappointment and sudden death every song is an ode to the fallibility of the human race. Good thing people are so creative with their self destruction or this might have gotten old by now. Instead each new song is like another fix for the listener.
Puma (yes, the shoe company) is turning 60 years old and will be celebrating right here in Chicago with a party at the Metro. The party will have free food and (of course!) birthday cake, along with DJs and drinks.
Retro rockers The Bravery will be headlining the event. They may not be the most original band (think Franz Ferdinand + New Order), but the show will certainly be high energy and entertaining. I've never seen them live before, but I hear they have a pretty intense stage presence. If you're into heavy synths and catchy guitar hooks, you'll most likely enjoy this. Plus, it's free! What have you got to lose?
The party is happening on Wednesday, December 10th at 9 pm at the Metro, 3730 N. Clark Street. The concert is free, but you must pick up a ticket beforehand at the Puma Store, 1051 N. Rush Street. Throw on your best kicks and head over there ASAP as there are a limited number of tickets available. The show is 18+. Email info@puma.com/bday48 for more details.
Yesterday former Wilco member, Jay Bennett, released an acoustic solo album, Whatever Happened I Apologize. Having read the liner notes on the website first about a former relationship with a girl in school, I was already put in the mindset that it was going to be a diary of sorts. The raw, stripped down recording is appropriate as it really captures the rawness of young love. You can't help but think, though, that revisiting these emotions as a more experienced adult brings with it some regret and a realization of naivety. This theme is prevalent throughout the album but was especially evident on "I Don't Have the Time," where he basically says he's too busy to show his love for the girl.
All I previously knew of Bennett was what I saw in I am Trying to Break Your Heart, a documentary about the making of Wilco's Yankee Hotel Foxtrot, where he quits/is fired from the band. While he is made out to be the bad guy in the documentary, it still shows that he can be a whiner, and this highly personal album affirms that. But, an album you'd want to have on repeat through a break-up, or while reminiscing about lost love, is the perfect mode for him to express himself.
You can download the album for free on rock proper.com, a Chicago based website that distributes album-length downloads for free (with legal consent of their creators, of course).
Don't listen to the rumor mill on this one — there are definitely still tickets left for the Kid Sister show at the Metro Wednesday night. On your way to the visit with the fam come Thursday? You can head out the night before and head off some of those Thanksgiving calories with some seriously fun dancing. Kid Sister's debut album Dream Date doesn't hit the shelves until January, but her single "Get Fresh" is already blowing up the airwaves (web and otherwise). She'll be celebrating the release of the tune tonight in her hometown. What better way is there to do it? None.
Kid Sister takes the stage Wednesday night, November 26 at the Metro with DJ duo Flosstradamus and mashup kings The Hood Internet opening. It's a trio of Chicago talent! The show is all-ages and the music gets going at 7pm. Tickets are $16, but if you're quick, and email us at contests (at) gapersblock (dot) com with the subject line "Get Fresh" you and friend could be on your way to the show for free! Update: We have our winners! Congrats to Eric and Catherine!
The folks at Subterranean are smart. They know if they're going to get a crowd in on Thanksgiving Eve they should probably go after those who will be dining here over the feast filled holiday. They also know that to get people out that night they'd better book a pretty exciting show.
Maybe something involving dancing Pilgrims? Something celebrating various kitchen utensils? Well isn't it lucky we have a band like Skybox right here in town to fit the the bill! This Wednesday they're playing a 17+ show promoted by the video below, dancing pilgrims included.
A small crowd was huddled into the Metro on Friday night, huddled together in the center of the room after begrudgingly dropping off their outer layers at the coat check. The crowd huddled closer once The Acorn took the stage, drawn either to the rope lights that adorned their mic stands or the chance to generate more heat.
The five young Canadians launched into the most polite set of indie rock to feature two drummers at the same time. A pair of mandolins were passed around the band, and it seemed that all six of the gents were taking turns at nearly every instrument in their collection. The girl at my side summed them up best as "homework rock". Aside from a couple of peaks, the band played a consistent and mellow set, leaving the crowd to decent applause.
By ten, the crowd had nearly doubled, and after the usual wait, Marty from XRT came out to introduce...Joey Burns and a lap guitar player? Joey sang an impromptu ditty about Chicago, and declared that because his fingers were blue from the cold, he would sing "Bisbee Blue". As the final words repeated, he shifting into introductions — John Convertino and the rest of Calexico were here after all, thank god — (no offense Joey, but we need the whole package).
Boy are the artist over at Chicago based label Bloodshot Records keeping busy these days. They had two bands on the CBGB Bluegrass festival this past weekend, and now another artist, Waco Brothers, are rocking out for a good cause as well.
The Winn's (the lovely family pictured on the flyer above) are facing hardship like many of us during these rough economical times. The Winn family is dealing with the stress of medical bills related to some recent surgeries for mom Jovon. After a visit to the ER myself this past summer, I know the incredible debt a hospital visit can burden a family with. Plus it's the Holidays folks, and I can think of nothing better then helping a family with three kids have a more secure and happier Christmas!
Waco Brothers will bring their rollicking, up-tempo, legendary romp of a country rock show to The Hideout December 1st. The show is 21+ and tickets are $10. The show starts at 8pm and in case you forgot, The Hideout is located at 1354 W. Wabansia. Hope to see you all there!
The Congress Theater may be huge, but I still went into the Chicago Bluegrass & Blues Festival Saturday afternoon wondering how the festival's organizers were going to fit everything they had promised into an indoor space. Let me assure you, each inch of the theater was utilized, with music pouring out of every nook and cranny. Still, I never felt cramped, and concert-goers were allowed to wander around the different stages and booths with ease. With two stages of music plus bands playing in the balcony, a comedy troupe, marching band, delicious food, art and jewelry vendors, and dancers, there was something entertaining happening at every moment to satisfy each member of the diverse crowd. Best of all? The festival was 100 percent independent, meaning you weren't bombarded with banners for cell phone companies, beer companies, or electronics stores everywhere you turned. One thing is for certain - music festivals aren't just for summer anymore.
See additional pictures from the festival after the jump. (The Avett Brothers pictured above)
The University of Chicago's Middle East Music Ensemble gives a free performance at 6pm on Saturday, November 29th at the UofC's International House. The performance is free, and well worth even a trip down to Hyde Park, for all of you living north of Madison St.. (Come on, when was the last time you made it that far south?) If you're not familiar with the music of the Levant, this is an excellent place to start. (If you are, then you probably don't need my amateur musicological analysis, so.) The Ensemble numbers about 20 musicians on a diverse range of instruments. Some (flute, viola, clarinet) are common in Western arrangements, but many aren't, particularly the kaleidoscopic variety of stringed instruments that provide much of the sonic heart of the music. I dropped in for a rehearsal last Thursday and heard several gorgeous pieces, rich with rhythm and counterpoint. The interplay between the melodies carried by the bowed strings and wind instruments, and those on the ouds and other plucked strings was particularly enoyable. The rhythms are realized in lush percussion, full of deep bass tones and ringing, tambourine-like sounds, and had my foot tapping the whole time. (I was hoping no one heard me picking out the rhythms by drumming my pen on my notebook. I didn't even realize I was doing it at first.)
An obligatory note: It feels a little funny describing this as musical tourism, as if you're going to "see" the world by exposing yourself to unfamiliar music, but it would be silly not to acknowledge that this is the experience for lot of people with music that has little exposure in our insular listening practices. And no doubt, part of the Ensemble's project is to convey some culture along with the tunes. More importantly, the connection between the music and the culture of the area isn't specious: as with any traditional music, there really is something idiosyncratic preserved in the rhythmic, melodic and harmonic patterns. You can learn all the factual history you want. Like food or literature, music can convey something about what it is like, on a raw sensory level, to be there - and in this case, being there is good.
The most difficult thing to write objectively about is the followup to a transcendental experience. Actually, it's often difficult to simply experience the followup objectively. When you're blown away by a performance attended on a whim, how do you approach seeing the act a second time with expectations in place? You have to lower the bar because, even if it's just as good as the first time, it's not going to feel as profound. (Don't you wish you could listen to your favorite albums for the first time again?)
Fortunately, School of Seven Bells did a pretty good job of lowering the bar for the night by themselves. Their drum machine-fueled laptop pop never veered far from the base set at the beginning of the evening. Former On! Air! Library! twins Claudia and Alley Deheza's harmonizing vocals were muddled with the keyboards in a repetitive formula that works much better in the studio than on the stage. And ex-Secret Machine Benjamin Curtis' contributions on guitar seemed to be totally drowned out when he strayed from simple riffing. Either the trio read the audience's disinterest or didn't have much to play because they cut out at 35 minutes.
At first, it appeared that M83 would continue the evening in the same manner. Once they dragged a little bit, they found their groove and didn't let it go the rest of the night. Anthony Gonzalez and company drew some tunes from old albums, but, with exceptions like "Run Into Flowers" and "Don't Save Us from the Flames", it was the selections from this year's Saturdays = Youth that were highlights. Accessible singles "Graveyard Girl" and "Kim & Jessie" early and "We Own the Sky" and a guitar-driven "Couleurs" as the encore received big applauses and sounded fresh with arrangements slightly different than those found on the album. Bottom Lounge's soundsystem continues to impress with its crispness, but it wouldn't have the opportunity to do such if it weren't for bands bringing their A game.
Tonight's Smashing Pumpkins concert at the Auditorium Theater has officially been postponed until Monday, December 8th. Word is Billy Corgan has a pretty killer cold right now. All tickets purchased for tonight's show will be honored for the December 8th concert, which will still be located at the Auditorium Theater.
If you are like me and already trying to avoid set list spoilers like the plague, be prepared to steer clear of Pumpkin-related websites for an additional two weeks. For the rest of you, make sure to take advantage of the inevitable onslaught of tickets available below face value on Craigslist and eBay.
One of my favorite joints in town, Metro, just announced this evening that their guest for their New Years Eve show will be no other than The Dandy Warhols.
Best known for their mix of electro pop infused with psychedelic rock, The Dandy Warhols have been kicking out the jams for the past 12 years and were the focus of the wonderful and award-winning 2004 documentary Dig!
Tickets are $55 in advance, which isn't too shabby for a New Years Eve event. If you have a whole group you can splurge for the lovely $500 VIP table, which includes 4 tickets, 4 seats, 4 limited-edition posters and 4 drink tickets per person. The show is 18+ and if you like ringing in 2009 staring at a dreamy hunk of rock god, I'd get a ticket. Lead singer Courtney Taylor-Taylor (yes, two Taylors) definitely has a way with the ladies, and for others that prefer the female kind, you can still rock out to some good tunes. Tickets are available through Metro's website or at the venue box office.
Female rappers have always received a lot of flak. Despite the effort of many artists to reform the hip hop scene, misogyny and aspersion still remain commonplace. Perhaps that's one of the reasons Chicago rapper Melisa Young is such a breath of fresh air. Instead of grumbling about beefs, she'd rather have everyone going wild on the dance floor. Known as Kid Sister, she blew up on the radar almost overnight after the release of her single "Pro Nails". Also featured in the single is Chicago's own Kanye West, whom you may have heard of. Since then, she's been busy popping up on magazine covers, getting interviewed, and working on Dream Date, her debut album.
Getting your fingernails done, telephones, and beepers--these are just some of the finer things in life that Kid Sister focuses her rhymes on. They help define Kid Sister as a carefree party starter rather than just another female rapper people compare to Missy Elliot. Fans love her upbeat personality, hip fashion sense, and catchy beats. To an extent, Kid Sister is a throwback to old school hip hop acts that focused on having fun as opposed to east coast-west coast rivalries. DJ Jazzy Jeff & The Fresh Prince immediately come to mind.
As the weather in Chicago starts to dip into frigid temperatures, a wonderful way to keep warm on a winter weekend night is a strong drink, a nice mix of people, and a good show. You can have just that tonight at the Underground Lounge in Wrigleyville with the return of music, comedy, and art showcase Collaborate.
Collaborate helps to provide an open forum for local acts in a relaxed setting, providing a showcase for not only their art but also a meeting place for likewise talent (hence the name Collaborate). The night kicks off at 8pm with an open mic and visual arts showcase. Other highlights include Comedy Central comedian Prescott Tolk, WXRT praised band The Innocent, and Stealth Like a Canoe, a duo that bills their instrumentation as guitar, accordion, and sometimes rap. I don't know about you, but a good freestyle over a sweet accordion beat always makes my night a little better.
Collaborate is tonight at The Underground Lounge at 952 W. Newport Ave. Doors open at 7:30pm and cover is $10 for the whole evening of entertainment. The show is 21+
If you're planning on hitting up the Chicago Bluegrass & Blues Festival this weekend, you're going to want to take a look at this. The final schedule has been released (finally) and as expected, it looks like it's going to be a blast from start to finish. Check out our preview here.
SHOW SCHEDULE
*2 Stages, a Balcony, 18 Acts, and Costumed Marching Band "Environmental Encroachment" parading throughout the venue at impromptu times.
MAIN STAGE 12:30-1:15 - Donnie Biggins
1:15-1:30 - Tangleweed
1:30-2:15 - Dollar Store
2:15-2:45 - Tangleweed/Chicago Sketch Comedy Troupe "Cell Camp"
2:45-3:30 - Billy Childers
3:30-4:00 - Tangleweed/Chicago Sketch Comedy Troupe "Cell Camp"
4:00-4:45 - Lil' Ed & the Blues Imperials
4:45-5:15 - Tangleweed/Chicago Sketch Comedy Troupe "Cell Camp"
5:15-6:15 - Majors Junction
6:15-6:45 - Tangleweed/Chicago Sketch Comedy Troupe "Cell Camp"
6:45-7:45 - Ha Ha Tonka
7:45-8:15 - The Giving Tree Band
8:15-9:45 - David Grisman Quintet
9:45-10:15 - The Giving Tree Band
10:15-However Long They Want - The Avett Brothers
JamBase's 312 PAVILION STAGE
Noon-12:45 - Blue Room Hero
1:00-1:45 - Cobalt & the Hired Guns
2:00-2:45 - Lindsey O'Brien Band & Friends
3:00-3:45 - Mike Mangione
4:00-4:45 - Jessica Lee
5:00-5:45 - How Far to Austin
6:00-6:45 - Blue Mother Tupelo
7:00-8:00 - Blackdog
The festival is tomorrow at the Congress Theatre, and there are still tickets available for $31 here.
In the second season of The Wire, Baltimore's dockworkers are often found in between shifts at Delores' — a rowdy watering hole that also served as a venue for the city's blue-collared bar bands. In Chicago, there's no doubt there's a Delores in every neighborhood, serving drinks nightly to second shifters, while a band readies to take the make-shift stage at the back of the room. But as neighborhoods change, the rock dive is becoming a rarer breed: Though it's now better known as one of the city's premier music rooms and hipster enclaves, The Hideout served as a third-shift hangout for the city's garbagemen and snow plowers (it's blue-collar attitude is still part of the club's charm, though). And before its yuppy makeover, The Blue Light welcomed off-duty cops from the 19th District with a "Police Navidad" during the holidays, while a metal band would play place on the stage in the back room. There are still plenty of rock dives that are quintessentially Chicago to be found-most of which are still run by their namesakes (or a family member). Just ask yourself, "Would Frank Sobotka drink here?" and you've got your answer as to whether you're in a rock dive.
At his show at Pritzker in September, violin-playing-loverboyAndrew Bird told us that he had just finished recording a new album. Today he announced new dates for a US tour early next year, presumably in support of this new album, Noble Beast (out in January). One question though--how could he not play in hometown Chicago? And where the heck is Murray? (okay that was two questions...)
Skanking, crowd surfing, limbs flailing, spending almost as much of the show leaping around and from the stage as planted on the floor banging out licks. When they first hit the scene in 1985, Fishbone were the sort of band that could only have come about under certain odd and unique auspices. Fist coming together in junior high school, they were initially just a bunch of rambunctious kids who wanted to make some noise by blowing some horns and banging on trash-can lids.
As a group of young brothers (in both the literal and figurative sense), the Fishbone crew had obviously grown up knee-deep in the funk of James Brown, the P-Funk family, the Isleys, Curtis Mayfield and such. But hailing from south central Los Angeles, they'd also gained exposure to a plethora of other types of music via L.A.'s club circuit and thriving punk culture -- all of which resulted in Fishbone coming up with their own polychromatic purée of hard rock, metal, punk, ska, reggae, funk and soul.
Theirs was the sort of wtf, strange musical brew that sometimes thrived in the fragmented and stylistically promiscuous margins of the 1980s music scene, and which -- more bafflingly -- would occasionally get signed to a major label deal in that era. Over the next eight years, they'd release four albums via Columbia, graze the Billboard charts, net a little airtime on MTV, land themselves a sizable "crossover" cult audience, and earn a reputation as the one of the world's funkiest and most energetic live bands.
I have to admit something. I've lived in Chicago for nearly three years now, and I still haven't listened to any local music. I usually arrive late to concerts when I know a local band is warming up. I would even go so far as to say that I have avoided the local scene here. That all changes now.
I've been listening to Golden Birthday's "Infinite Leagues" pretty steadily ever since Andrew handed it to me at our Meet-Up last week at Billy Goat Tavern. I knew absolutely nothing about the band when he handed it to me, and now (due to their major lack of web presence) still feel as if I know very little. But, the music. The music is simple, yet highly engaging. There is an honesty involved that many musicians try to stray away from that Golden Birthday gleefully embraces. Blending together drum loops and guitar hooks that aren't much more advanced than a high schooler with a 4-track, the music somehow finds a way to work. Synthesizers help. As do Ryan Sullivan's lyrics.
Suburban hometown heroes Fall Out Boy are heading home next month to celebrate the release of their new album Folie à Deux. The band is partnering up with Fuse TV for a December 2nd concert at The Chicago Theatre, which Fuse will tape and premier December 16th at 9:00 PM EST to coincide with the release of Fall Out Boy's album earlier that day.
Folie à Deux is the follow up to their 2007 release Infinity on High, which sold to date 1.3 million copies worldwide. I'm not a math whiz, but that adds up to a lot of skinny jeans and eye liner, and is pretty impressive for a band that started as a side project fueled by teenage mall rat angst.
The new album promises a few surprise guest, including the confirmed inclusion of Elvis Costello on one of the new tracks, making this a collaboration of two bands I wouldn't have thought I would ever mention in the same breath.
Fall Out Boy has consistently released a stream of sugary pop punk tracks that although sometime sophomoric in their nature, always possess the qualities of a hit. I sometimes find a FOB track sneaking up on my car stereo, and you can't help wanting to belt along with the earnest vocals of Patrick Stump and feel like a pop punk kid all over again.
Relive some youthful exuberance and welcome the hometown boys back to Chicago on December 2nd at The Chicago Theatre. Select tickets go on sale at Friday November 28 at 10:00 AM for $10 via Ticketmaster. There will be a two ticket minimum/maximum per order. The majority of tickets will be available at The Chicago Theater box office only on the day of the show on a first come, first serve basis.
Intonation may not be throwing festivals in Union Park anymore, but they are still very active in the Chicago music scene, just on a smaller level, as in with smaller people. Now Intonation Music is a Workshop for kids ages 6-18, putting instruments in their hands and giving them instruction and opportunities to perform. The workshop is a band-based after-school program meaning drums, bass, guitar, keyboard, and amps--not your typical high school marching band. Their goal is to provide this type of programming in neighborhoods where kids might not otherwise be exposed to music. They've already expanded to two locations in addition to their Fuller Park program, and even more sites are in store for next year.
Thursday night Intonation Music Workshop is throwing a Launch Party Fundraiser at The Butterfly Social Club (728 W. Grand Ave.) from 5-8pm. There will be a silent auction with items from Hot Doug's, Parasol Records, Hejfina, The Score Sports Radio and many more. From 5-6pm you can get complimentary beer courtesy of the guys at The Half-Acre Brewing Company. Free beer? And feeling good about donating to charity? What better excuse do you need? And you never know, you might be enabling one of the next generation's great rock bands. Tickets are $10 at the door and all proceeds benefit Intonation Music Workshop.
Glenn Kotche is the drummer for a little Chicago rock band you might have heard of called Wilco. What you may not know, is that Wilco is just one of Kotche's many projects.
Kotche joined Wilco in 2001, right before the band went rogue (sound-wise and label-wise) with Yankee Hotel Foxtrot. Its no surprise that Wilco took an innovative turn at that time, when you consider Kotche's background and other projects. He was in the experimental rock trio Loose Fur with Jeff Tweedy and Jim O'Rourke when Tweedy asked him to join Wilco. Currently, he makes up half of the jazz experimental duo On Fillmore with Darin Gray. He also recently collaborated with fellow local Andrew Bird for one of Bird's upcoming albums. And on top of all this, right now he is busy recording a new album with Wilco.
As if that wasn't enough to keep your plate full, Kotche has a burgeoning solo career of his own. In 2006 he released his third solo album, Moblie (Nonesuch Records). His creative exploration of rhythm and the space between is nothing you would expect and incredibly intriguing. It's also diverse, from the ambient title track "Mobile Parts 1 & 2" to the intense jam beats on "Projections of (what) Might."
Tonight he appears with indie classical group eighth blackbird at Harris Theater (205 E. Randolph Dr.), where they will perform works from Mobile, and Kotche himself will perform a solo set. What can you expect? Lots of unorthodox percussion instruments and a departure from rhythm you're used to hearing.
If you're anything like me, work has been trying to kill your soul. Chase that bad juju away with at the Cease to Resist dance party starring DJs Michael Flavor and Dr. Drase this Wednesday at the Darkroom. Special guests Clique Talk and BFF will also play, and--get this--there'll be cupcakes by Meghan of rocknrollingpins.com. Cupcakes! Begone, deadlines! The gig begins at 9 p.m. and is a measly $7. Bring extra cupcake money.
Two-thirds of Hey Champ originated from Rockford, therefore dooming the trio to a lifetime of Cheap Trick comparisons. Perhaps that's a small price to pay when considering their newfound success. Hey Champ was recently signed to Lupe Fiasco's 1st and 15th label, instantly catapulting them to "up-and-comer" status. They've also been touring with Lupe and blogging about the difficulty and excitement of it all.
So what's the big deal about these guys, anyways? For one, their music is a refreshingly catchy mélange of indie pop, rock, and dreamy synth sounds. Hey Champ manages to capture the "I just want to boogie" synthesizer sound and fuses it with a sleek guitar and drums that get your head bobbing. The end result will get just about anyone dancing in no time, including your grandma. Additionally, Hey Champ continues to work on their DJ skills. It's a safe bet to assume that their experience with banging dance anthems contributes to their musical versatility. Expect for these guys to remain cutting edge for a while.
If you're like me, when you hear the term "music festival" you'll automatically think of relaxing on the lawn in a sea of people, lapping on sunscreen as you squint to catch a glimpse of some of your favorite artists. This Saturday, KingTello Presents (a recently formed alliance of Chicago promoters and producers) will integrate elements of the traditional summer music festival into a more intimate setting fit for the winter months as they host the inaugural Chicago Bluegrass and Blues Festival at the Congress Theater. The festival will not only offer 12 hours and 2 stages showcasing two genres of music that have heavily influenced modern indie rock, folk, and Americana, but will also include improv comedy, a live-art exhibition and indoor gallery, DJs, raffles, a marching band, and an indoor smoking lounge. Additionally, the concert will be filmed by Wiggle Puppy Productions for use as a feature concert documentary and live album to be available as a digital download.
With our city's thriving independent music scene and rich history in creating a unique blues sound, the festival would not be complete without some local talent. Chicago-based blues label Alligator Records and roots-rock label Bloodshot Records are teaming up and sharing a bill for the first time at the festival to bring some homegrown flavor into the mix. Bloodshot artists Ha Ha Tonka and Dollar Store will be performing at the fest, while Alligator Records is contributing classic Chicago Blues artist Lil' Ed and the Blues Imperials. Oak Part artist Donnie Biggins, winner of Chicago Bluegrass and Blues Festival's "Last Banjo Standing" contest, will be kicking off the festival's main stage at 12:30 PM.
The Chicago Bluegrass and Blues Festival takes place this Saturday, November 22nd, at the Congress Theater, 2135 N Milwaukee Ave. The music runs from 11am-midnight and tickets are $31 (through Ticketweb). A portion of each ticket sale is donated to the Saving Tiny Hearts Society, which benefits the research of congenital heart defects. The show is all ages.
Keep reading for a full schedule along with our three picks for the must-see artists at the fest, plus a chance to win yourself a pair of tickets.
If you're looking for a view of death in Chicago the industrial corridor that is Elston Avenue is a good place to start. If you're looking to see O'Death you'd be on the right track as well. Just a bit too late.
Rolling up to The Hideout is always a bit of a leap down the rabbit hole. Wandering into the back room for O'Death's set was an introduction to a stage worth of mad hatters. This is not mellow music to fall asleep to. These are not musicians gently caressing songs from precious instruments. This band plays as though possessed by particularly unsavory demons with no regards to how much their strings or vocal cords can withstand.
Minneapolis hip hop duo Atmosphere has been around the block. Slug and DJ/producer Ant have risen to the top of the underground hip hop scene over the years and today remain immensely successful. Hardcore fans will remember discovering 1997's Overcast! among stacks of other CDs at their local hip hop music shop and trying to get their friends to listen to it instead of Master P. MC Spawn (aka Rek The Heavyweight) lent his lyrical swordsmanship to the album, giving it a notably different feel. The result was a collection of infectiously dark and sleepy beats fused with introspective lyrics and an old school rhyming style that helped Atmosphere garner respect among the hip hop community.
Fast forward a decade or so. Master P is long gone, but Atmosphere is still trucking along and is known by anyone who calls him or herself a fan of hip hop music. This year's When Life Gives You Lemons, You Paint That Shit Gold may sport a higher production value and crisper sound than Atmosphere's debut, but fans still can't get enough. In fact, the album peaked at #5 on The Billboard 200 chart.
Ever since emerging from the acid jazz/rare-groove scene of early '90s London, The Herbaliser have been serving up a top-notch blend of dusted beats, downtempo vibes, and cinematic soul. At the core of the outfit, the duo of DJ Ollie Teeba and Jake Wherry have worked with a revolving door ensemble of musicians and vocalists -- as well as teaming up with notable indie hip-hop emcees like Roots Manuva, MF Doom, and frequent collaborator Jean Grae. After a 10-year run with the Ninja Tunes label, the Herbaliser's new album, Same As It Never Was, was recently released on the Studio !K7 imprint.
The album's kick-off, title track -- building off a horn-section riff reminiscent of "Hold On, I'm Comin'" -- hits the mark that the band's aiming for these days and gives the listener an ideal taste of what to expect. While there's still some traces of The Herbaliser's trademark filmic tendencies breezing in now and again (check the glitzy Mancini-esque swing of "Amores Bongo"), this time Teeba and Wherry have crafted a polished and floor-friendly LP -- one that's pointedly more steeped in the fat, rich sounds of throwback roadhouse soul than, say, those of '60s spy-movie soundtracks. A decade-plus on, the band has not only kept it's vibe, but has proven that it still has a few tricks up its sleeves.
The Herbaliser is currently touring stateside to support Same As It Never Was, bringing with them their new vocalist Jessica Darling and a full band -- including a full horn section. They'll be playing at Darkroom this coming Tuesday evening, headlining on a bill that also includes Shala, and DJ Intel and Striz. 2210 W. Chicago Ave. Tickets are $15 in advance, $18 the night of, and doors open at 8 PM.
If you haven't heard Nada Surf's new album yet, then you're probably not alone. The band has been plugging away ever since 1992 but their past two records had to be released on an independent label after they were dropped by Elektra in 2000. This has made getting their sometimes rocking, sometimes soothing songs to the public at large a tad more difficult. Case in point, their latest effort, Lucky was released all the way back in February & it's just recently being passed around dorms and break rooms.
The album is a consistent release, at times soft and calming & at other times, abrasive and rocking. Throughout a listening, though, you'll be reminded that these guys have been playing together now for over 10 years and they know what they're doing. Again, the key word here is consistent. The highlight of the album, for me was one of the last tracks, "The Fox." The track begins with what can only be labeled as a haunting, almost lethargic bit of music. Once the lyrics kick in, the scariness is just ratched up another notch. "We're in a different war
With ourselves, and with some of you," sings Matt Caws and you have no choice but to believe him.
Nada Surf is playing Saturday, November 29th at The Metro. It's an 18+ show and tickets are $20. The show starts at 9. I'll be there with a review to follow.
Some of us look back on our teenage years with anguish and humiliation. Others think of high school as the glory years (yikes!). Michael Dunlap looks back on this period with humor, writes poppy tunes about it and tours the country armed with just a guitar and an iPod. Under the stage name Totally Michael, he sings about the merits of the cheerleading squad vs. the drill team ("the hardest choice you'll ever make"), crushing on Winona Ryder ("I'm not a high-class retail outlet / But I'd love for you to steal my heart"), and stealing your girlfriend ("When you look away she'll be all over me"), a throwback to the childhood of nerds everywhere. Creating high-energy electro beats with a pop-punk influence, Totally Michael sounds like a mixture of Atom & His Package and Matt & Kim. I must warn you, take one listen to any track on his debut self-titled LP and you won't be able to get it out of your head for days.
Totally Michael will be playing Sunday at the Abbey Pub, 3420 West Grace. Tickets are $12 and doors open at 8 PM. The show is 18 & over. He'll be opening for nerdcore hip hop artist and Libertyville native MC Chris. If you don't take yourself too seriously, remember what it's like to be an awkward teenager and want to dance your pants off Sunday night, you'll definitely want to be there.
Normally, you wouldn't find me listening to a pop-industrial album. It's just a segment of music that I don't appreciate all too often. I may have just changed my mind about that, though & it's all thanks to Skinny Puppy's Nick Ogre and his new album. His group, ohGr, have been going strong for quite a while now and the music has really evolved. Nowadays, it's a superb mix of metal, industrial, pop, electronic, and something very close to being considered spoken word. If you're scratching your head and asking yourself how this could possibly be something that you'd want to listen to, then you're not alone. A couple of trips through the Devils in my Details, though, you'll be wondering why you never listened to this stuff before. The album, simply, rocks. The most interesting and endearing bits of the album, for me, are the brief poetry-laden interludes, such as one gem titled "Feelin' Chicken." The kicker of that particular track is the hook: "You're killing me with bacon, America!" which Ogre manages to punch in just the requisite manner.
Nick Ogre will be bringin the ohGr sound to the Double Door Sunday Nov. 30, tickets are $20. Chris Connelly will be opening up. If you can't make the show, there's another way to get your dose of Ogre; he's in the incredibly hyped, Paris Hilton featuring, goth musical, REPO! The Genetic Opera.
Last night was an exersize in organizational and logistical near-failure, as the call went out that a show, featuring The Roots and Cee-Lo, would be at the Vic and FREE caused more than a 40 minute wait outside waiting to get in.
This was an MGD sponsored event, so the product placement was there, the drink tokens were flying, and the comedian/emcee kept speaking of cool, refreshing taste, but everyone understood that the price for a free show was worth it in the end.
The Roots stepped up a bit after 9, and promptly tore it down. I've seen over 20 Roots shows , and I simply have never see them mail it in. The arrangements are always original, the musicians on point, and emcee Black Thought simply does his thing and does it at a high level.
Cee-Lo's debut on stage was met with absolute pandemonium. His began with a trip down memory lane with "Free," the introduction to his former group Goodie Mob's debut Soul Food, and "Cell Therapy," which was their first single in 1995. His rendition of "Who's Gonna Save Your Soul" was great, and the crowd, sensing a climax, screamed for the song they wanted.
One of the beauties of hip-hop shows, and Roots shows in particluar, is that they never do the song the same way it is on the album. So it took a while for people to pick up on the slower arrangement, the plodding of the drumline and the slow urge of the guitars, but the lyrics didn't change. "Crazy" drove the crowd, well, crazy. And after the song was seemingly over, they let the guitars loose and redid the chorus in full-out, rawk-style, which had them moshing on the main floor and dancing in the aisles in the balcony.
The show really amplified that Cee-Lo simply hasn't been around very long as a solo artist, and while he clearly could have done more stuff, particularly from Cee-Lo Green is the Soul Machine,, his inclusion was really as a special guest to The Roots constant aural barrage. It was quite clear that quite a few people were there to see Cee-Lo, and they probably came away disappointed, but all in all, it was a great show; tightly produced, constant music, and for a great price.
Tom Schraeder is 24 years old, but sings with the sorrow of a man twice his age. Upon first listening to his new EP, Lying Through Dinner, I found it a nice little Americana album, but it wasn't until a few more listens that I was really gripped by the heart in his songwriting. There is some real emotion in this album. There is heartache, a couple of foot-stomping singalong moments, and some passages that can make you feel the lost hope of someone drinking alone in an empty bar at closing time. Tom has a talent for evoking the feeling you've been there before, even if you haven't. He is such an excellent songwriter, that while you feel the hurt and yearning in his songs, he is still a joy to listen to. And somehow, with all the pain experienced in his lyrics and acclaim he's received, he still manages to keep a cool head.
Tom Schraeder & His Ego are back in Chicago for one show this Saturday at Schubas before heading out on tour. It's a record release show and everyone will receive a free copy of Lying Through Dinner with the purchase of advance tickets. Watch the promo video after the jump to get a little preview of the first song on the album, "Needle Will Bite."
The Empty Bottle is hosting a dance party this Sunday 11/16/08 to help cover the recent vet bills of the feline Empty Bottle CEO. Poor Radley's years of excess have led to a necessary teeth pulling excursion (ouch!) DJs include: Alex Valentine, Hologram Trav, Willy May, DJ Hugsen Kissus, and DJ Miles Raymer.
Did you find the new Portishead album a bit dull? Were you expecting more from the Los Campesinos! debut LP after the hype generated from Sticking Fingers into Sockets? Think Way to Normal doesn't compare to Ben Folds' earlier works? Well, now you have the chance to air your grievances over the radio airwaves.
Each year Greg Kot and Jim DeRogatis, hosts of Sound Opinions, call out the most disappointing albums of the year in their annual "Turkey Shoot". If you want to make your complaints known, tell them which albums left you disgruntled this year by emailing interact@soundopinions.org and they will contact you to be on air.
Tune in to Sound Opinions weekly on Chicago Public Radio (91.5 FM in Chicago) at 8 PM on Fridays and 11 AM on Saturdays.
"We've come tonight to bring you some joy, some happiness, some inspiration, and some positive vibrations," Chicago's own Mavis Staples begins her latest album, Mavis Staples Live: Hope at the Hideout. With a three piece band and three back-up singers, the disc is over an hour of rollicking gospel and R&B.
Recorded this summer and released on Election Day, this is every bit what live albums should be; raucous, rollicking, and full of the soul a performance veteran and legend can bring. Her repertoire includes gospel songs and the secular, but every note her unique voice goes over sounds like she wants you to get it, to understand, and to hum along. The goal of any singer is to get the crowd involved, to make them feel what they themselves are feeling, and Mavis has years of experience at it. You never get the feeling she's going through the motions or she doesn't take it all seriously.
Production quality on a live album can vary wildly, as the challenges of live sound recording can make a great show in person not translate very well to the LP or to mp3, and this disc is really no different. A kinetic performer, who moves around a bit and not always at the mic full-throat is great for the people in attendance, but not really for the folks on the train listening to the iPod or the Walkman. Mavis moves around quite a bit, judging from some of the tracks, but luckily the levels are up high enough or the microphones positioned in such a way to still pick up enough of her ad-libs and verse exclamations to not hurt the feeling of the songs.
The crowd, at standing room only for the recording session, sounds sparse, though. Perhaps one of the challenges of recording live sound at the Hideout is keeping that small-room feel while emphasizing that a few people in said small room can still get loud and be involved.
One of the beauties of live renditions is that the artist is largely free to re-arrange songs, to approach them differently than previous studio attempts. While this throws off the people who memorized the studio version, it is a joy and delight to hear new directions helmed by the artists themselves. In this facet, the album is a mixed bag. Some live versions sound pretty much exactly as their studio counterparts do, while she seems to take more liberty with the standards, bringing them up tempo and funky. "Down in Mississippi," a studio track from last year's We'll Never Turn Back, sounds pretty much the same, including the same ad-libs and exhortations. "This Little Light," however, is a gospel standard that she amps up and, with the able help of Rick Holmstrom on guitar, makes it rock a little more than usual.
A note about one standard in particular, though. "I'll Take You There" was done as an encore, and she's pretty content to let the audience sing it. This isn't an overly bad thing, but if you're just interested in buying the single track from somewhere online, you may not get what you'd expect when you've listened to a 30 second snippet. "Let me take you there," she calls, and the audience, probably realizing that the show is about to be over but wants to delay the inevitable, nonetheless responds with enthusiasm. "I'll take you there."
Oddly enough, Rick Holmstrom, the man whose creativity on the guitar would warrant more than two solos on the entire album, doesn't get a chance to shine much. I know it's Mavis' album, but when he gets down and funky, it's a welcome diversion and a chance to showcase his skills. With a three piece bad and so much room to improvise, particularly in a live setting, I am somewhat surprised that some soloing wasn't included on the album.
Fans of gospel and of the Staples' extensive catalog probably own this already. Fans of live albums would not do themselves a disservice by picking this album up. What makes a good live album; energy from the performer and the crowd, good acoustics, clear effort from the artist — all comes into play here, and another of Chicago's own grows her legend.
About the Author:
A creative trapped in a techie body, Troy Hunter came to Chicago from Southern Cali for proper schooling. More than 10 years, four worn keyboards, and numerous sheets of Bristol paper later, he's still here. He and his wife reside in Edgewater and coordinate activities at UrbanTherapy.
It's hard to try to explain Damion Romero's awesomeness without first starting by saying that he built his own automobile -- a 1968 Plymouth Roadrunner -- from scratch. Said automobile can be heard on his self-released 2003 3" CD titled Idle. It's just that -- an unprocessed recording of 20 minutes in the driveway with the Roadrunner. Idling. It happens to be one of the 2000s' finest experimental/noise documents, a constantly engaging series of rumbles and clatterings, more persnickety in tone than any car you've heard. Despite its unconventional name, his '90s project, Speculum Fight, redefined elegant, monolithic audio (the low-end theory, mostly) at a time when deliberate filthiness in avant garde sound was the law of the land.
But that's Damion. He's a builder, a tinkerer. He approaches sound with a with a scientist's intuition and love of play. He builds his own musical equipment, and has a comprehensive knowledge of acoustic properties, like Alvin Lucier without the resultant academic stodginess. As such, his live performances often have a strong art installation quality to them, but a sound that tends to be fuller, more emotional than most installation fare. Witness the Feedback in a Lover's Telegraph CD, which utilized a long wire stretched in a room, a bucket with some piezo mics, and a series of reverberant objects to induce wave upon wave of self-perpetuating deep-string excitations.
This Saturday (November 15) at 9 p.m., Romero turns Lampo (216 W. Chicago Avenue, 2nd Floor) into a highly reverberant space with a new performance created especially for the location. Using tone generators and a devices known as geophones, which are used to pick up vibrations in the ground. Using these devices with other equipment meant to generate internal feedback, Romero will essentially play the space itself, drawing out the vibrations of the walls and floors while sending the resultant sounds back into themselves, building a perpetual feedback loop that will surround the listener with all manner of physically and emotionally-charged low end sonics. If you haven't been to the new Lampo space yet, this is a great opportunity to get a feel for the new location, as every square inch of it will be put to the test.
This Friday Chicago gets a chance to see some songs. Yes, see them. Jon Langford, of the Mekons for one, as well as a good number of other bands (don't tell the punk kids he's also part of the kiddie rock band the Beasties) is opening his show "Song Paintings" at Thomas Masters Gallery this Friday.
Back in the day Langford gave up painting in favor of being in bands. It was easier for him to write songs than get paint onto a canvas. But then he started investigating why one creative process might be so much easier than the other. It was through that investigation that Langford's songs got into his paintings, and occasionally a painting or two got into his songs.
I take Halloween very seriously, so when I decided I was going to be a zombie this year, I had a lot of homework to do--turns out there is a lot to learn! You've got slow zombies, fast zombies, and a whole different set of rules that have evolved to go along with each of them.
Since I like zombies and I like rock bands, what could be better than combining the two, right!? I went to the Double Door last night to see Venom Lords pay homage to the master, George Romero. If you listen closely to the lyrics, they'll tell you all about how the 'dead hate the living' and they want 'more brains'; that is if you can hear them. Their songs are all guitar heavy punk/garage rock, but what else would real zombies listen to?! And what better soundtrack to accompany a zombie attack in a movie?
A fun show to see on a Tuesday night drinking with friends. One thing that would make this show better though: actual zombies. I wish that at least one of the band members would black out their eyes... and maybe just a little bit of blood?
Frigates, recently out of Humboldt Park, like the words "compact" and "staccato" to describe their style of bass/drums/clean guitar punch; those are about as good as any adjectives in my bag. Evidently, they've been in the studio recently. There's only one track on the MySpace site with a little studio polish, the catchy "Damage and Liability", which has an undeniably likable Talking Heads thing going on. (Eno, Bowie and David Fripp all get shoutouts in their Influences section, but no Heads. Hrmph.) The other two tracks sound an awful lot like rehearsal takes - boxy acoustics and no audible vocals to speak of - but they're good rehearsal takes, and suggest some serious live show promise. There's plenty of energy here, and it's hard to go wrong with catchy guitars and smashing drums. Frigates plays Ronny's, Thursday 11/13 at 9pm with Story of the Sea and Mako Sica; Edie Sedgwick (Dischord) headlines. Frigates will also appear live in the WHPK studios on Pure Hype, Friday at 9pm.
Anyone who enjoys an evening spent crushed in a sea of sweaty dancing hipsters will tell you that the place to be this New Year's Eve is the Congress Theater, where Parisian duo Gaspard Augé and Xavier de Rosnay (otherwise known as Justice) will be bringing the house down. For the past two years, the name Justice has become synonymous with party, and for good reason - when I had the pleasure of catching them live at the Metro last October, I left the venue drenched, bruised, and with someone's weave stuck to the bottom of my shoe.
Luckily for those of us who can't wait until December 31st to get our electro-fix, this Friday night the Metro will be screening A Cross the Universe, a documentary following Justice during the final three weeks of their MySpace-sponsored tour this past spring. Best of all? The screening is free! Be prepared to D.A.N.C.E. afterwards as DJ sets by Eamon Harkin, Bald Eagle, and Yello Fever follow the screening. The film starts at 11:30 PM, but be sure to arrive early as seating is limited.
The Metro is located at 3730 N. Clark Street. The screening is 18 & over and free before 2 AM ($5 afterwards for DJ sets only).
Brooklyn duo Matt & Kim are headed to Chicago, and they like us so much, they're settling in at Wicker Park's Subterranean for a two-night stint [Update: their Wednesday night show has just been canceled. That means you've only got one chance to catch them this tour. BUT tickets purchased for Wednesday night's show will be honored Tuesday]. That's right, the adorable, electric pair are going to bang around the room upstairs Tuesday and Wednesday, with a sweet gang of openers to boot. Tonight, get there early to hear Chicago's Vyle as well as Hollywood Holt, and Texas' Best Fwends open.
It may be getting dark and cold early now, but Matt & Kim surely won't disappoint the crowd. I don't know where these kids get their energy from, but I want it in my coffee every morning. Their sound is part crash bang, part giddy pop thing. If there ever were a cure for the onslaught of winter weather in Chicago, these two are it.
Tickets are $10, each night. Tonight's show gets going at 9pm (17+) and Wednesday's starts early at 6pm with a special all-ages night. Subterranean is located at 2011 W. North Ave. in the heart of Wicker Park.
Quick like a bunny! If you're the first to email us at contests (at) gapersblock (dot) come with the subject line, "M&K", you'll win a pair of tickets to Tuesday night's show at Subterranean. Update! We have a winner! Congrats to Jeff!
Grails, a Portland-based quartet concerned with the deep, dark night of the curiosity of ritual, shamble their way into the Empty Bottle (1035 N. Western) on Tuesday, armed with booming drums, zithers, electronics, and other devices meant to levitate pyramids and scrolls and ankhs and other such ancient imponderables. The band's web site is stuffed with totemic images, including plenty of mountains, but two things really put the band's sound into modern-day hip perspective: 1) their recent tour with Silver Apples, advertised on the splash page, and 2) their links, which include portals to like-minded hobbits like OM, Neurosis, Truman's Water, Jandek, and Eluvium. Shake, strain, serve, enter rebirth.
On the home front, Chicago brings its two finest next-world ambassadors, with the motionless-sky guitar orchestrations of Lichens (plays second) dragged into the ground by Locrian's aggressive shouting-at-the-ground black metal-esque primevalism (opening act).
Imagine the biggest house party you've even been to, and the best DJ you've ever heard is playing every single one of your favorite songs and guilty pleasures. Now multiply that by a gazillion. That might come close to matching the excitement at Congress Theater on Saturday night.
Girl Talk (aka Gregg Gillis) is not a DJ, he's an artist, a master at mixing together snippets of songs that already exist, and that you've already heard into a new, completely different animal. His latest album, Feed The Animals, is a mashup of samples running into and over each other from Nirvana to Roy Orbison (?!?!) along with over 300 others.
It was a party from the moment you walked in. There was a DJ set up in the lobby blasting you in the face with music and stage smoke right as you entered. It was a bit of a shock at first, coming in from 30-degree temperatures outside, but it quickly wore off once you got into the theater. I noticed once inside, that all the seats on the floor level had been removed making for maximum dance-floor. A couple of minutes after Gillis took the stage and introduced himself, the confetti popped and ridiculousness ensued. A mass of party-goers rushed on to the stage, and there were guys running across the stage shooting toilet paper streamers into the audience. Gillis mixes his shows live in the midst of fans dancing almost on top of him, this time playing a lot of familiar clips from Feed the Animals, with a lot of new, impromptu mashup material as well.
Champaign's Polyvinyl Records manager, Seth Hubbard announced today that they had signed Sweden's indie darlings Loney Dear, and plan to release their sophomore album, Dear John, on January 29th. He said, "We are so excited to be working with Loney Dear. Loney, Noir has been an office favorite since it came out so we jumped at the chance to work with such a great band." After a great deal of buzz was generated in 2006, Sub Pop records released the bands debut album Loney, Noir early last year. Lead singer Emil Svanängen describes the new album as a "marvelous album in dark shades with a lava-like glow from underneath". The band plans to tour the states in early 2009.
In 2005, following his success as the frontman of Orange County's Something Corporate, Andrew McMahon was set to release the first album of his side project, Jack's Mannequin. On the day the last song of the album was remastered, McMahon was diagnosed with acute lymphoblastic leukemia. The album, Everything in Transit, was still released as planned on the same day McMahon received a bone marrow transplant from his sister.
Three years later, McMahon is cancer-free and has a story to tell. His new album, The Glass Passenger, captures a darker and more introspective side of him than what we have seen in his previous albums. Filled with piano ballads fueled by desperation, struggle, and most importantly, hope (particularly "Swim" and "Caves"), Jack's Mannequin set themselves apart from the usual pop punk archetype. McMahon is just happy to still be here, and we're happy to have him.
Meanwhile, McMahon has also started his own label, Airport Tapes and Records, who signed Chicago pop rockers Treaty of Paris last year. Jack's Mannequin and Treaty of Paris play together on Sunday night at the Bottom Lounge, 3206 N. Wilton Ave, at 5 pm. Fun, featuring former lead singer of The Format, Nate Ruess, is also on the bill. The show is SOLD OUT, although there are a few tickets available on Craigslist.
A little afternoon video delight. What does Tortoise/Sea & Cake drummer and percussionist extraordinaire John McEntire do while on a break from a recent show in Toronto? (It ain't a run for Tim Horton's, that's for sure.)
Ghostland Observatory is made up of two guys from Austin. Thomas Turner dances around the stage wearing a get-up that looks like American Indian meets '70's hippie while Aaron Behrens wears a Dracula cape and plays the drums. There are colorful laser lights everywhere, and that's just their stage show. The title of their latest album, Robotique Majestique is a good indication of what the soundtrack is like: electro pop of the future, a very groovy future.
They play the Metro tonight with DJ sets by Mister Wolf. 3730 N. Clark St. 773-549-0203. 18 & up. Tickets are $25, get them at the Metro's website. Show starts at 9pm.
Regardless of the content of his lyrics it is hard to take Holding Mercury frontman Matt Hoffer seriously. For starters his music sounds like a slightly glammed-up Gin Blossoms cover, but it is mostly because of his national television debut. Yes, Matt Hoffer was a contestant on Rock Star Supernova. Well, if you are like me and don't remember or have never heard of Rock Star Supernova, a quick check of Wikipedia reveals that it aired back in 2006 and was hosted by the lovely Brooke Burke and Dave Navarro (how quickly they fall!). Matt was able to perform "Yellow" by Coldplay and "Planet Earth" by Duran Duran before being eliminating the first week of the contest. Supernova's loss is Holding Mercury's gain. There is a certain strength in Hoffer's vocal and an uncommon bit to his lyrics.
Holding Mercury consists of Andrew Titchenal, Jason Batchko, Ashok Warrier, and Matt Hoffer. Their latest album, Downfall of An Empire (Bad Nero Records), is an album about struggle, conflict, and political turmoil. The highlight for me, as I sit here in a beige cubical and down my fifth cup of coffee, is "Stuck in a Box". It's an arena rock anthem for the underpaid and overworked and it kicks off this ten track mainstream melodrama. The package is shiny, the music is clear and fast-paced, and it is all paart od the product. The cover and interior artwork for the album was down by fellow Chicago rocker and artist David Downs, and is like a beautiful mini-graphic novel about the downfall of life and times.
If you haven't been following Hanson since the "MMMBop" days, you'll be happy to know the adorable tween blonde threesome from Tulsa grew up to be profitable, passionate and extremely savvy business men and musicians. They've released numerous albums and DVDs, toured all across the globe, and somehow fit in enough time to all get married and spawn a few Hanson kids of their own.
Isaac, Taylor and Zac Hanson are currently on The Walk Around The World Tour, a cross-country expedition that landed in Chicago at the House of Blues November 3rd and 4th, 2008. They're promoting a new book and EP Take The Walk, the second of which tells stories of individuals taking action to fight poverty and AIDS in Africa. The unique thing about this tour is that before each show, Hanson walks a mile with fans, and for each mile a dollar is donated on each walker's behalf-by the band-to one of five causes the walker can choose from. The causes range from building a school in Africa to a partnership with TOMS shoes to provide 500 pairs of shoes to African children, all on behalf of Hanson and their fans. They also have a site where you can donate, learn more about each cause, and also register to host your own walk to help raise funds.
Zac on drums (photo by Lisa White)
While many of the fans showing up at the House of Blues were active in helping Hanson with their amazing social efforts, they were first and foremost there for the music. Openers Everybody Else served up catchy west coast style pop music similar in sound to Rooney or early Phantom Planet, while second act Dave Barnes delivered a more soulful performance (like a cleaner cut John Mayer with an affinity for funk music). It was Barnes last night on the Hanson's tour, so at the end of the set Hanson came out for good old fashion pranks with Barnes and his band. It was all in good fun, and the audience could feel the camaraderie between Hanson and the artist they take on tour, giving a feeling of a family affair.
And then it was time for Hanson. Talking to the fans you could sense the excitement and joy of seeing this band, even though they may have seen Hanson 20+ times live before. When the band took the stage and opened with a cover of Sly & the Family Stone's classic "I Want to Take You Higher." The entire room bounced in unison with their hands in the air, and the floor of the House of Blues quaked under my feet. They launched directly into a song off their album Underneath called "Dancin' In The Wind" and their trademark harmonies shined. While their voices may have changed and evolved since their days in the spotlight, Hanson still has some of the best vocal harmonization in the music industry today.
Taylor on keys (photo by Lisa White)
Hanson went on to cover a broad range of their work, including an acoustic set with the song that introduced them to the world. Love it or hate it, that song was a bonafide pop hit, and it still elicits rapturous joy from their fans every time it's played. The set was a bit heavy on covers, but it's a forgivable offense since Hanson does a great deal of justice to the original. And the vocal talents of each brother really is exposed when they play songs that are not their own repertoire and style.
The show ended with an encore cover of AC/DC's hit "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)." Everyone sang along, Taylor Hanson couldn't stop jumping up and down despite looking like he ran a marathon from the looks of the sweat he was producing, and there wasn't a fan or a band member without a huge grin on their face.
Isaac Hanson (photo by Lisa White)
Hanson is a band that like others I found interesting in their prime, but started to fade into my memory as the years went by. But after my night spent at the House of Blues I was not only impressed with their new spin on their old materials but also intrigued by their solid mix of soul, rock, and pop music that they are putting out these days. Hanson is a band that regardless if you enjoy their music or not, you have to respect for their longevity, their talent, their commitment to their fans, and their overall drive and passion for their music and the causes they champion in their careers and lives.
You can truly tell that Hanson loves what they do, and are gracious to the main people that give them the opportunity to still be thriving in a rough and failing industry. I'm talking about the Hanson fans. There are fans that still camp out for 12+ hours at a show and groups of girls that follow the band from city to city on tour. There is a bond between all of these people packed within the House of Blues, and it goes deeper than music. As Hanson graciously thanks all their fans at the end of the night, Isaac exclaims "It's been 15 years guys, here's to 15 more," and the crowd responds with a resounding roar of approval. Many musical acts will come to life, bear fruits of their labor, and fall to the wayside. But will Hanson still be standing 15 years from now? There is no doubt in my mind they will. They will still be releasing music, still be selling out shows, and the same fans will come together on tour, this time probably with their own children (and a new generation of Hanson fans) in tow. The Hanson community will continue to feverishly support a group of artist they dearly care about. It's the success and fandom of artist like Hanson that really make the music industry shine in a dark hour, and shows the world that music will always matter.
About the Author:
Lisa is a born and raised Midwestern girl who's had numerous adventures and escapades all in the name of music. She's spent time working at labels, venues, in publicity, touring, and of course writing about music. You can usually find her at a show jumping around and encouraging others to dance, and if you ask nicely, she'll probably make you a mixtape.
The third annual Umbrella Music Festival begins tonight and continues through the weekend with events at different venues around the city. If you're into jazz, you should definitely check it out. Umbrella Music is a group of jazz musicians who wanted to give the creative music scene more exposure, and give improvisers more opportunities to play together. They have been successful in doing just that with weekly concert series held at Elastic, The Hideout, and The Hungry Brain.
The festival kicks off tonight with their second annual European Jazz Meets Chicago event at the Chicago Cultural Center. They've brought in groups from Austria, Germany, Italy, The Netherlands, Poland, and Switzerland who get the opportunity to improvise with local jazz musicians. The best part? This first night is FREE to the public. Come out and listen to some music you might not otherwise ever be exposed to and see some acclaimed artists of the Chicago area practicing their craft.
Kenyan and American Thrill Jockey artists Extra Golden are rockin' the results today with the release of a free download of an extremely appropriately happy track, "Obama". Also check PBS' Frontline's interview with Extra Golden drummer Steve Onyango Wuod Omari on the eve of the election.
[video]: Extra Golden - "Obama"
Or, if you need more Obama tribute songs, check out Extra Golden's label Kanyo Records' comp Senator Barack Obama Hoyee
Lost in the excitement of yesterday's Election was the latest release from our friends over at Flameshovel. Lake Toba is the US Debut from Norwegian popsters Lukestar. The band will be touring the US this Spring, and I am sure will be hearing more from them in the months to come.
Maybe it's the neighborhood I live in or maybe it's just me, but I rarely speak to my neighbors. It's not that I dislike them (well, most of them), but most just keep to themselves, lock their doors, hide their secrets. It takes a vocal and social soul to step out and "Warm Up" or ask "To Be Held" or just say hello, "Nice To See You". Leave it to the bearded one, Phil Spirinto of oRSo to step out and release an album called "Ask Your Neighbor" (Contraphonic). It was recorded over three years at oRSo's home studio and at Four Deuces with Jim McGranahan, and it was mixed with Griffin Rodriguez (Icy Demons, Bablicon) at Shape Shoppe. The evolving line-up of oRSo continues on this release, with contributions from Tim Rutilli, Jim Becker and Ben Massarella (Califone), Nick Macri (The Zincs), and others, including full-fledged oRSo member Libby Reed (Coat). Musically, oRSo plays a gentle yet wandering brand of experimental folk music that seems oddly warm and inviting. This is the sixth album in ten years from Spirito and oRSo, and it is a beautiful addition to their catalog. As I drive home, surrounded by sunset and oRSo softly playing, all of the issues and confusions of the day seem to blend then blur then be blown away like crisp autumn leaves. So take a break from the election coverage, and relax a little bit.
Tracklisting:
All Suffer Fools / Anniversary / Warm Up / I'm High / Not Likely To / Nice To See You / Protest Song / See Me / To Be Held / The Hope / Egg / Way Way
Colin Meloy and The Decemberists made an impromptu Get Out the Vote PSA at their concert at the University of Chicago this past weekend. (Thanks, Matt!)
The crowd was definitely dedicated for the Swedish psych-pop rockers Dungen show last night at The Bottom Lounge. For one, it was a school night, and the relatively young crowd looked like they could have been skimping on some mid-term studies in favor of hitting up the late set by the quartet. Still, it was a joyous group of music fans, seemingly familiar with Dungen's entire back catalog of albums (including their latest album, 4). I still can't wrap my mouth around pronouncing the Swedish lyrics, but the band's simple banter with the crowd was so charming, I nearly blushed. The four-piece worked their way around a solid set of both long psychedelic jams and short pop originals, with astonishingly beautiful projection by lead singer and multi-instrumentalist Gustav Ejstes, backup vocals and bass by Mattias Gustavsson, superior rhythm guitar work by Reine Fiske, and lovely percussion by new drummer Johan Holmegard. The group plays like a band of brothers, linked telepathically to each other, working in unison to deliver a lovely evening of music. At the end of the night, Gustavsson took his "traditional" photo of the crowd, and we all squeezed together to try to get a hand or eye or elbow in the shot. I have to say, I agree with their declaration to the crowd, "I'm so happy you're here."
Here's our visual scrapbook of the sold out King Khan & BBQ Show at the Bottom Lounge. The duo headlined the venue's Halloween party which also marked the Lounge's 6th Anniversary. The crowd was ramped up, and some slam dancing and surfing ensued. Overall, an appropriately rockin' time was had by all. Photos by Kirstie Shanley.
Tonight's 
