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. ✶
Eugene Kelly of the Vaselines (photos by Dave Knapik)
The Vaselines have long been known as 1980's/1990's obscure ghosts of inspiration, an unknown then broken up duo made famous mostly by another band that no longer exists. When music is poured out in to the world by others, it might be difficult to gauge the authenticity of appreciation. That was back in the 90s, now the hype of another's love for the Glaswegian band has died down considerably and all the ears in the room at Thursday's Lincoln Hall show were for The Vaselines only with no memories of how most of us first discovered this band.
The pace of the room was calmer than could be expected. Granted, the band toured last year getting out a lot of pent up excitement for the then recent reformation, but the vibe filling the room was best described as excited chill, people coming together to celebrate the music that got them through high school and remembering that we are still having the good old days right now in this moment. That is one of the strengths of this band, to be able to live in both worlds.
The set started out just like the feeling in the room, only with a a little more oomph as cheers indicated that the band was taking their places and quickly played "Oliver Twisted" as an energetic and classic opener to the marathon set.
It's perplexing to think that Gary Numan supposedly didn't appreciate The Pleasure Principle for years. While it wasn't exactly the first of its kind, it's definitely in the conversation for catalysts of the synth-pop explosion in the early 1980s. Luckily, he's come to his (and everyone else's) senses by warming up to the album and playing it live in its entirety to celebrate its 30th anniversary. Its songs were originally written for guitar with the Tubeway Army before Numan's fascination with synthesizers took over. And to look at the stage at Metro on Tuesday, that fascination is still alive and well. Four synth setups were accompanied by drums and bass guitar. Although the drums were ridiculously high in the mix (and Numan's vocals were often low from where I stood), there was no question that the synths were running the show.
[This piece was submitted by freelance journalist Leor Galil.]
The music industry is dying, and Ice Age Records founder Kris Di Benedetto couldn't care less. For the 20-year-old Do It Yourself record label head and musician, the well publicized issues affecting many an established record label exists in an entirely different universe.
"The people that don't buy music aren't in my audience," Di Benedetto said. "In the DIY punk scene, people will support bands." Di Benedetto is a DIY punk through and through. The tattoo below his collarbone reads "FLEX YOUR HEAD," which happens to be the title of a popular '80s DIY hardcore punk compilation that features one of Di Benedetto's favorite tunes: Minor Threat's cover of Wire's "12XU." Di Benedetto (pictured below, at home) lives with six people in a Logan Square house dubbed Summer Camp: Every so often, the housemates turn their basement into a venue for small touring bands eager to perform in Chicago. Di Benedetto also plays bass in Parrhesia, a heavy, aggressive punk band he's been a part of since December 2007.
Of course, Di Benedetto isn't simply regurgitating DIY style for the sake of fashion or cool points. His passionate dedication to the local punk community grew from his upbringing in Glenview. "In eighth grade, my sister sat me down and played Alkaline Trio, and took me to shows at the Fireside Bowl," Di Benedetto said. Though the Logan Square bowling alley shuttered its doors to all-ages concerts in 2004 — that is, until recently — Di Benedetto's interest in punk continued to grow.
The band PVT (formerly Pivot) released their latest effort Church With No Magic back in August on Warp Records. On this, their sophomore release, the band has found a more accessible sound while maintaining their heavily inventive style. As you can see in the video for "Window" the band utilizes an array of instruments and sound to create their very danceable sound.
Earlier this month they released a remix EP called Light Up Bright Fires and an accompanying video.
The band plays tomorrow night at House of Blues' Backporch Stage along with local DJ Kid Color. GA Tickets are $9 (adv)/ $11 (day of show). Doors open at 9:30pm. 21+
Thanks to the kind folks at Live Nation, we have five pairs of tickets to give away to the show. Just email us at contests@gapersblock.com with the subject "PVT" and you'll be heading to the show with a friend!
It's one thing for a half-dozen major publications to denote a band as one to watch out for in a particular calendar year. It's quite another for that band to actually live up to such hype. But the Soft Pack has been taking care of it in 2010. Their self-titled debut album has been lauded for its jangly indie-rock sound with remnants of southern California rock'n'roll all over it and their live show has tightened up since they broke out. They appear to be on the road constantly yet still finding the time to record. Right now they have a limited edition tour-only 7" for a new song "Gagdad."
Like the Soft Pack, Kurt Vile has been a workhorse. Since concentrating on his solo recordings apart from the War on Drugs, he's released a plethora of music ranging from folk to punk to psychedelic. Difficult to pigeonhole? You bet. An excellent talent? Naturally. It's a treat to watch him lose himself while playing guitar and genre-hopping.
Want to see the Soft Pack and Kurt Vile? You may be in luck because Transmission's giving away a pair of tickets. Write to contests@gapersblock.com with "VILE PACK" in the subject line for a chance to win! [Update: We have a winner. Congrats to Sean. Thanks to everyone for writing in. (Honestly, I had no idea the Soft Pack and Kurt Vile were so popular with our readership.)]
The Soft Pack and Kurt Vile co-headline the Empty Bottle this weekend, October 30 & 31. Saturday's show starts at 10PM. Sunday's show starts at 7PM. Purling Hiss open both nights. Tickets are $13 in advance and $15 at the door. The shows are 21+. The Empty Bottle's at 1035 N Western.
"I'm gonna sing to this girl right here, and I know you've got a boyfriend but I don't give a fuck," croons Kevin Brereton, better known as rapper k-os, one of the smoothest performers in hip-hop today. With a backing catalog sampling everything from Joni Mitchell to Ozzy Osbourne and a flirtatious and confident stage persona that could make any girl swoon, k-os offered up a solid set to a crowd of devoted fans Saturday night at Lincoln Hall.
You've already got the dates marked in your calendar (January 12-16, 2011), now you can add the artist details. Today Schubas and Lincoln Hall announced the initial lineup for their winter music festival, Tomorrow Never Knows, which mixes established indie acts (The Besnard Lakes) with up and comers (BRAHMS) and local flavor (Pet Lions). There's also a lot of "Special Guest" spots (confirmed acts yet to be announced) that will keep us glued to the computer in anticipation. See the whole lineup as it stands now after the jump.
This is the biggest TNK fest yet, with the Schubas crew teaming up with Metro this time for Friday and Saturday night's performances (where Freddie Gibbs, Rita J and Tanlines are slated to appear). It's no wonder those early bird $50 passes disappeared in a flash, but you have an opportunity to snag a $75 five-day pass along with $15 single-show passes this Friday, October 29th at 12:00 PM. Tickets will be available at Schubas.com, LincolnHallChicago.com and MetroChicago.com, but act fast, because there's only a limited quantity.
Ann Arbor native Mayer Hawthorne draws his influences from soul heavyweights like Holland-Dozier-Holland, Smokey Robinson and Curtis Mayfield, as well as some of the less popular yet powerful voices of 60s soul like Eddie & Ernie and Arthur Conley. His debut album A Strange Arrangement is highlighted not just by sublime songwriting, but a solid grasp of the feeling of the era that this retro-soul harks back on. (It's been said that even Peanut Butter Wolf thought Hawthorne's tracks were covers on first listen.) While Mayer Hawthorne's voice may not evoke the depth of a contemporary like Sharon Jones, he's still a young man in the game, exemplified by an excellent falsetto that isn't overused. It was just a few years ago he was best known as a hip hop DJ, but he's made major strides since committing to performing. And as he continues on, his confidence grows, as evidenced last week in Boston when he announced, "This will not be a concert; this is a show." Now, that's someone you should trust to entertain. It might also be good to pack your dancing shoes.
Mayer Hawthorne & the County headline Subterranean on Wednesday. The show starts at 7:30PM. Tickets are $17 and it's open to all ages. Subterranean is at 2011 North Ave.
Local Ukulele vampires play the "Song of the Count" at a recent Ukulele Open Mic at Silvie's. Also, "Bela Lugosi's Dead" by Bauhaus and "Bad Things" which you might recognize if you're a True Blood fan.
Anyone noticed the new cat stickers at the Empty Bottle men's room?
If you've been, or will go to the Hideout in the near future, expect some changes (for the better) on Wabansia. Tim Tuten explains it all in true Tuten style.
Big Rock Candy Mountain wants your opinion on its next mix: Cheatin' or Hangovers?
This story was submitted by freelance writer Mia DiMeo, who writes for Art Slant Chicago.
Midway through his almost two hour set at the Chicago Theater, Sufjan Stevens paused to apologize to the sold out crowd for any bewilderment concerning the lack of banjo on his new album, The Age of Adz. Five years since the release of the folk-orchestral masterwork, Sufjan Stevens Invites You To: Come on and Feel the Illinoise, there have been mixed feelings, understandably, about Stevens' latest portrait of Americana, that, on Friday night came complete with Auto-tune, a laser light show, and backup dancers dressed in gold lamé.
Stevens' fragile falsetto and skeletal plucks began the show with the haunting intro to "Seven Swans," the quiet prologue to the apocalyptic dance party to come. Under red lights, the band thundered into the song, as Stevens sang his way into the new material with the old favorite and a serious intensity, "If you run/He will chase you/'cause He is the Lord."
Spirituality isn't uncharted territory for Stevens, and neither are synthesizers. Live, it is clear he is just building on the bleeps and glitches in 2001's, Enjoy Your Rabbit with a seasoned sophistication that is closer to the epic nature of Illinoise.
No two people will describe The Arrivals' sound the same way, though many have tried; "Naked Raygun trying to revisit The Kinks," from their bio, does well. Keith Harman from Exclaim! magazine accurately describes Volatile Molotov as "a Billy Bragg-meets-Futureheads new wave synthesis. These songs couple the former's penchant for storytelling, slightly off-tune vocal delivery and overtly socio-political slant with the latter's innate sense of dynamic, passionate, emotive choruses that even Robert Smith would have to admit are beyond his spectrum." Other reviews even mention Refused, all trying to put their finger on it. But The Arrivals are their own animal. Filled with classic rock and punk references, they have called Volatile Molotov their "love letter to their favorite music," and Todd Congelliere, of Recess Records, says it "listens like a classic novel."
Opening the show are The Intelligence (In The Red Records) who play reverb-drenched psychy-garage. Toys That Kill (ex. FYP) are San Pedro, CA legends with a signature punk/psych stomp, and The Gateway District (ex. Soviettes, Rivethead, Salteens), a female-fronted Minneapolis power house of great songs filled with punk passion, country heart, and everything in between.
Doors are at 9pm and the show starts at 9:30. Tickets are $10 and the show is 17+. In any case, it's not to be missed.
Transmission has a little thing for Chromeo. We've been on top of their Pitchfork and Lollapalooza appearances, as well as about a year ago when they played the Congress with Crystal Castles and Boys Noize. Well, what do you know? It's closing in on Halloween and Chromeo's playing the Congress again for Freaky Deaky 2. What luck! The electrofunk band has had a long history of putting on some ridiculously fun shows. Their new album Business Casual is anything but business-like, except in its execution. Party jams, heavy synths, thick grooves and exquisite pop music senses (no doubt helped a bit from some time with Daryl Hall) flood the record. It's near impossible to not have a good time when they're on stage.
Transmission's giving away a pair of tickets through our good friends at Cold Grums. Write into contests@gapersblock.com with "Business Casual" in the subject line for a chance to win! [Update: We have winners. Congrats, David and Liz. Enjoy the show. And thanks for reading.]
For any fan of punk music, Riot Fest is a mecca. If it is not the world's largest punk festival, it is certainly up there, and each year they somehow continue to expand and bring in even more exceptional acts. Now that we've had a full week to recover from Riot Fest (and I've had a week to recover from the massive flu I somehow caught at the festival), let's take a look back at the memorable moments at this year's explosive fest.
Scotland Yard Gospel Choir's Mary Ralph (photo by Steve Stearns)
On Friday night, Lincoln Hall celebrated their first anniversary as a Chicago concert venue and to mark the occasion in style they found an ideal line up for this intimate venue. The night opened with an energetic performance by Chicago's own Scotland Yard Gospel Choir. If you don't know them from their music, you may have heard about them from the terrible accident they had just over a year ago when their van rolled over on the way to Cincinnati. While the pain and debt of that accident may still linger, the band puts on a great show with no signs that anything ever went wrong.
Scotland Yard Gospel Choir's music is ripe with dark comedy featuring lyrics like, "I hope that you catch syphilis and die alone," and, "Oh my god, my life is so fucked up." Those lyrics are then mixed with wonderfully energetic instrumentals that practically compel you to dance and sing along. Overall they are a bit reminiscent of Morissey for his knack for blending seemingly a seemingly happy sound with cynical lyrics, but they have a far more humorous quality that really shines in concert.
Tristan Perich plugged in his latest composition, flipped the switch, and...pow! Just like that, a shower of blipping tones rained down on the crowd in the darkened hall at the Graham Foundation's Madlener House (one of the locations currently hosting Lampo events regularly) and looking at a row of five small black and white TVs. His 1-Bit Symphony looks like a CD, but is actually an electronic device. Mounted inside a clear CD jewel case is a small microchip, some machinery to actuate the microchip's "idea," an on/off switch, and a headphone jack.
While the "CD" ran its course, Perich returned to his seat at the side of the crowd, his fingers sliding elegantly over five separate sets of receptors and tiny circuits. As he manipulated each one, light patterns began to scroll across the screen. First, it was just lines, left to right, a few screens still blank, others in motion. Sometimes, it would seem as if a pattern would "jump" from one screen to the next, as if it were a long snake sliding through the row of TVs. Soon, more complex patterns began to form -- honeycomb textures, visual 'noise' that seemed to be trying to spell out words, and ziggurat-like sawtooths. The patterns always cycled from left to right, forcing you to either choose between looking at all five screens as a whole or focus on each screen's repeated motifs. The effects were created by Perich's homemade system of electronic gadgets that were controlling the cathode guns in the TVs, treating the TV's picture tube like an un-tagged subway car.
The music itself sliced the air with a sharp crystalline edge. The blipping, high-velocity runs and controlled forays into white static were not random patterns, but nuanced, emotionally stimulating compositions -- in fact, it would not be hard to imagine "1-Bit Symphony," with its lightning-fast arpeggios and mournful bass pedals scored for an especially dexterous organist -- but the execution on a set of electronics that sounds like the beeps and buzzes an Atari 2600 cartridge would make when it overheated made the harmonic and melodic complexity all the more affecting. Like Nancarrow's player piano pieces, the medium is always a factor -- you do tend to think about the mind (and hand) that had the idea to punch all those tiny holes in order to make this deeply alien music, but it only enhances the listening experience.
The first performance of Lampo's Fall 2010 season looks like an inspiring set of performers -- all four programs emphasize creative and/or "wrong" uses of low-cost electronic equipment to achieve amazing ends. It's a reminder that waiting to experiment until you've saved up enough to get a "decent rig" is time needlessly wasted.
Triple bills on a weekday night are always a tough lot for the opener. Once, a Canadian rap-rock group named Kazzer opened for The Roots at the House of Blues — the audience was stone silent through some uneventful rapping and pseudo-breakdancing, causing the lead singer to shout "Who likes beer!? Who likes the Roots!?" in between songs. The audience declined to answer.
Luckily for Jon Hopkins, he held the fortunate advantage of some lead-in popularity (collaborations with Brian Eno on a score and album) as well as being a fine match to the performers following him. With tunes displayed Pet Shop Boys-pastorality to the thwomping bass of MSTRKRFT, Hopkins utilized three KAOSS pads to great dramatic effect, showing the energy of a drummer instead of a man squinting at a laptop.
Matthew Dear and band came up next — their Black City logo had been hanging behind Hopkins forebodingly, but they looked all smiles and blazers upon entry. Dear's blazer and cropped hair looked Chris Issak, but his sexy was tinged by sinister. "You Put A Smell On Me" found Dear channeling his best Sign O' The Times-era Prince — a goofy synth line and 4/4 high-hat acting as background for the lustful sneer of "little red nightgown" ad nauseum. Tracks like "Monkey" showed more Bowie-like pop, and a trumpet and double cowbell came out for a spirited rendition of "Little People", which the crowd danced to with approval.
The Henry Clay People have been kicking around for a few years now and have finally ventured out for a true headlining tour. They've put in some serious time on the road with the Drive-By Truckers, Silversun Pickups and the Airborne Toxic Event honing their craft and receiving raves. Their new album Somewhere on the Golden Coast pools their influences of the Replacements and Neil Young and soaks it in southern California rock'n'roll. Although, it's easy to hear the Hold Steady in them with anthems about youthful exuberance, half-singing/half-yelling, throwaway asides, etc.
The Henry Clay People headline the Empty Bottle on Tuesday, October 19. New York's The Dig open at 10PM. The show's 21+ and admission's $12. The Bottle's at 1035 N Western. Transmission is giving away a pair of tickets to this show. Write in to contests@gapersblock.com with "Working Part Time" in the subject line for a chance to win. [Update: A winner has been chosen. Congrats to Timothy! Thanks for reading, everyone.]
If the large, dancing panda in the middle of the Riviera Theatre was any indication of how Monday night's Miike Snow concert went, it was very wild indeed. Of course there wasn't a real panda — although who could tell the difference amidst the abundance of strobe lights — but instead a 20-something bopping around in full-on costume on the ground floor.
Opener Étienne de Crécy started the night with a strong DJ set, deliving an insanely catchy remix of "Make It Pop" by Diplo & Don Diablo. The French producer took turns experimenting with some ambient noise, at one point mixing in what sounded like a distorted laugh track. I was frightened.
The early punk band DA! performed for the first time in over 20 years this past May at the Empty Bottle, and will be performing on Saturday at the Abbey Pub with Radar Eyes and the Green Lady Killers. The quartet formed in 1978, and broke up in 1982. The film You Weren't There, which focused on the late '70s/early '80s punk scene in Chicago, featured DA! I spoke to bassist and vocalist Lorna Donley, who, among other things, has been working as a librarian in the years since DA!
GB: I just watched the videos for the song "Next To Nothing", was that shot on the brown line?
DA!: Yes, that's the old Fullerton station. Dave shot that a long time ago, when he was in film school.
It's cool to see footage of the CTA from 1981.
As an archivist, it makes me cry to see the state that my stuff is in, hopefully there will be more ephemera to come -- I have a lot of fliers, I've found some lyric sheets written in my 17-year-old handwriting.
Imagine, if you will, a grand piano playing a minor third, with the dampers released. Listen in your head to that thick, cloudy haze of tones. It may be just three notes, but zoom in with the microscope, and you'll hear thousands -- maybe millions -- of microtonal variants on those three notes within the cloud of sound, each deepening the emotion and atmosphere of that big, pompous chord. You'd have to have superhuman hearing to listen to each as a separate note variant, but they are all there, and you are hearing them all.
Cut to your nearest gallery displaying Tristan Perich's "Interval Studies" exhibit. A wall, covered with hundreds of tiny speakers, each attached to its own 1-bit tone generator. No subtlety to each speaker, just one mono tone, pure binary -- you're either on of you're off. Now, adjust each tone a micro-click from the other, and you can start to simulate the cloudy density of a piano keyboard, or a flute, or any other musical instrument. It's like a paint-by-number of a chord -- all the pieces are the same, but the blending comes only at a distance. Stand too close, and you see it for what it is, a herd of binary tones coexisting.
Tristan Perich is working the outer edges of 1-bit technology. His "1-Bit Symphony" album is packaged in a jewel case, but it doesn't play in your CD player. It's an actual 1-bit circuit programmed by Perich and equipped with an external mic jack -- you plug your headphones into the jewel case, and the composition plays through until you turn it off or the battery runs out.
Listening to the abundant sound samples on the artist's page, two separate new music traditions are orbiting around each other, exerting their gravity on the pieces: Philip Glass's quickly arpeggiated chord shifts, tempered by Morton Feldman's intuition with intermingling of instrumental tone qualities. Perich's 1-bit electronic accompaniments are paired with toy pianos, flutes, strings, crotales (small, tuned cymbals), and contrabass saxophones. The instrumental qualities soften and blur the electronic/acoustic textures into shimmering, microtonally rich compositions, simultaneously lo-tech and sumptuous.
Tristan Perich performs "1-Bit Symphony" this Saturday (October 16) as the start of Lampo's Fall 2010 season. The performance takes place at the Graham Foundation's Madlener House (4 W. Burton Pl., Chicago) at 8 p.m. Tickets are free and RSVP is required, and though the event is currently full, it is possible to sign up for the waitlist here.
If there's one thing that gets the kids going nowadays, it's the shambling undead. So why not combine that love of zombies with a healthy dose of campy go-go dancing, awesome bands, a horror pin-up, and a comic artist?
The almighty Flesh Hungry Dog Show has done just that for their upcoming Zombie-A-Go-Go show on Friday, Oct. 15, at the Jackhammer (6406 N. Clark St.). This is a seriously jam-packed show, folks: bands Baby Teeth, Cobalt and the Hired Guns, and Lettercamp will perform while fab local go-go troupe The Revelettes will do the Frug all over your blackened heart.
Oh, but just you wait. Also appearing is professional zombie clown Susan Hooper, and award-winning horror pinup Kelsey Zukowski, and acclaimed comic artist Dave Losso (The Great Sandwich Detective) will be providing frightening drawings and other demented goodies.
If you like Halloween and fun, check out this show. Tickets are $8 online and $10 at the door. The Jackhammer is a 21+ venue.
Four and a half years after their last visit to Chicago, Belle & Sebastian returned on the eve of their new album's release. Considering the long break, the fervent audience and the middling early reviews for Write About Love, the set was loaded with older songs. And that was just fine with everyone at the Chicago Theatre on Monday for a "sold out" show. (I'm using the quotation marks because it's what the marquee said, but there were dozens of people selling tickets outside and there were numerous empty patches in the seating.)
Even though 2002 and 2003 were pivotal years for Belle & Sebastian, due to the departure of a founding band member and the introduction of a slicker recording style, it's clear that the band has no regrets about the direction that those moves have resulted in. Where they were once reserved and revering of a lo-fi pop sound, they've embraced the clean and upbeat. "I'm a Cuckoo" and "Step Into My Office, Baby" from 2003's Dear Catastrophe Waitress were early reminders that what was once practically treason to die hard fans is now well-accepted. Both songs were received loudly, and played impeccably. (The strings added nice depth to a lot of songs.)
Belle & Sebastian's strength as a live band revolves around singer Stuart Murdoch. When he's on his game, their dynamic is hard to beat. They play loosely, have fun and everyone in the crowd knows it. But when he goes through the motions or loses interest outright, they lose a chunk of appeal. Luckily, those moments are short and far between. They only included some of the banter between songs (accounting for far too much dead time) and most of the audience participation. (If you're pulled on stage to dance, you'd better cut a mean rug. Don't just mug for 3,500+ people.) Otherwise, he was very engaging and respectfully patronizing of Chicago.
As with any band that's mastered set list construction, there came a point when it was obvious that the finale was under way. On Monday, the infectious and summery "There's Too Much Love" began it. From there they moved on to fan favorite "The Boy With the Arab Strap" that persuaded some folks even in the balcony to stand up and dance. But then a few technical issues arose as Murdoch's microphone cut out for half of "If You Find Yourself Caught In Love" and pianist Sarah Martin appeared to have trouble with the Wurlitzer organ. As professional musicians, they got around it for "Simple Things" and a knockout "Sleep the Clock Around." After a rapturous applause, they returned for an encore of "Judy and the Dream of Horses" and "Me and the Major." What's striking about Belle & Sebastian is that they seem to know precisely what their audience wants and they deliver it seemingly effortlessly. If you're going to make an event out of such rare appearances, you might as well excel at them. And that's exactly what they did on Monday.
Four Tet, aka the lightly unclassifiable Kieran Hebden, will make Chicago the site of his first stateside performance after a summer touring Europe. For the first time since April 2009, Chicagoans will get the chance to dance (or at least undulate?) to his skittering, mellow, and constantly evolving catalog on Thursday the 14th at The Metro. Since he last stopped by, 2010's There Is Love In You found Four Tet winning some of his best critical acclaim yet (including a Best New Music title from Pitchfork) for a collection of tunes field-tested and adjusted at London's famous Plastic People nightclub.
Detroit techno mainstay Matthew Dear has been no slouch himself this year — his Black City LP also garnered Pitchfork's best new music title. As the opener and cherry on top, Four Tet's Domino label-mate and Lovely Bones scorer Jon Hopkins. He recently collaborated with a little-known artist named Brian Eno to produce the latter's 2010 effort Small Craft on a Milk Sea.
Right now, we're going to give away a pair of tickets to the show 10/14 at the Metro to one lucky reader, and to another, a copy of the LP (that's vinyl, you guys) There is Love In You to another. Just email us at contests@gapersblock.com with the subject "Four Tet" and we'll pick a couple of winners! (If you don't want the record at all, please let us know in your email, and vice versa.) [Hold that email! Our winners have been notified!]
Four Tet plays at the Metro, Thursday, 10/14 with Matthew Dear and Jon Hopkins opening. Tickets are $20 in advance. Doors open at 8pm. The Metro is located at 3730 N. Clark St. 773-549-4140. This show is 18+.
Lampo is back for its Fall 2010 season with four more programs of experimental music and conceptual sound. If there is any through-line to the shows in this season's program, it seems to be creative uses of low-tech machinery, hand-built equipment, creatively incorrect uses of unstable machinery, and big effects coaxed out of the simplest of electronic gadgets. In a day and age when the term '8-bit' is tossed around as an intentionally archaic fidelity/medium, who can even wrap their brains around a '1-Bit Symphony"?
Three of the four events take place at the Graham Foundation's Madlener Center (4 W. Burton Pl.), while the fourth is held at Columbia College (906 S. Wabash, Room 214). Graham Foundation events are free, but require pre-registration; the Columbia College event is $10. All events begin at 8 p.m.
Here's the schedule:
October 16: "1-Bit Symphony"; ultra-crude 'binary-fi' electronics with Tristan Perich at Graham Foundation (RSVP here) November 6: Audio installation and video art conflagrations featuring Gert-Jan Prins and Bas Van Koolwjik at Graham Foundation (RSVP here) November 19: Circuit-bent 16mm projectors and screen-mounted light-sensitive electronics from Joe Grimm at Columbia December 4: Furious VHS-damaged audio mayhem from LoVid at Graham Foundation (RSVP here)
Keep reading Transmission for more detailed event info on all four performances.
It's been a decade since Nick Lowe toured with a full band. The British singer/songwriter's recently toured as a solo musician, just him and a guitar churning out best-of sets sprinkled heavily with songs from his last few albums. Now, Lowe is completely capable of entertaining a crowd on his own, but Sunday's full band show at Old Town School of Folk Music was a perfect example of how valuable a backing band should be.
Lowe's first three songs, including "Heart", were solo and totally acceptable. But when his all-star band joined him, it was a whole different show. They filled in the gaps where Lowe's solo performances have occasionally lacked and accentuated his wide-ranging appeal. There's only so much that can be done with an acoustic guitar. Once drums, bass, keys and a second guitar were added to the mix, then they were cooking with gas. From the country-influenced songs ("Lately I've Let Things Slide") to the R&B slow burners ("The Other Side of the Coin" in tribute to Solomon Burke) to the straight-up rockers ("Cruel to Be Kind") to the jazzy numbers ("You Inspire Me") and on and on, the band's versatility was key in showcasing that Lowe's songwriting prowess has extended beyond the pub rock, new wave, and pop that he's often associated with.
Nick Lowe's been in the music business for a long time. He's seen numerous trends appear and fade. He's not exactly doing the same things that he once did when he was in Brinsley Schwarz or Rockpile, but he's not too far off from it. He's just kinda mellowed out a bit while exploring his options. Nobody puts together such an arsenal of catchy hooks without getting a little outside of their comfort zone every now and then. (As good as he is, he's simply been widening that zone.) And it was all on display last night for an enthusiastic crowd. The only negatives were the anticlimactic closings - a tranquil "(What's So Funny 'Bout) Peace, Love, and Understanding" following a roaring "I Knew the Bride" to end the main set, then a cover of "Go 'way, Hound Dog" after a brilliant "When I Write the Book" in the encore. It was equivalent to a fireworks show ending on wimpy comets. Minor quibbles, though, because it was pretty fantastic getting pummelled by great songwriting for an hour and a half.
Alejandro Escovedo just doesn't get enough mainstream recognition. Not that success is necessarily measured in popularity, but when you consider that Escovedo was defining rockabilly punk far before it was even dubbed a genre, you start to feel the plight of his lovingly-devoted fans.
Escovedo got his start in the mid-70s with punk band The Nuns, then moved on to Texas to play with Rank and File and eventually transitioned to solo work. It seems alone is where he belongs, creating one-man albums that are as rich and textured as the experience and history he pulls from.
His latest album "Street Songs of Love" feels entirely different than the past sixteen he's cranked out. On it, he produces full-on rock beats and amped-up albums, with special guests like Bruce Springsteen that lend a couple extra watts.
Alejandro Escovedo takes the stage tomorrow night (Tuesday) at Lincoln Hall, 2424 N Lincoln Ave, starting at 8pm, and tickets are $20 ($25 at the door).
Lucky for you, we have a pair of tickets to give away to Tuesday night's show at Lincoln Hall. Just email us at contests@gapersblock.com with the subject line "Alejandro Escovedo" and you and a friend just might get to check out the punk/alt-country/pure rock veteran for free. [Update! We have our winner! Congrats to Liz!]
I can only explain Swedish experimental pop band Miike Snow's likability in so many terms: hooky, adventurous, playful - for starters. The band is a pleasure you don't have to feel guilty about, because underneath their sometimes-discotheque beats come a set of insightful lyrics that proves some real sensibility.
Their 2009 self-titled debut record takes pop-friendly songs and fractures them into shards of ambient and often-improvised mixing. After working with top-notch producers like Mark Ronson, the band has been expanding its repertoire by putting its own spin on tracks by Passion Pit, Peter Bjorn And John and Vampire Weekend.
Their live shows require an arsenal of digital equipment, which they use to elaborate on their already hard-wired songs. But the best part about Miike Snow is that their sound never feels calculated - some of the best tracks (i.e.: Animal, Sylvia) feel like they were discovered by accident, in the midst of a playful romp on the synth.
Miike Snow will perform at The Riviera Theatre, 4746 N Racine Ave. The show begins at 8pm and tickets are $24
English ex-pat Jamie Lidell began his musical career with some undeveloped ideas before catching on with Christian Vogel as part of the electronic duo Super Collider. However, in 2005, Lidell released an ode to funk and soul, Multiply, that saw his popularity swell. Its combination of funk, soul and electronic music drew raves as Lidell stood up from behind the laptop to showcase his impressive vocals and prove that "revivalist" isn't synonymous with "copycat" by integrating digital techniques that weren't available to his funk and soul inspirations. On the proper followup, Jim, the styles meshed smoother to sound not far from Jamiroquai or southern soul.
Compass picks up in 2010 where Jim left off. Now, without reading anything about the album beforehand, its sound (especially the effects on Lidell's vocals) instantly reminded me of Odelay. (So it was no surprise a couple read interviews later to learn that Beck was one of many guests that also include Nikka Costa, Feist, James Gadson, Grizzly Bear, etc.) That whole kitchen sink approach to songwriting is on display throughout Compass. It's a little messier (in a good way) and downtempo than its predecessors, but still a sonic whirlwind. However, as good as Lidell's albums are, they pale in comparison to his energetic live show. Even as he becomes a bit more eccentric (um, did you see what he was wearing at Lollapalooza?), he's at heart an entertainer; bounding about the stage, putting his electronic roots on display, wowing with his full voice and seemingly having a blast every second.
Jamie Lidell headlines the Bottom Lounge on Saturday, October 9. Zeus, formerly the backing band of Broken Social Scene's Jason Collett and contributors to Compass, open at 9PM. Tickets are $20 and the show's 17+. The Bottom Lounge is at 1375 W. Lake.
If there were ever any doubts that Swans has made some of the most illustrious experimental music in recent years, all were shattered after last night's show at the Bottom Lounge. The band, an ever changing gang lead by Michael Gira gave a strong performance that was rich with both new and older material as well as a testing of the audience's generous patience. You can gage a band's legendary status by the level of entitlement the audience has and Swans are well beyond this level. The fans needed to suck every morsel of sound and be as close to the stage as they could. Many were determined to get their way no matter how many people they had to squeeze through to get closer. It is a sweet testament for a large group of fans to show love for a band with a history as rich as Swans, you just don't want to get caught in the middle.
Not too long ago, Atmosphere announced plans for a fast North American tour with their Rhymesayers label-mates Blueprint, Grieves & Budo, and DJ Rare Groove--and tomorrow night--they are bringing their unpredictable live energy to us with songs from their new double EP, To All My Friends, Blood Makes the Blade Holy. Their final show of the tour.
Ever since the Minneapolis group formed in 1995, Sean Daley aka Slug and producer Ant have independently sold thousands of records. Quite popular, they seem. As they have been likened to the "hip-hop equivalent of the 1992 Olympic men's basketball squad," there is no doubt tomorrow night's show will gather fans like a game with everyone clapping for the same party.
Atmosphere and friends will perform at the Congress Theatre, 2135 N Milwaukee Ave. The show begins at 7:30pm and tickets are $23.
The Austin-based Jazz collective Bee vs. Moth will be in town tomorrow night as part of the tour in support of their latest album Acronyms. The band describes their album as instrumental accidents, but these tracks are inventive and refreshing. Mixing styles from the freedom of Orenette Coleman to the stucture and pop of Henry Mancini. The album has so many sounds and layers that you hear something new with each listen. Acronyms was released last month by Aggraveire Music.
Bee vs. Moth will be interviewed on Fearless Radio tomorrow at 3pm and be performing at Reggies' Music Joint with the local jazz funk Quartet Eigenfunk. The show starts at 8pm and is free.
Riot Fest doesn't kick off until Wednesday, but the unofficial "secret" start to the festival began last Friday, when Chicago's own Smoking Popes played to a randomly chosen invitation-only select crowd of Riot Fest pass holders. The show took place at tiny Wicker Park venue AAA, complete with an unfinished ceiling and a stage made of plywood that wobbled as the band jumped and rocked out. The environment was reminiscent of the barnyard punk shows of my suburban youth, fitting for a band I've been listening to since grade school.
[This review and photos come to us from Taleen Kalenderian.]
"You're never gonna see us again," cried Stephen Patman of Reading, England's shoegazers Chapterhouse, after an hour-and-a-half set of emotional and aural highs. The band kicked off their last ever tour at Lincoln Hall to a nearly sold-out crowd at midnight Saturday, playing Chicago for the first time in 16 years.
Part of the '90s shoegaze "Scene That Celebrates Itself" known for its "fluff-on-the-needle" sound, Chapterhouse formed in 1987 by Patman and fellow singer-guitarist Andrew Sherriff. The band toured with Spacemen 3 before releasing their first album, Whirlpool, which hit number 23 on the U.K. charts in 1991. They disbanded shortly after the onslaught of mainstream Brit-pop and stateside grunge, as well as a lawsuit with their 1993 acid-house album Blood Music (oft-compared to Primal Scream's 1991 LP, Screamadelica).
Chapterhouse's Stephen Patman (photo by Taleen Kalenderian)
It's a competitive musical landscape out there. There are more bands more accessible to more people than ever before. So it should be more important to more bands to do what fewer other bands are doing. One band making great strides, though not quite peerless, is Dungen. The Swedish quartet spent the better part of the 00s mixing psychedelic rock with folk. For good measure, they also tossed some jazz arrangements in the pot. It often came out sounding like a lo-fi Genesis. (I have a recurring dream in which they cover The Lamb Lies Down on Broadway in Swedish. Ok, not really. But you could hear it, right?)
With their new record, Skit i Allt, the Gustav Ejstes-led band has dialed it down a notch or two. The prog-rock and psych leanings are still evident, but there is more reliance on folk and jazz. The crunchy guitars are nearly non-existent, except on the rocker "Högdalstoppen." Whether it's a sign of a change in their approach to music or just a one-off experiment, it's an interesting diversion for Dungen. They're still listener-friendly and based in pop music, but the soundscapes are much deeper on Skit i Allt and it's what many people would qualify as a grower. Hear for yourself:
Dungen headlines Lincoln Hall on Thursday, October 7. The Entrance Band opens at 9PM. Tickets are $15. The show's 21+. Lincoln Hall's located at 2424 N. Lincoln. How about a contest? You want to see Dungen? Write into contests@gapersblock.com with "Högdalstoppen" in the subject line for an opportunity to win a pair of tickets to this show! [Update! We have a winner. Congratulations to Andrew. Enjoy the show!]
Everything was alright until Brendan Canning and Kevin Drew made me cry. At least it was a good cry, a cathartic one. And as I stood alone with tears rolling down my cheeks, feeling like the biggest asshole in the room, I felt like Broken Social Scene were patting me on the back and saying "there there, everything will be ok." I have a feeling I wasn't the only person wiping away some tears Saturday night when Broken Social Scene stopped at The Riviera Theatre for their show promoting their latest album Forgiveness Rock Record. It wasn't all stark realizations that made your lip quiver, but Broken Social Scene (specifically masterminds Drew and Canning) have a knack for writing the words that you wish you could say, then putting them against the backdrop of crashing melodies that sweep you up and away. But just as much as the downtrodden is gut wrenching, the lighter fare is uplifting and romanticizing, and the band showcased both sides Saturday night.
The line outside the Metro at 7:50 was a quiet affair — a boy and girl stood by their lonesomes behind the barricades, watching four spiders have what appeared to be a domestic dispute. Perhaps the 18+ limit kept all the potential young Justin Vernon swooners at home, or maybe on a Thursday everyone was just going to take it slow and smooth. Regardless, by the time Glasser was wrapping up their set, the crowd was dense and active, ready for more after singer Cameron Mesirow's rich Bjork-like timbre had cast its spell.
Glaswegian power-pop band Teenage Fanclub return to Chicago next week for two shows at Lincoln Hall. Ever since emerging from the same C86 scene that birthed BMX Bandits and the Soup Dragons in the 1980s, the band has produced a parade of fine albums, including 1991's masterpiece Bandwagonesque. At they're best, they sound like a raw Big Star. At they're worst... well, they don't really have a worst.
At the center of their long career's consistency are the three songwriters - Norman Blake, Raymond McGinley and Gerard Love. Each brings a little something different to the table, and each sings their own songs, which makes for a good even mix during shows. From their noisy beginnings to the more reformed direction they've latched onto, there's nothing less than great in their history. (Yes, even their so-called duds are worthwhile.) While the band never became the next big thing that seemed inevitable, they've maintained a rabid following nonetheless.
Teenage Fanclub appear to have settled into a routine of releasing a new album every five years and touring on it. 2010's Shadows is the catalyst for this tour, but they'll be playing all the hits live. So don't miss out. Transmission's friends at Lincoln Hall are giving away a pair of tickets to see them next week. Write into contests@gapersblock.com with "Shadows" in the subject line for a chance to win! [Update! We have a winner. Congrats to Victor!]
Teenage Fanclub headline Lincoln Hall next Tuesday and Wednesday. Los Angeles' Radar Brothers open with a renovated lineup and in support of a new album, The Illustrated Garden. Both shows start at 9PM, are 21+ and $20. Lincoln Hall's at 2424 N. Lincoln.
We have no shortage of music festivals here in Chicago, but Riot Fest stands out from the rest by bringing in punk acts spanning generations, reuniting legendary bands, and supplying a plethora of "secret" shows around the city. I had a blast at last year's festival, and this year they've really outdone themselves with an over-the-top line-up.
