They came together last winter and all of them claim it's been like a marriage with three other people, without the sex. Since, Chicago's California Wives have devoted all their creative effort to their music.
Their sound can be described as 80s new wave, unlike most music coming out of the Midwest. Some have compared them to Franz Ferdinand and New Order. Currently they continue to produce their new EP and play shows around Chicago. This Friday they will be playing at Miska's with Sissy Mena. Also Style 4 Food and Max and Chloe will be selling racks of vintage clothing.
Love in October, who recorded and produced their own new self-titled EP, could be described as rock and power-pop. There is a young innocence in their sound, not surprising since two members are brothers originally from Sweden. Love in October has that Swedish pop feel, with a definite American 90's alternative influence--a hint of Weezer in the guitar on "Permutations" and Blink 182 in the quick paced vocals on "Like Nothing Ever Happened." The album has a reflective, melodic ending on "27-08-08" with a distant voice singing in Swedish (reminding me a bit of Foo Fighters on "Doll").
Join them tomorrow at the Record Release Show for Love in October at Martyrs (3855 N. Lincoln Ave.). The Right Now and Jenny Gillespie will also play. Show starts at 10pm. Tickets are $8. 21 & up. (For your chance to win guest passes to the show, email your name and email address to management@loveinoctober.com by noon TODAY.)
Download a free mp3 of "Like Nothing Ever Happened" at their website.
Wilco's Jeff Tweedy must really love the Emanuel Congregation in Edgewater (the Tweedy family's synagogue). He played two shows at the Vic to benefit the synagogue last February, and this August he'll be playing yet another benefit show, this time in the synagogue itself (though you don't have to be a member to attend). It's a perfect opportunity to enjoy a relaxing evening of music for those not interested in that little music festival going on the same weekend. Peter Grosz, who is a Second City alum and is currently a writer for "The Colbert Report", will be opening the show.
The charity event is taking place August 8th at the Emanuel Congregation, 5959 N Sheridan. If you've got a bit of extra dough, a $200 VIP ticket will get you front section seating, a meet and greet with Tweedy and Grosz, an on-site parking spot and a drink ticket. Mid-section seating is available at $75 per ticket and third-section seating for $54 per ticket, with off-site parking available for $10. Tickets are on sale now and may be purchased here. Doors are at 7 pm, show at 8.
You've seen the great debates: South Side vs. North Side, the Trib vs the Times, now NBC's Golden Local is asking you which music festival is better: Lollapalooza or Pitchfork? Cast your vote and check back in 13 days when the voting ends to see what your fellow locals think!
The rain broke, the heat rose with the sun, and there was a free show Monday night at the Pritzker Pavilion at Millennium Park. Oh, I was there. The lawn was not quite a Decemberists-level crush of blanket sitters, but the crowd was lively and comfortably dressed in the sundress and bicycle cuff style. Beer was purchased (or brown-bagged), wine was shared, and cheese was added to crackers. The excitement peaked as the sun slid behind the Michigan Avenue wall and a collective sigh rose as Dirty Projectors hit the stage.
Swinging through through hits like "Stillness is the Move" and "Cannibal Resource" and from their latest album, Bitte Orca, the harmonies between Angel Deradoorian and Amber Coffman were magical in the haze of the slow burn of the evening. From where I was sitting, in that soft light, I couldn't make out the band well, but I could clearly see two members of Broken Social Scene (in town to do some recording at Soma with Sea and Cake's John McEntire) Brendan Canning and Kevin Drew sitting, socializing and enjoying the music. You know, there is something very BSS-like in the harmonies and loops that Dirty Projectors utilize. I can see how that's up in their wheelhouse.
DP closed with a seemingly truncated version of "Knotty Pine" (Byrne-less, sadly), but the Park was keeping a tight schedule. [Note: Later Monday night, after heading off toward Detroit, the band got into a car accident. It seems like the initial reports of serious injuries were false, but they're scrapping two shows in Canada and heading to NYC to regroup.]
Starting right on time were the evening's headliners The Sea and Cake, all business and down to it. Unfortunately clocked in as the "older" band by some of the less-familiar in the crowd, Sam Prekop and Archer Prewitt led the fellas through the set beautifully and really gained some new fans Monday night. The sound was something else — I repeatedly remarked that the bass was stronger than any other Sea and Cake show I'd heard — in a good way. I felt like even though I was hearing this outdoor performance of great songs like Car Alarm's title track and their older self-titled album tune and audience fave "Jacking the Ball" I was experiencing them for the first time in high fidelity. Likely this is a testament to the fine design of the speakers at the Pritzker. To you, I say, Bravo. I wasn't alone in feeling the love that night — the crowd begat several pockets of bouncy dance circles (one of which spilled over into a post-show drum circle, but that's ok).
Tonight at Schubas, a refreshing indie pop band hailing from Boston stops by on their way to play the Sled Island Festival in Calgary. The Main Drag's music bounces along with driving beats, shimmering guitars, and choruses full of group harmonization, their music blending to create a dreamy, laidback, and fuzzed out sound. The band was recently named "Best Unsigned Artist" by Salon.com, and have already had their music featured in Rock Band 2 and in a Target commercial. They're traveling up to the massive Sled Island Festival, where over 170 bands are expected to perform including Andrew W.K., Liars, Holy Fuck, and Japandroids.
Their latest release, Yours As Fast As Mine, is a mélange of their influences, reminding me at times of the layered and heavy sounds of Broken Social Scene, punctuated with bursts of driving energy and the tight rhythmic composure of bands like Minus the Bear or the Foals.
The Main Drag play at Schubas tonight, Monday June 22nd, at 8:00 pm. Tickets are $6 at the door, and local act King Sparrow will be opening. If you haven't had a chance to check out King Sparrow's debut EP Derailer, do so now. It's a heavy mix of dirty guitars, driving drums, and brash vocals, an impressive debut from the Chicago outfit.
It's been nearly 30 years since California punk band X released their debut album, 1980's Los Angeles but you wouldn't know it from the youthful vigor they played with. Starting off a three-night run at The Double Door, X pleased fans by allowing them to vote on their favorite songs and creating a setlist spanning their entire career and back catalog that was sure to make many devotees in attendance very happy.
Perhaps the only clue that X has been playing music for nearly three decades was how tight they were between the four members. It was great to see John Doe and Exene Cervenka trade off on vocals, Cervenka dancing with the mic in her hand, sometimes while she was singing without missing a beat. Cervenka's voice still retains the ability to soar and be as hearty as those songs demand.
Walking the line adeptly between genres of punk and country, the songs were played slightly faster live and with more of the country overtones emphasized. Between the live chemistry between Cervenka and Doe and the smiling presence of guitarist and original founding member Billy Zoom, the band appeared nothing short of charming in the midst of the energy of their songs.
Though their set was very focused on their music playing, X did encourage the audience to keep voting, which should come to fans no surprise considering their politics. John Doe also voiced appreciation for the crowd and for the city they have played in many times over the years. It was also great to see a good turnout with a crowded room of fans, many of whom when asked insisted that they were planning on attending all three nights. Highlights of their set included: "Los Angeles" "Johny Hit and Run Pauline," "Breathless," and "Sugarlight." Throughout their 90 minute long set, including a four song encore that emphasized More Fun in the New World one couldn't help but notice how well X's songs had held up throughout the years.
Hangovers are the annoying, productivity-inhibiting result of a night spent drinking quite a bit, and yet we still put up with them because it's fun to loosen up, be social, and dance. Sure, it's easy to pop some aspirin, rehydrate and muddle through the morning, but wouldn't it be cool if music could relieve your hangover?
That's the concept behind Exception AM, a free digital compilation from subVariant that aims to present a collection of electronic music to help you feel better in the morning after a night of drinking. To celebrate the release on June 20, the release party will be held at Ai lounge in River North as the first in a series of concept parties called "Artificial Intelligence." Liz Revision will mix the mostly-ambient and downtempo tracks from the compilation together at the beginning of the night and will then hand over the decks to local DJs Silentcorp, Andrew Kevins, Dirtybird, and Droopy to finish out the night with techno and house. The party will be free all night from 10pm-3am.
I have walked in and out of Schubas on many nights over the changing seasons and years. On each of these uniquely beautiful nights I walked out feeling like I had experienced something special. I've seen some great shows at some great clubs, but I do not have this particular association with any others. Last night I walked in to see AA Bondy and Holly Miranda. It was again a uniquely beautiful night; and I walked out knowing I had experienced something special.
It must be an artist's nightmare to fade out of their career after once being successful. Yet it happens all the time. A band achieves great highs, branches out from the sound that propelled them to be stars and doesn't catch that limelight again. Years later on indefinite hiatus, hardly anyone even notices. Brutal. Catherine Wheel deserved a better fate.
After the demise of the band he fronted for a decade, Rob Dickinson made the move to a solo career and released Fresh Wine For the Horses. The first half showcases a musician appealing to the masses. Its alternative radio-friendly songs seem to exist to expel the notion of his former band as musical chameleons. (Let's remember that CW practically alienated many fans with their third album sounding more like the Smashing Pumpkins and Bush than Ride and Lush.) "My Name is Love" is anthem-like and numerous other moments shine across the front side. However, this record's nothing if not back-loaded. It's where longtime fans can hear the strides that Dickinson's made as a songwriter during his break from Catherine Wheel. There are echoes of his many influences - whether the shoegazing that broke CW, what could've plastered them all over "Headbanger's Ball", or even the ethereal mid-era Talk Talk sophistication. (And, oh wow, does "Towering & Flowering" ever sound like Elbow!) His latest release is an acoustic cover of "Please Please Please Let Me Get What I Want."
Rob Dickinson plays Schubas, Belmont & Southport, on Sunday evening. Local H's Scott Lucas opens. The show is 21+, starts at 8PM and admission is $14.
The official Lollapalooza schedule has been posted! Check out Lollapalooza.com to start making your Lolla plans (click here to go directly to the schedule). The site is overloaded at the moment, but while I wait for it to load I'm crossing my fingers that Depeche Mode and the Beastie Boys won't be playing head-to-head. Lollapalooza takes place August 7th - 9th in Grant Park. Tickets can be purchased here.
On a Monday night in the bloom of summer, you'd expect a fairly young crowd out for the Nylon (magazine) Summer Music Tour, AKA "look at our new label peeps". While the back of the crowd had a decent mix of folk (and of course, Thax), the front pit was a decently-sized mob of college kids or recent grads who certainly didn't look like they were facing a morning commute.
Jaguar Love drew the short straw and played first. Unfortunately, this meant that people who didn't want to stand in the Bottom Lounge for five straight hours were still finishing up their dinners or perhaps going for pleasant evening strolls. Sorry, Jaguar Love.
Following them were the impossibly French Plasticines, whose syrupy accents made their fairly standard Donnas-esque rock a little sweeter. They played their cover of "These Boots are Made For Walkin", and demanded (eventually through an "interpreter", in case the crowd wasn't understanding their English) that everyone had to "go like thees: *clapclapclapclap*" After some trips into the audience from lead singer Katty Besnard, everyone eventually obliged.
Of special note here is that during the break, no one less than Bob Marley was used for fill music. Sure, why not?
Living Things (not to be confused with Peter, Bjorn and John's new album of the same name) are a band with a message, political and social, told through straight ahead rock and roll. Their latest, sophomore album, Habeus Corpus, is fueled by rage from the Bush era, in fact, these guys used to burn posters of the former President on stage. But, don't think we're dealing with a heavy-metal Rage Against the Machine copy-cat here, these guys have drawn more comparisons to the likes of The Ramones and Johnny Rotten punk.
Three brothers from St. Louis comprise the band--lead Lilian Berlin, drummer Bosh and bassist Eve, with Cory Becker on guitar. You might recognize the catchy chorus form the first single from their debut album, "Bom Bom Bom," which was featured in an Apple commercial. The singles released so far from Habeus Corpus, "Let It Rain" and "Oxygen," are more melodic and poppy, but the group shines on grittier tracks like "Brass Knuckles" and "Cost of Living" which are more representative of the album as a whole.
Living Things are slated to play Lollapalooza in August, but you can see them at Bottom Lounge (1375 W. Lake St.) on Monday, June 15 as part of the Nylon Summer Music Tour. They will open for Patrick Wolf, along with Plasticines and Jaguar Love. The show starts at 7pm. Tickets are $ 15. 18 and up.
Most festivals in Chicago are put on by large-scale production companies such as C3 or Jam productions. These are huge corporations that have the manpower and money to put on massive, successful, wonderful events, yet sometimes balk at the DIY ethics that are a staple in the modern music industry. This weekend the tables will start to turn though, as the Chicago Noise Machine host the massive I AM Fest at the Congress Theater.
Unless an artist is playing a residency, you usually don't get to enjoy an incredibly talented act multiple nights in a row. Usually a band will come through town, put on a wonderful show, and leave you wanting more. But if you're a greedy music fan like me, you may have lucked into seeing St. Vincent twice this week, as she rolled into town Sunday to perform at the Metro before heading over Monday night to play the Jay Pritzker Pavilion in Millennium Park.
As if Stubhy Pandav hadn't found enough success as the lead of Lucky Boys Confusion and Shock Stars, he's created another band by the name of The Insecurities who debuted to a sold out crowd at Elbo Room last June. What started as "an outlet for my songs that I loved but, for one reason or another, never made the cut in previous projects," Pandav says, can now boast that they will be opening for 311 and Ziggy Marley as the winners of an online Q101 contest.
With a familiar Stubhy power-sound, The Insecurities are piano-infused rock taking influences from Ryan Adams, The Counting Crows and Bright Eyes. They have an EP out now called Ban The Kiss Hello: A Social Commentary, and are currently writing songs a full-length album due out in August.
The annual Q101 Block Party will be held at Charter One Pavilion at Northerly Island on Sunday, June 14. The show starts at 7pm and tickets are $37.
Gogol Bordello can't be classified merely as standard live music. They are closer to a music festival all on their own. The gypsy punks bring their own party with an entourage that encourages the energy behind their lyrics. Not surprisingly, the crowd echoes back with its own energy of moshers, pogoers, dancers, and those who just want to have a shared experience over the music.
Likewise, Eugene Hütz isn't merely a singer but one of the most expressive and personality driven leaders of a group of musicians whose work could dissolve into a chaotic mess if they weren't following his every frantic move. Luckily, the other musicians on stage are also talented musicians all on their own and back up the songs well with supplemental vocals, drums, violin, accordion and more.
The avant-garde art/music space Lampo (219 W. Chicago Avenue, 2nd Floor) always attempts to bring new and unique experiences to the ears and minds of Chicagoans eager for something different, but Saturday's performance (9:00 p.m., $12 door) should prove to be especially engaging and unusual, especially for devotees of not just art and music, but the strange fringes of overloaded technology.
The event, loosely known as MAGIC MATRIX MIXER MOUNTAIN, is a collective ensemble of experimental musicians, software developers, visual artists, and circuit-bending mad scientists. The process sounds complicated, so I'm going to let the Lampo info sheet explain it:
During the performance and installation at Lampo, five of the artists will build the MAGIC MATRIX MIXER MOUNTAIN on-site while two are connected remotely via the Internet. All of the artists (foothills) will feedback and feedforward to expose the graceful musicality of faulty technologies. Decoding and rebugging digital media, the MAGIC MATRIX MIXER MOUNTAIN will exist for one night only but will be accompanied by an operator's instruction manual, to be written, arranged and printed live in realtime along with the performance of the audio, video and datastreams.
For a sense of what the group's about, you can visit their blog, which includes a ton of images, short films, and things that twitch and bleep and follow you around the room with a stinky eyeball. The tone and texture of the piece, as well as the love of re-purposing dead/dying media reminds me of the project 8-bit Construction Set, not to mention dorkbot Chicago (with which this group shares members Jon Cates and Jake Elliott) or even the long-running trio I <3 Presets, whose ranks MMMM shares member Jon Satrom (also of Magic Missile) with this group and who are similarly devoted to technological obsolescences in their death-throes, turning error warnings into haikus and bluescreens into percussive solos.
Above: The International Contemporary Ensemble (ICE)
It's worth repeating, in case you're thinking that you read that wrong: this Thursday, the Museum of Contemporary Art (MCA) will present five short pieces by legendary composer Iannis Xenakis, as performed by the International Contemporary Ensemble (ICE), an up-and-coming group dedicated to performing modern and classic works of the avant-garde and, in their words, "advancing the music of our time." Xenakis' structurally difficult works require virtuosos who not only possess outstanding chops, but excellent instincts and problem-solving abilities, as the pieces often demand something beyond perfection from its performers, requiring them to make sounds not easily coaxed from their instruments, and to play them perfectly each time. As a result, the ground-breaking Greek composer's works are seldom performed, and even more rarely by an ensemble so dedicated to making them EXACTLY RIGHT, making this event a rare and essential musical event.
ICE will perform five of Xenakis' pieces (roughly a 75 minute performance, with intermission) in the MCA's auditorium. Tickets are $25, and the performance starts at 7:30 p.m.
I'll be honest, most of the time I find solo singer/songwriters kind of boring. But, then I heard Kevin Devine. Devine is an artist that can cross many different genres and put his stamp on each one. His new LP, Brother's Blood, is in a word, outstanding. He excels with energetic indie-rock jams like "I Could Be With Anyone" and several tracks -- including "All Of Everything, Erased" and "It's Only Your Life" -- that sound like they could have been on the Garden State soundtrack. He also has a talent for creating powerful swelling songs like "Carnival" and title track, "Brother's Blood."
In listening to the album, I found myself associating him with artists from Ben Gibbard to Ryan Adams to Albert Hammond Jr. to Sam Beam to Jeff Tweedy, but even those comparisons don't capture his wide range. There is "Fever Moon" -- a sexy Latin croon that you wouldn't expect, but it works. Then there is the deceivingly cheery ukulele tune "Murphy's Song" about a pup with a Marley & Me ending. The album hits its peak at the middle with epic desperation in the nearly eight-minute "Brother's Blood" followed by the steamy "Fever Moon."
Devine has worked and toured largely under the radar and was almost lost after his dismissal from Capital Records during their merger with Virgin, but he came out unscathed, and frankly, better off than he went in. This fifth album, released on the Favorite Gentleman label, is a self proclaimed "sprawling, confident mission statement about conscience, culture, and personality."
A few weeks back, we mentioned an upcoming two-day festival of black metal, drone, ambient, and harsh noise called Matchitehew Assembly. It's still happening Friday and Saturday, June 5 and 6, same time, same place, same everything, except that one more act's been added, and it's a doozy. A collaboration between West Coast noise/experimental artist John Wiese and Midwest drone industrialist Hive Mind has been added to the Friday lineup, bringing each day's lineup to eleven acts.
Wiese is known to harsh noise fans for his limitless array of recordings, both under his own name, and with such collaborative projects as Sissy Spacek, Heavy Seals, LHD, and Waves. His work with Sunn o))) also more than cements his reputation in the world of experimental metal. His most recent album is titled Circle Snare, and is available on the No Fun Productions label.
Greh Holger, aka Hive Mind, has mined an obsessively bleak shaft of darkness for many years, with such classic albums as Tunnel Birth, Death Tone, and Cast Through Shallow Earth to his credit. He also runs the Chondritic Sound label, where you can still find an example of this duo's collaborative possibilities in the form of a 10" record entitled "...Trick Satanism."
The festival is taking place at the Co-Prosperity Sphere, with tickets priced at $25 for one day, or a two-day pass for $40. More info on the festival, including up-to-the-minute updates and directions to the venue can be found at the Matchitehew Assembly web site.
When I grow up, I want to be Karen O, the electrifying front woman for the Yeah Yeah Yeahs. During their sold out show at the Aragon last night, O never lost the giant grin she wore while parading around stage and leading the band through some of their best songs and showcasing new work off their latest album, It's Blitz. You want to know what it's like to love your day job? Go see the Yeah Yeah Yeahs.
At first it sounded like too much of a gratuitous pairing, if not something akin to a shotgun wedding -- the merging of two of the leading names on the international electronica scene. But the proof is in the results, and with the release of their album this past month, the collaborative trio Moderat (that being two parts Modeselektor to one part Apparat) proved that the venture makes total sense.
On prior releases, the duo Modeselektor have established themselves as deft craftsmen and versatile collaborators -- switching styles at the drop of a hat while working with everyone from Thom Yorke to glitchcore nutter Otto Von Schirach. Likewise for the moody and pop-minded Apparat (aka Sascha Ring), who showcased his own creative flexibility when he partnered with Ellen Allien for the brilliant 2006 album Orchestra Of Bubbles.
It's been five years since the last time we heard from The Prodigy, but they're making one hell of a comeback. Invaders Must Die, the new album which the band self-released, jumped to #1 on the UK charts and has gotten worldwide recognition. And for good reason - this raucous, soul-blasting album proves the band is back with a vengeance. Lucky for us, they're hitting up the Congress Theater tonight, which will undoubtedly be a sweaty fun dance party. I had the chance to chat a bit with Maxim, The Prodigy's MC/vocalist, on the phone last week (albeit with a few technical difficulties) about the upcoming show and his thoughts on the album.
"It's kind of like a new thing for us, getting back together as a band and getting back into the studio. This is kind of like a family united. It's triumphant. You can hear the togetherness of the band on the album." explains Maxim.
The track I find myself playing constantly, "Run with the Wolves", features none other than Foo Fighter Dave Grohl. "He's a good friend of ours, so it happened quite naturally. It wasn't a case of our manager contacting his manager - Dave contacted us and said he likes creating beats. He had just finished a tour, so we went to the studio and laid down some beats. It happened quite quickly and we came together on a natural level."
What can we expect from tonight's show? According to Maxim, "full-on energy."
The Prodigy play tonight at the Congress Theater, along with Canadian DJ/producer Tiga. Tickets are $35 and can be purchased here. The show is 17+ and starts at 7 pm.
Back in the '90s, perhaps no one figure played more of a single-handed role in reshaping the German electronic music scene than Cologne-based producer and musician Wolfgang Voigt. Issuing recordings via a plethora of pseudonyms and short-run labels, Voigt was at the center of a network that stepped up to challenge the supremacy of rave-centric Berlin techno; all of which would eventually lead to his co-founding the broadly influential Kompakt label. But in the years since, Voigt's legacy has mostly rested on the work he did throughout the late 1990s under the alias Gas.
Over the course of numerous albums and EPs, Voigt developed an enigmatic and impressionistic take on dance music. The average Gas track struck the ear like a soft-focus pastorale -- all awash in layered, sweeping timbres that sounded like an orchestral string section sawing away at Mahler's Sixth in slo-mo, with the muted throb of a persistent beat thumping through the atmospheric haze. Musically, it was more the stuff of dreamscapes than dancefloors; but a decade after the fact it seems that Voigt's now in a position to trade on his work's lasting appeal. This past year's seen the Nah und Fern 4-disc boxset reissue of the Gas discography, as well as a book of Voigt's artwork with an accompanying CD via the Raster-Noton label.
If you're a fan of stripped down garage rock, loud drums, and/or redheads, meet your perfect match. White Mystery is the two-piece brother/sister duo of Alex and Francis White. Alex is best known as the guitar rockin' front women of Miss Alex White and the Red Orchestra, but with her latest venture with brother Francis, she strips it down to a guitar and heavy-handed drum garage rock sound. The twosome put on an energetic show, and had one of the most killer tambourine and guitar rock outs I've ever seen recently when they appeared in ChicaGoGo (as evident in the photo above).
Also playing is noteworthy act, Stranger Waves, who were recently picked as the "Best Rock or Pop Act" by The Reader. The trio of 18-year-old rockers supposedly puts on one of the best and most rowdy local shows around, creating a racket of noise with two guitars and driving drums. I'm looking forward to finally checking them out live myself. The music will be gritty, loud, and it will make you bounce all around Hideout's floor.
White Mystery and Stranger Waves play The Hideout, 1354 W. Wabansia, tomorrow night (May 23rd) at 9pm. Tickets are $8, and the show is 21+
"They killed our DJ's and stole our airwaves... this means WAR!"
Vertigo Kidd is musical disguise of Chicago Public Radio reporter Michael Rhee. This past week he, along with Austin Bale, Erik Rasmussen and others, released the debut ep, Pirate Radio and in turn waged a personal war on mainstream radio. This release is filled many of the elements of traditional pop, but since it was done independently will not be granted the attention it deserves. Blending electronics with a more traditional sense of rock, the ep crosses genres (and oceans, "Hawaii") effortlessly in just four songs. The album and beautiful cover by Becca Heuer can be purchased digitally here, or you can attend Vertigo Kidd's release party tomorrow night (May 22nd) at Silvie's Lounge, (1902 W Irving Park Rd). Also performing tomorrow night will be Blue Eyed Jesus and John Drake band, and it all begins at 9:00pm.
DJ Z-Trip, who brought us his Obama Mix: Party for Change (which we had on repeat through the election) and Victory Lap: The Obama Mix Pt. 2, is coming to Chicago with Q-Tip as part of Bacardi's B-LIVE Tour. The Chicago stop on the tour takes place at House of Blues on June 12, 2009, but The FADER magazine is presenting a "warmup" next Wednesday, May 27th at Evil Olive. The event, dubbed SOUNDCHECK, will have complimentary beverages from 9-midnight with music by DJ Ghetto Division. Evil Olive is located at 1551 W. Division. 21 & up. RSVP for SOUNDCHECK here.
Rumor has it that Repo, the newest release from the Brooklyn-based experimental music trio Black Dice, has a few of the band's longterm devotees crying "sell out!" It's difficult to see what any sort of fuss might be about, especially considering that Repo doesn't signify any big change in artistic direction. As with their other four albums, the group's sticking with their usual technique of tweaking and twisting samples and loops into lopsided rhythms. But Repo finds them forgoing some of their prior austerity and greatly expanding their sonic vocabulary in terms of source material. And this time out the tracks are denser and more richly-layered constructions, with the guys running loops and sounds around a deeper acoustic space, bouncing them about like tennis balls in a clothes dryer.
The end result is an album that contains a newfound sense of playfulness and some genuinely hilarious moments. Case in point, the woozy percolating bloopiness of "Lazy TV," and the delirious psychedelic cartoon stomp of "Glazin" as it uncoils around the wobbly sounds of a Hawaiian slide guitar and (what sounds like) loops pinched from "Crimson and Clover" and "Doo Wah Diddy Diddy." If anything, it all reveals a group that's finally reached a certain comfort level with what they're doing. Enough so, that they can loosen up and have a little fun with their chosen mode of noise-making.
Canadian bred indie rocker/tongue-in-cheek zinger of all things too indie, Dan Bejar, aka, Destroyer is performing a solo show at the Empty Bottle on Sunday night. Bejar, who, for far too long, has been lumped into the New Pornorgraphers clique, has been cranking out albums under the name "Destroyer" since the mid '90s. Last year's Trouble in Dreams was album eight for Bejar, who has been speeding along and alone in his roadster built of irreverent quips and lyrics on a road headed somewhere (just not too specific of a destination, please) with his forays as a contributor alongside the NPs and others serving, more or less, as roadside curios. The audience should expect Dan, an acoustic guitar and a set list showcasing his vast catalog of Destroyer, New Pornos and Swan Lake songs. Fingers crossed, he busts out the same new material that has numerous message boards all-a-tizzy!
Destroyer plays at the Empty Bottle, Sunday, May 17th at 9:30pm. Tickets are $12.
I've preached my love of local band Raise High the Roof Beam before here at GapersBlock. Their charming brand of music shimmers both live and recorded, and their shows are a swirling mix of funhouse whistles and balloons wrapped around earnest lyrics delivered affectionately by lead singer Thomas Fricilone. Raise High the Roof Beam are not dastardly in the nature of their music, striving to create layered, quirky, and bold anthems instead of playing it safe and blending into a mundane world of indie pop rock.
The band just released their latest EP, The Majestic Beast of The Flatlands, and are getting ready to leave our fair city and head out on the road for a bit. To celebrate a tour and some new tunes, they are having a show/party tonight at Volcan Gallery. You know the type of venue and show. BYOB, donation at the door, an intimate show with a bunch of strangers while discovering some great new local music. Sounds like a great plan for a rainy Friday night. Sure beats staying inside watching movies on Lifetime.
The show is tonight, Friday May 15th, at Volcan Gallery, 1917 W Irving Park. It's all ages, and the music starts at 8:30pm, a suggested donation of $7 at the door (which will get you music from four bands) and the event is BYOB. I say bring a bottle of wine, no one will bat an eye if you sip straight from the bottle.
King Khan at the Pitchfork Music Festival, July 2008. (photo by George Aye)
If a friend showed up at your house wearing gold lamé underwear, a cape, and toting a cooler of dry ice, you just might back away slowly and bolt the door. When it happens at a rock show, you know you're in for something special, and you press as close to the front as you can. That's what was in store for the crowds at the Pitchfork Music festival last summer when King Khan & the Shrines took the stage.
Somewhere between Neo-Soul and performance art, this lovechild of James Brown and Sun Ra truly is a rock n' roll showman. King Khan struts, he preens, he screams, he sings! He also seems to enjoy making the rounds in Chicago, as he's been back a few times in the past year, always stopping in at the Bottom Lounge (where he'll perform Friday night). The large music space accommodates King Khan and the Shrines' flamboyant, exuberant performance style (complete with elaborate costumes and a disco cheerleader), while keeping a show feeling intimate. The group's sound is somewhere between a balls out soul scream (think Brown's "I Feel Good") and a sweaty, summer rooftop dance party. I doubt there will be anyone who will walk away from Friday's show saying that King Khan didn't bring it. Pick up a copy of their album What Is?! for a good listen, or check the tracks below for a taste.
The Kills brought their brand of sultry, gritty, and exuberant rock 'n' roll this past weekend to a sold out crowd at the Metro. Sharing the bill with them on their tour is the UK gothic glam punk outfit The Horrors.
Photos by Steve Gasikowski
[More, including more photos by Steve Gasikowski after the jump.]
Pick up your average, non-comprehensive "names for babies" book, and it's unlikely you'll come upon one of the more sinister-sounding names available to you -- "Matchitehew." It's an Algonquin name meaning "He has an evil heart." Hell of a way to bring a new child into the world, eh?
The name does, it seems, evoke just the right tone as the name of an upcoming two-day festival in Chicago. Matchitehew Assembly, taking place on June 5 and 6 at the Co-Prosperity Sphere, wears its evil heart on its sleeve by offering 21 bands and performers, joined by a shared love of funereal doom. Projects from the genres of black metal, drone, power electronics, and harsh noise will blanket the city just as heat and sunlight begin to attempt their timid return.
Tickets are $25 per day, $40 for both day, all ages. All info, including times and directions, can be found at the festival's website.
Come hell or health problems, Mike Watt doggedly adheres to his age-old ethos of "jamming econo" and working the "thud" end of things.
Arguably the punk movement's most technically adept and hardest-rocking bassist, Watt first came to prominence in the 1980s with his work in the Minutemen and fIREHOSE. And in the intervening years he's managed to stay indefatigably busy and prolific. Recently, he served as the bass player for the resurrected line-up of the Stooges, and he's also continued to record and tour with a dizzying number of bands and projects.
One such current project is the ensemble Unknown Instructors, whose fourth album, Funland, drops via the Chicago-based Smog Veil label this month. The group marks an all-star reunion of alumni from the SST stable of yore. In addition to Watt, Unknown Instructors also includes former Minutemen drummer George Hurley, guitarist Joe Biaza from Saccharine Trust and Universal Congress Of, with Joe Carducci -- former SST maestro and author of the aesthetic tome Rock and the Pop Narcotic -- handling the product boards. Vocal duties go to Watt and Toledo-born poet Dan McGuire, with contributions from Pere Ubu frontman David Thomas and former Black Flag sleeve artist (and current art-world big cheese) Raymond Pettibon.
The cavernous Bottom Lounge is a daunting place to fill on a Thursday night, but a small crew manned the upstairs bar, a decent gang resided in the main bar, and a downright impressive (if not quite capacity) swell of folks filled the back room for a three-bill musical spectacle. Starting things off were Anticon's Serengeti & Polyphonic, the latter playing mild-mannered beats under the incomprehensible rhymes of the former. Everyone has off nights, and some tastes are more acquired than others, but the audience was about as fully involved in their own conversations and drinks as they could be without facing completely away from the stage. Several points found lyrics giving way to a stuttered f-bomb in lieu of a rhyme, and when they did come, it was with treats like "a stolen chandelier/barfing from the womb".
After a quick recuperation, Maps and Atlases took the stage. The three string-players were lined across wearing Hoodie, vest, flannel - a front line hipster triumverate. But there was no posing here. Singer Dave Davison has the bent yelp and polite plead of a Van Morrison and a Cat Stevens in his singing, and plays a mean guitar to boot. Erin Elders joins him for some fancy fretwork - if you've never seen finger-tapping outside of metal videos or your drunk friend at a party, rest assured it can be a powerful weapon when used in pop melodies. Shiraz Dada kept the pace on bass, and Chris Hainey broke out just the right amounts of cowbell, xylophone, and wood block to create a refreshingly new but sugar-y sweet simple pop that would probably make Vampire Weekend punch the windows out of their parent's Bentleys. After rousing versions of "Every Place Is A House" and "Ted Zancha" the band was in full control of the audience, and after a few more songs, left to a big burst of applause.
The foursome of Deerhoof, now a year and change into their current line-up, took the stage softly and carried a big stick. Vamping through a short opener, the band then hit the jangly first notes of "Chandelier Spotlight" with Satomi greeting everyone appropriately for the windowless venue - "welcome to the underworld..." A strange group of bros in the front kept shouting in unison for "wolf head" (?) during the song breaks. Satomi coolly asked are you from "wis-con-sin? Wis-con-sin! Wis-con-sin!" to much approval from the gents and the audience in general. Having saved the day, she returned to her far corner of the stage. Although almost obscured from view, she kept her presence known with her usual fantastic vocals and the occasional flying kick.
Always an eclectic performer who loves to bring his music right into the crowd, Dan Deacon didn't disappoint last night at his show at the Metro. See more photos after the jump.
A few months ago, I had the opportunity to listen to an advance copy of the Dex Romweber Duo's new album, Ruins of Berlin. The album was put out by Chicago's own Bloodshot Records, and it's a great record. Listening to it as often as I have been lately, honestly, I can't imagine a better, more energetic show that I'd like to see. Thankfully, Dex will be in Chicago tomorrow night.
Dex and his sister, Sara will be rocking out the Double Door Wednesday night, May 6th. They won't be alone, either. Also on the bill are the Blackbelts and the always entertaining (and fellow Bloodshot recording artists) Detroit Cobras. If you want in, we've got you covered. We have not one, not two, but three pairs of tickets, and we'd really like to give them to you. Here's what you have to do: Just email us at contests@gapersblock.comwith the subject line "Dex Duo" and you and a friend get to go for free! (21+) The first three get 'em, so email away! The show starts at 9pm, at the Double Door, 1572 N. Milwaukee Ave., Chicago. Update: We have our winners! Congrats to Matthew, Erin, and Kurt!
Over the years, the Hideout has not only played a vital role in fostering the local music scene, but it's also often linked up with various organizations that strive to improve the social and cultural quality of life in the city of Chicago. This weekend, they bring these two traditions together yet again as they host a three-way benefit event, and a superb lineup of Chicago acts have signed on to take part.
Kicking off at 4 PM and continuing throughout the evening, the benefit features a rich and diverse billing of Chicago artists. The roster includes a double dose of homegrown avant-folk from Spires That In The Sunset Rise and Pillars & Tongues, some Puerto Rican styled bomba y plenta from the percussion & dance ensemble Afri Caribe, as well as a set of spaced-out latin psychedelic pop from local favorites Allá. The band Roommate will also be putting in an appearance, and headlining for the evening is Baby Alright -- the funk/soul covers project whose lineup includes Dan Bitney of Tortoise and poet/former D-Settlement frontman Marvin Tate. This being a Saturday night, the Hideout's Dance Party follows, with DJ Céline.
See the full schedule for the event below, after the jump.
Ah, Grand Rapids: native hometown of former President Gerald Ford and the nation's Furniture Capital (of office furniture manufacturing). Mustard Plug proudly claims Grand Rapids as their base of operations, where they've held court over the local ska scene since 1991. That's a whole lotta years of skankin' to offbeats, folks.
The boys are obviously good at the game by now, so do yourself a favor and head to the Beat Kitchen on Friday, May 1 to check them out as they headline with The Pinstripes and Scissors. The show kicks off at 9:30 p.m. and will set you back $12. You can find online tickets here.
As it happens, the Lumpen-organized Version>09 is winding down for the closing night of its eighth annual arts and media activities this Saturday with the Chicago Art Parade and this year's episode of the Journey To The End Of The Night street-game event. As it happens, all of this coincides the latest cross-country tour from the Olympia-based K Records stable rolling into town, so it looks as if the two parties decided to merge paths for an evening of music at the Co-Prosperity Sphere.
Headlining for the occasion is Chain And The Gang, which effectively makes for the latest musical incarnation of Ian Svenonius -- previously the frontman for Nation of Ulysses, The Make-Up, Weird War, and author of the 2006 subcultural polemicist screed The Psychic Soviet. Also on the bill in a supporting role are the Hive Dwellers. Both bands, reputedly, are more or less the same groups of musicians; an ensemble of various members of bands from the K Records network -- except that as C&G they back Mr. Svenonius and as the Hive Dwellers they accompany K Records founder and former Beat Happening/Dub Narcotic Sound System impresario Calvin Johnson. And if that billing wasn't confusing and incestuous enough, Calvin Johnson is slated to get the evening's show rolling with a set of solo material.
The first (and only) time I saw Mastodon was at the Pitchfork Music Fest in 2007. I knew who they were and I'd heard a couple of songs, but I was completely unprepared for the amount of rock that they unleashed. It was one of the highlights of my weekend, way better than Yoko Ono's light show that night. They're heavy metal the way it should be; loud and fast.
If you haven't heard of them yet, you should pick up their newest album, Crack the Skye (you can listen to it here, too). If you have heard of them, then you're probably one of the people that can't get in to their sold-out show this Thursday night (4/30) at the Metro. Lucky for you, we can help. Thanks to the tour's sponsors, ShockHound.com, we have two pairs of tickets to give away. E-mail us at contests@gapersblock.comwith the subject line "Mastodon" to enter. We'll pick two lucky winners on Tuesday morning! It's as simple as that. I assure you, you want to see this show. If you can't make it to the show in Chicago, perhaps you can find another date on their schedule that suits you. Good luck! Update! We have our winners! Congrats to Casey and Ryan!
Superdrag returns to Chicago this weekend (Saturday April 25th) to perform at The Metro with longtime Chicago veteran Nicholas Tremulis Orchestra and Van Ghosts. This show is in support of their new album Industry Giants, and follows on the heels of the recording of their Daytrotter session. In sound, this is very much the Superdrag you may remember from the late nineties, but lyrically frontman John Davis is taking the band in new direction. John had a life changing experience in 2001 that eventually sparked the bands four year hiatus and his new found faith is tastefully splattered though out this album. Don't get me wrong, Superdrag is not a Christian band, but there is a positive spirituality that sets a clear and refreshing tone.
Really Quick Contest! We have a pair of tickets to give away courtesy of Superdrag for the first person to email us at: contests (at) gapersblock (dot) com with the subject line "Super!". (FYI: This show is 18 and over.) Update! We have a winner! Congrats to Ryan.
Recently, I was able to ask John a few questions about the direction of band and the new album.
What's better than a day full of Chicago's own power pop rockers OK Go? There's certainly no shortage of opportunities to see them today. This afternoon, they're handing out burritos to the homeless along with volunteers from Inspiration Corporation. If you'd like to help out, head over to OKGo.net for more information (you'll have to be able to meet up at noon and bring your own burritos). The band will even take you out to lunch before you hit the streets.
Not able to make it out at noon? No worries! OK Go will be doing an in-store performance at the Michigan Avenue Apple Store at 4 pm. I'm a big fan of in-store performances at Apple because they have platform seating so you'll have a good sight-line no matter how far back you are. Unfortunately, I'll still be stuck at the office at 4 pm. If you're caught in the same situation, do not fret! The band will be performing again tonight at the Double Door, as part of the venue's 15 Year Anniversary series. If you're an OK Go fan, you pretty much have no excuse to not see them today.
The Double Door is located at 1572 N. Milwaukee Ave. Tonight's show is 21+ and starts at 9 pm. Tickets are $20 and can be purchased here. U.S. Royalty opens.
You wanna talk geek cred? MC Chris has it in spades: For years, he served as a writer and voice talent for Cartoon Network, working on The Brak Show, Sea Lab 2021, and notably, on Aqua Teen Hunger Force as MC Pee Pants, the most famous giant spider rapper to wear a shower cap.
Oh yeah, and he raps. In 2001, Chris captured geek hearts far and wide with underground hits including "The Tussin" and "Fett's Vette" (with the excellent hook "My backpack's got jets/ I'm Boba the Fett/ I bounty hunt for Jabba the Hut/ To finance my 'Vette." Many albums later, MC Chris is back on track with his latest CDs, 2008's MC Chris is Dead and 2009's Part Six Part One.
Want to spend an evening rhapsodizing about action figures? Of course you do. Check out the MC Chris show on Friday, April 24 at the Beat Kitchen. He'll be performing with Jacksonville, FL, punkers Whole Wheat Bread. The show kicks off at 7 p.m. and will set you back $14 at the door.
Really Quick Contest! The first one to email us at contests (at) gapersblock (dot) com with the subject "Pee Pants" gets a pair of tickets to the show on Friday night! Update! We have a winner! Congrats to Eric!
That whistling band from Sweden. That's how most would probably describe the band Peter Bjorn and John, that exploded on the US music scene two summers ago with the catchy song "Young Folks." The rest of Writers Block followed along this trend with more whistling and more pop songs, but also some darker experimental tracks, hinting of what was to come from this group. Last year the group put together a mostly instrumental album (with some spoken word) called Seaside Rock that varied in genre from caribbean jam to, well, seaside rock. Their latest album, Living Thing, is the trio at it's finest thus far--serious, percussion heavy, minimalist indie rock (with a couple paul simon-esque tracks thrown in for good measure...).
While the trio has been busy together, they also have solo projects on the burner as well. Peter Moren released a solo album last year (on Chicago's own Touch and Go label) venturing more into the singer-songwriter arena, while Bjorn Yttling has been busy producing other artists such as fellow Sweed breakout Lykke Li.
Opening for Peter Bjorn and John at Metro this Thursday, April 23, is the charming Chairlift, whose debut album, Does You Inspire You was released just this week. Their song "Bruises" is yet another song you probably heard in an iPod commercial. Both bands were among the lineup announced this week playing Lollapalooza, but if you want to catch either of them in a smaller venue than Grant Park this year (at least in the city of Chicago), this will likely be your last chance to do so. Tickets are still available for tomorrow night's show, but act fast, because getting all the way to the venue just to find out that it sold out that day, well, it really sucks. The show starts at 9pm. Tickets are $20. 3730 N. Clark St. 18 & up.
The word amicability can be defined as having a disposition characterized by warmth and friendliness (wordreference.com), and on their latest album, aptly titled Amicability, A Light Sleeper oozes warmth in every notes. A few years back a band called The Knife released an album called "Silent Shout", and that phrase has always left a certain image in my mind. It's an image of wanting to scream, but not having an outlet, not fully releasing it. Amicability is very much a gentle and refined scream, or perhaps it is that welling up just before the scream. The eight tracks build and wind through layer of jazz, ambience, and chopped up vocals while the listener drifts along. Moments are built and then drained as this trio melts all snow and allows the spring to full capture the spotlight. It's that creeping warmth, that mounting scream, that release from a tortuous winter and a bursts of truly inventive musical exploration.
This is the first musical release from the new nonprofit group Another New Calligraphy. This is a project that helps musicians and writers establish and maintain an effective visual and tactile presence in an ever-increasingly virtual world, all while building an artistic community with a powerful, unifying identity. Their hope is that by making albums or manuscript visually recognizable, they can help art stand out in the American media overload. Operating outside the realm of traditional record labels and publishing houses allows them to work under a new model based on the simple acts of creating and sharing. It is an ambitious mission, but they have chosen an exceptional album to launch the project.
The Streeters, finally coming back out from their recording binge and much needed winter hibernation, are playing Quenchers this Wednesday April 22nd. I interviewed Chris Stelloh and Dan Stone of back in December a few days before they played at Subterranean, opening for Rulet. They invited me by their apartment with apologies for the lack of whiskey, and offered up some stove brewed coffee instead. It was a cold and miserable night, almost as nasty as this hail and snow on the forecast these next two days.
I had no idea really what to expect from an interview with The Streeters. Stelloh I've known for a good while from the neighborhood. Most folks would probably pick him out of the crowd, though maybe without knowing where they'd seen him before. That's how it is sometimes when you run into the bartenders who work at Estelle's. Dan on the other hand I hadn't met. Getting the two of them in one room though... I should have brought along an interpreter.
Stelloh is one for rapid-fire conversation. Talking to him is like to leave the listener a bit breathless to compensate. The gamut of topics he's likely to touch upon will also leave a person reeling a bit. Add Dan into the mix though and suddenly it was another language being spoken in front of me. The layers of reference left me with the feeling I'd just barely missed the punchline of some hilarious joke. Bits of "Venture Brothers," Mitch Hedberg and Trading Places seeped in between what must have been just old shared hijinks.
Our conversation started with Dan providing a soundtrack on a particularly beat-up acoustic guitar. Stelloh requested that he play some zombie songs.
Dan: "I was under the assumption that everything was a zombie song."
Stelloh [to me]: "Everything has to be played on an acoustic guitar. So you can still play after the zombie apocalypse."
Dan: "I hate acoustic guitars. Except this one."
No stranger to the pioneering fringe of experimental music, Kieran Hebden was a key member of the forefronting U.K post-rock trio Fridge back in the early 1990s before he delved into electronic music under the name of Four Tet just over a decade ago.
In the past few years have, Hebden's stayed unusually active and prolific. He not only brought Fridge out of hibernation for a reunion album and series of concerts, but also releasing collaborative albums with avant-jazz drummer Steve Reid, putting in a guest appearance on Vashti Bunyan's 2006 LP Lookaftering, as well as continuing work under both his own name and under his Adem alias. Somewhere amidst it all he found time to check in under his Four Tet guise with last years last year's Ringer EP. While it largely leaned toward bleeps-and-beeps mesmerism, the EP still hinted as Hebden's usual modus -- folktronic tapestries of electronic and organic instrumentation laced with samples, beats and loops that as equally evoke the rich sweep of pastoral expanses as the recesses of inner space or the dancefloor.
Pontiak are the trio of brothers Van, Jennings, and Lain Carney, who -- after having scattered across the map to pursue various musical careers -- came together in Baltimore a few years ago to form their own band. From there the brothers relocated to a house in the less populated Blue Ridge environs of Virginia, set up their own rehearsal and recording space, and got to work.
For the most part, the brothers' third album Maker is as weighty and daunting as its title implies. The story has it that guitarist Van blew out two amps (Mogwai style) during the album's recording sessions, which wouldn't be surprising given the sound of the thing. At first listen, much of Maker wafts along on heavy boulder-rolling buzzriffs and sludgey rhythms -- much of it amounting to a tub of stoned kozmic blues so thick you could stand a rowboat oar in it.
Kori Gardner of Mates of State (photo by Jeff Trost for Transmission).
It's always a bit of a heart-swell to watch Mates of State perform together. Whether it's at festival stages, touring with This American Life at the Chicago Theatre, or on the indie stage at the Metro, they're always cutting sweet smiles at each other throughout the set. Kori Gardner (keyboard/vocals) and Jason Hammel (drums/vocals) are the masterfully in-tune married duo that are Mates of State. I've seen them several times live, and each time you just can't help come out of their set happy. A Metro all-ages show that ended on the early side of last Saturday night, the crowd that came out to see SUNBEARS!, Black Kids, and the Mates were certainly in the mood for dancing and good times and definitely left giddy.
Jason Hammel of Mates of State (photo by Jeff Trost for Transmission).
Jeremy Barnes of Hawk and a Handsaw (photo by Kirstie Shanley)
10:00 p.m. on a Thursday is a little late for a school night, but Jeremy Barnes of A Hawk And A Hacksaw was not having it from the Hideout audience. "You know, we were in Ann Arbor last night, and I hate to say it, but they were a little more active than you. I'd like to see some more movement," he requested politely. While the spots in the audience did give him a few pockets of shimmies and twirls, most of the evening was marked by a rapt (or at least least sleepily respectful) audience.
With a bevy of instruments laid out in the center of the room, the mildly unexpected Hats took the audience through some jazz improvisations — wild trumpet outbursts, saxophone wails, and a xylophonist armed with four mallets of fury. The band had breakdowns showing off each of the members that went off wildly before returning lock-step to each other — the highlight being the xylophonist's literal deconstruction of his instrument, pulling the bars out for a clattering crescendo.
Branded is a new series of events brought to you by Time Out Chicago and the people behind Revolution No. 9 New Years Eve with Justice. They aim to fuse the worlds of art, fashion, rock, hip hop, and electronic culture, and are kicking off the series with a show this Saturday night at the Congress Theater with a big line-up of some of the electronic world's finest. Graphic artist Dan Stiles will be creating limited edition posters, t-shirts, and skate decks for the show.
Headlining the concert is Grammy-nominated Toronto electro DJ Deadmau5 (aka Joel Zimmerman). Expect an insane light show and a giant costume mouse head. Aside from taking the electronic world by storm, he's recently released a new iPhone application that allows users to remix their favorite Deadmau5 songs directly from their phone. Also on the bill are international acts Crookers, Late of the Pier and The Whip. Local artists Zebo, Willy Joy, Loyal Divide, and Noise Floor Crew will be sharing the bill.
Branded takes place Sunday night at the Congress Theater, 2135 N. Milwaukee Ave. Tickets are $21 and available to purchase online here, or at Gramaphone Records, 2843 N. Clark St, Silver Room, 1442 N. Milwaukee Ave, or the Congress box office. The show is 17+ and lasts from 8 pm to 3am. Ticket purchase includes a one-year subscription to Time Out Chicago.
Really Quick Contest! We're giving away 2 pairs of tickets to the show, courtesy of the good folks with Loyal Divide. Just be the first 2 to email us at contests (at) gapersblock (dot) com with the subject "Branded!" and you'll be the winners! [Update!] We have our winners! Congrats to Michelle and Matthew!
Dancing, chant-along choruses, girls shaking maracas, audience invasions by the performers -- and maybe even some dancing, singing, and maracas-shaking from atop the bar. All of that, plus a surreal puppet show to wrap things up. So it goes on an average night with Mr. Quintron and Miss Pussycat.
After nearly a decade of releasing records and building a small cult audience, the New Orleans-based Quintron rubbed shoulders with a broader audience in 2005 when his Swamp Tech LP was picked up for distro by Kid606's Tigerbeat6 label. Largely operating as a one-man band, Quintron's sound -- - roughly two parts psychobilly to one part juke-joint organ music -- has remained fairly consistent throughout the years. But 2008's Too Thirsty 4 Love LP found him expanding on his usual style and bringing some new moves to the floor.
When you enter a club that has a warning posted "there will be excessive strobe lights used in tonights show," you can pretty much bet you're going to have a good time. Such was the case Friday night, when electro-pop heavyweights The Faint and Ladytron kicked off their two nights of co-headlining shows at the Metro.
[More, including more photos by Kirstie Shanley after the jump.]
Every time I see pop duo The Ting Tings (Katie White and Jules De Martino), all I can think is that Katie is basically what every little girl wanted to be when they "grew up" after watching Jem and the Holograms. She bounces all over the stage with her fluffy blonde hair, Technicolor outfits (clothes which she designs herself) and sugary voice chanting cheerleader-style or serenading a sweet little melody.
Remember Chicago post-rock band Volta Do Mar? Like many bands, they were put out to pasture or sent to the farm to run free for the rest of eternity (whichever scenario you'd like to believe). Yet thankfully out of the ashes rose a new band. Oso brings to the table the creative and talented sounds that were captured in Volta Do Mar, yet add in a rich Eastern European gypsy flair to the mix. With exceptional musicianship and impressive delivery, they offer up music that is fresh and eclectic in its sound, creating a mix of genres and styles that meld perfectly.
The band will be making the trek back to Chicago to play tomorrow night at Ronny's up in Logan Square at 9pm. It's the last show before Oso heads over to Europe to tour, so make sure to stop by and send them off with a proper farewell. The show is 21+ and is only $6. Make sure you spend your Friday night getting schooled in the art of world infused rock music courtesy of Oso.
MySpace Secret Shows have been bringing big names to small venues since 2006 (think Lily Allen, The Decemberists, Neko Case, Depeche Mode, etc.) They brought us Moby at Smartbar back in 2008 and City and Colour to the Beat Kitchen earlier this year. Attendees to each concert also receive a limited edition poster. Who doesn't love getting stuff for free?
Tonight they'll be bringing Ontario's MSTRKRFT to Co-Prosperity Sphere down in Bridgeport. I caught this electro duo back in October at Double Door, complete with a seizure-inducing light show and a packed house of sweaty dancing kids. My kind of night. The show is going down at 8 pm tonight, but get there early as it will probably fill up fast. It's free and all ages, so what are you waiting for?
Co-Prosperity Sphere is located at 3219 S. Morgan St (Orange Line to Halsted or Red Line to Sox/35th). Bird Peterson opens.
Minneapolis-based Cloud Cult is the type of band that makes you want to be a better person. Eschewing offers from major labels, singer Craig Minowa created Earthology Records, built with recycled materials and run on geothermal energy. They use 100% post-consumer recycled or reused materials for all of their merchandise. The band accepts donations of old CD jewel cases, which they then clean and use to package their new albums, and the scraps created from manufacturing the CDs themselves are recycled into milk cartons. They even plant ten trees for every 1,000 albums sold. How cool is that?
It's hard not to fall in love with these guys at first listen. Their latest album, Feel Good Ghosts (Tea-Partying Through Tornadoes), is a celebration of life and love, without being preachy about their ideals. The songs envelop you with a big indie collective-type sound you'll find with artists like The Arcade Fire or Polyphonic Spree, only with about half the amount of people actually playing instruments. They've got two visual artists in the band, who create paintings during each show which are then auctioned off at the end of the night. I don't think they could get any more charming.
Max Tundra clearly does not like to waste ideas. Listening to his music is to hear an olio of popular music history in a compact time frame. Pop songs are buried underneath layer upon layer of electronic beats, leftfield samples, thick guitar hooks, lounge-inspired piano... you get the idea. This is the musicification of "everything but the kitchen sink." (And I'm not sure what the kitchen sink would be in this case.)
Armed with an Amiga 500, some sequencing software, and a range of live instruments, Max Tundra has thrived in this decade as a consummate musical hunter/gatherer. Some Best Friend You Turned Out to Be and the critically-lauded Mastered By Guy at the Exchange showcase his talent for schizophrenic electronic composition. But it's his latest album Parallax Error Beheads You that shines brightest with time. As an immediately bewildering aural experience, it is admittedly not a record for every time, every place or every ear. But when the atmosphere's right (and it often is), the listener is roped into the music similar to how Since I Left You makes a person listen keenly, even during the hundredth time it's on. Though, every play doesn't need to be heard with undivided attention to be enjoyable. When it's all boiled down, it's still just pop music.
On stage, Max Tundra is a one-man show surrounded by gear. And even though he's reconstructing the precision found on his albums, he still finds the space to drop in surprises here and there. On this tour, he's been covering the KLF's "What Time is Love?" and another classic, but from a very different genre. He opens for Junior Boys at Metro on Thursday at 9PM. The show is 18+ and tickets are $15. (Junior Boys aren't too bad either, by the way.)
The month of April is going to be a busy one for the folks at the soul-slinging Chicago-based Numero Group.
Firstly: this Saturday evening at the Park West Theater, the label presents its first-ever live event, The Eccentric Soul Revue. The evening's billing features sets by top-flight R'n'B veterans Syl Johnson, The Notations, and Nate Evans; as well as reunion performances by Renaldo Domino, The Kaldirons, and the Final Solution. Chicago's own deep groove merchants The Uptown Sound will also be on hand to provide backup throughout. It's an all-ages show, tickets are $22, and it gets underway at 7:30 PM Saturday.
The label's also putting the finishing on the next edition in their Eccentric Soul series of archival anthologies for a scheduled release date in late May. Entitled Smart's Palace, the volume will chronicle the story of the Smart family, who were prime movers and organizers on the R'n'B scene in Witchita, Kansas in the 1960s and early '70s. This atop their deluxe audio & DVD package Local Customs: Downriver Revival, which officially releases this week.
Bob Mould is modern rock legend among few others. Leading Hüsker Dü in the '80s, Sugar in the '90s as well as putting out nine solo albums since 1989, few can compete with Mould's prolific catalog of work. Last night's show at The Old Town School of Folk Music was a musical tour in his extensive career and life.
I was sitting next to one of Bob's friends from D.C. Who kept getting text messages from Mould backstage saying 7:30 sharp! Mould had to get up early the next day for another show so I expected the set to be short and rushed. (The show didn't actually start until 7:50pm.) Keeping these expectations, the set started out fast and one song blended into another as Mould played but barely addressed the crowd.
Mould was accompanied by a prepubescent bass and guitar player, who was adorable in his own right, but failed to match the energy Bob brought to the house. Mould's voice soured and growled in Songs like "Hoover Damn" and "See a Little Light" while the tween bopped along singing backup and matching hooks. There were some joyous moments in his accompaniment when the duo allowed distortion into the set and for a second seemed to have a great dynamic and the ability to play off each other, but they always seemed to lose their chemistry. The show would have held up better if Mould had played alone.
The Empty Bottle booked the Mountain Goats and John Vanderslice to perform at Epiphany on April 1 -- and promptly sold the show out, leaving a whole lot of sad fans out in the cold. If you were one of them, here's some news to cheer you up: The show has been moved to the much bigger Portage Theater, 4050 N. Milwaukee Ave., which means more tickets are now available, still at the low $16 ticket price.
Even better, we've got two pairs of tickets to give away! All you have to do is email contests@gapersblock.com with your full name and the subject line "Cubs in Five" by Sunday at 9pm. We'll choose two lucky winners at random from the submissions. Good luck!
UPDATE: We've got our winners! Congatulations to Matthew and Casey!
If you're not able to make it out to Margot & the Nuclear So and So's headlining gig at the Metro next Wednesday, you are in luck! Tonight, Richard Edwards and select other members of the band will be doing an intimate acoustic performance at Inconvenience Art Space. Whispertown 2000, who you may remember opening for such acts as Rilo Kiley, Bright Eyes, and The Elected, will also be performing. (A little bit of trivia: The Morgan sung about in Rilo Kiley's "The Absence of God" and "Papillon" is none other than Morgan Nagler, lead singer of Whispertown 2000 and best friend of Jenny Lewis.) Jake Bellows of Neva Dinova will be opening the night.
Catch all three acts tonight for free at Inconvenience Art Space, 3036 N. Lincoln Ave. The show is all ages and free, though donations to the touring band are welcome. Make haste! It all starts at 7 pm tonight.
Photo taken from the Margot & the Nuclear So and So's MySpace.
Blue Note Records. To the general public, that name means jazz. Along with Impulse Records ("The House that Trane Built") and some others, their catalog and distinctive style in the jazz heyday from the 40s to 60s has persevered to the present day.
This year, they celebrate their 70th anniversary as a label with a tour and retrospective. Friday night, at Symphony Center, the Blue Note 7, a collection of artists, ran through a number of representative pieces that have been recorded in Blue Note's history.
Most anyone can tell you something about Miles or Trane, who both recorded for Blue Note at some point in their careers, but the legacy of Blue Note lies in the strong compositional minds who called the label home. Minds like Wayne Shorter and Horace Silver exemplified not only mastery of their instruments, but new ways to bring out new sounds via different arrangements, and still do so to this day.
This was not a night for shining a spotlight on Blue Note's A-listers. This was a night for pieces representative of the efforts of the label to stay crent and advance the jazz form. Grant Green's "Idle Moments" was the lone "slower" selection; the rest of the compositions were faster, more involved, and more bop-oriented. Lee Morgan's "Party Time" rocked and rolled. The uptempo work of vibraphonist Bobby Hutcherson, drummer and leader Art Blakey, and eccentric pianist and composerThelonious Monk rounded out a pretty good two hour retrospective and sample of the work of the venerable jazz label whom, in times like these, are wondering what they're going to do next.
Last summer, after major delays on their flight from Australia, Cut Copy arrived late for their Sunday night headlining spot at Pitchfork Music Festival. Once they finally got to Union Park, they quickly unpacked their gear and were able to play for 20 minutes before the City's outdoor silence ordinance went into effect. And what a 20 minutes it was. Dancing, fist pumping, and "lights & music"--they packed the amount of energy into that mini-set that you would expect from a full length show. It left me wondering, though, whether the group could match that vivacity for an entire show, minus the dramatic circumstances. The answer was yes. Last September they played the Metro and killed it. Laser lights of every color of the fluorescent rainbow hit the crowd as they played track after track of 80's influenced electropop.
Cut Copy's newest album, In Ghost Colours, received much praise and landed on many of '08's Best Albums lists. Tonight they return to Chicago, this time gracing the stage at The Vic, but alas, this show is sold out (like most of the rest of the dates on their tour). Also playing tonight are the twee-fueled duo Matt & Kim. The Vic Theater is located at 3145 N. Sheffield. The show starts at 7:30pm. 18 & up.
For his first album in five years, Tricky's return to the city of Chicago would be worth the trek out just to see what has fermented in that smoky brain of his in half a decade. But if you've already heard Knowle West Boy and have made up your mind for better or worse, nostalgia for old favorites would probably draw just as many out of their '90s slumber and into a church on Friday the 13th. As it stands, a last-second venue change nearly lost the crowd (Epiphany had some plumbing issues that moved the show to Logan Square just hours before showtime). But the fans followed, not about to let a pipe or two stop them from five or more years of waiting for one of the '90s most inventive minds. While he's
now come and gone, the internet has a few snippets here and there — a video (barely) showing him knocking into his classic cover of Public Enemy's "Black Steel", a note telling of his friendly farewells to the audience.
Our own Kirstie Shanley has some photos of the event for Gapers Block: Transmission.
When asked about his recommendations for dinner music in a recent GQ profile, high-profile Chicago restaurateur Donnie Madia responded, "Tindersticks. Any of their records...can work well in any dining room." Funny how tastes evolve over time. Especially seeing how when Tindersticks first appeared on the indie music scene in the early-mid 1990s, the common opinion was that their tunes were ideal fodder for Serenade Hour In The Lovesick Ward of a methadone clinic. But that was then.
Over the course of six albums, the U.K.-based band earned a cultish fan base before ceasing activity in 2003. After a five-year hiatus from recording and touring, they returned to the spotlight this past April with the release of a new album, The Hungry Saw. Even though the band now sports a revised line-up, core members David Boulter, Nail Fraser, and frontman Stuart A. Staples are still at the helm. And from the sound of the recent album, nothing much has changed with the band's music. There's the easy tempo blue-eyed soul that drives "Yesterday's Tomorrows" home, the lounge-ish Latin shuffle of "E-Type," and -- on the punchier side of things -- bursts of yakkety rockabilly guitar punctuating the otherwise sparse "Mother Dear." In the end, The Hungry Saw features a dozen new achingly delicate arrangements, all of them woven together with strains of piano, vibes, flutes, brass, and subtle string accompaniment.
Two recent topics of posting in Transmission collide this weekend at the Double Door for the after party of the Chicago International Movies and Music Festival. We first mentioned the festival last week in a spotlight feature piece of some of the screenings to check out. We also recently reviewed the stellar new album from Bloodshot Records own Dex Romweber Duo. You're in luck this Saturday as Romweber and a slew of talented acts take the stage to celebrate the inaugural CIMM festival.
One of the bands to make sure you check out on the bill is fellow Carolinians (the homeland of Dex Romweber Duo) The Old Ceremony. Their new album, Walk On Thin Air, has a sultry soulful vibe yet still rocks the house with their jangly piano driven southern tinged rock 'n' roll. The bands played with the likes of CAKE, Chuck Berry, and The Avett Brothers, so combine those sounds and you've got a good idea of what The Old Ceremony sounds like. Which if you weren't paying attention, they sound like a good time. Expect a rollicking good night from start to finish Saturday.
The CIMMF after party is Saturday night at Double Door, located at the intersection of Milwaukee, Damen, and North. The show starts at 9pm, and is $12 or $9 if you show your CIMMF badge (even more the reason to go check out a screening our two).
U2 have been playing a series of surprise concerts around the globe before they embark on their official tour (dates to be announced March 9th) in support of their new album, No Line on the Horizon. They'll be stopping by Chicago next Tuesday, March 10th at an undisclosed venue for a secret show (though I'm fairly certain it won't stay a 'secret' for long). Ms. Shirley Manson is rumored to be hosting the event. A quick Google search tells me the Metro and Vic are both free March 10th, although I'm not sure Bono's ego would fit into venues that tiny. The Riv or Aragon seem like more viable options, and both venues are free that night as well.
Details are still a bit sketchy, though it looks like both 101.9 The Mix and 93 XRT are going to be giving away tickets this week. Good luck U2 fans! I'm sure it will be an unforgettable night to anyone who can finagle a way inside.
Edit: While it's elusively being billed as an "intimate event", some sources are saying this will be a concert while others claim U2 will be DJing only. Either way, U2 fans are flipping their collective wig.
The city of Atlanta, GA has offered up its share of notable indie rock artists in recent years, and 2008 saw the emergence of a new addition to that lineage -- the trio All the Saints. The release of the band's debut Fire on Corridor X via the Killer Pimp label caught the attention of the folks at Touch & Go, who quickly re-issued the album to wider distro back in September. The album would later turn up on several bloggers' lists as one of the most overlooked releases of 2008, and prompted a number of reviewers to reach for such descriptives as "psychedelia" and "Southern shoegaze." While of few of the tunes on ...Corridor X sprawl in a mood of come-down languidity, the trio's penchant for heavy, clangoring riffs and propulsive drum-fills points in the direction of their flatland Alabama roots. And when it comes to melodic hooks, they're a lot closer to Dead Confederate than, say, Deerhunter -- if the former red-dirt denizens ditched the quasi power-ballad fare and had been raised on a steady diet of Hüsker Dü.
The best way to solve a dreary Chicago day is to end the evening with a decent drink and some good music. Well thank the lucky stars that for a measly $5 donation (recession friendly as well) you can get just that when Chicago outfit Raise High the Roof Beam play Quenchers this evening.
We first mentioned Raise High the Roof Beam when they played the last free Monday show over at the Empty Bottle in December. Since then the band has been busy working on music and playing to the masses with their delectable brand of indie pop-rock.
Come drown your rainy weather blues tonight (I'll be there with my umbrella and a beer), and check out a local act worth taking notice. The show starts at 9:00 pm and Quenchers is located at 2401 N. Western (the intersection of Western and Fullerton).
Judging from their activity, it seems These Are Powers are a band who don't sit still for long. Only a few months after the release of their EP Taro Tarot, the trio arrived in Chicago for their latest Windy City summering stint and began trotting out a batch of new material. Much of what they debuted during their summer gigs has now turned up on a new release, All Aboard Future, which dropped via the Dead Oceans label earlier this month.
Chicago's own Company of Thieves have been creating a buzz on the national level the past few months, following their single "Oscar Wilde" being the featured discovery on iTunes and a killer performance on Last Call with Carson Daly last month. Today the band is re-releasing their debut album, Ordinary Riches, with new artwork and bonus tracks on Wind-Up Records. They just released their debut music video for "Oscar Wilde" via iTunes and will also be hosting a live chat today at 2 pm via their MySpace. As one of the most talented group of artists coming out of our fair city right now, I'm expecting Company of Thieves to be the band to watch in 2009.
I had the pleasure of catching them at the Double Door on Thursday night, opening for Thriving Ivory. When CoT took the stage, my friend Doug turned to me and said, "Some artists make music because they like to. She seems like the type who makes music because she has to." Way to hit the nail on the head, Doug. Singer Genevieve Schatz's passion is infectious, and her powerhouse energy is further heightened with the intensity of guitar player Marc Walloch and drummer Mike Ortiz. The band has a very cool bohemian vibe, with the combination of a classic rock sound and the softness of sweet Regina Spektor-ish vocals. Genevieve is completely mesmerizing during soulful tracks such as "Quiet on the Front" and "Pressure", but the real treat of their live show is their danceable songs "In Passing" and "Oscar Wilde".
Catch their television debut on Last Call with Carson Daly below:
I am of the firm opinion that James Earl Jones narrating anything is cool. Saturday night, a sold out Symphony Center shared that sentiment.
The Lincoln Bicentennial Tribute at Symphony Center featured the backing of the Chicago Symphony Orchestra, who alone may not be enough to pull people out to a southern Michigan Avenue address in what seems to be an everlasting winter. The program featured music that old Abe himself liked; marches, symphonies, and lighter fare. But the main draw was undoubtedly James Earl Jones himself.
Making his debut at Symphony Center, he, along with Kevin Gudahl and Gerard McBurney, put the "words" into the program's theme of "A Likeness in Words and Music". Jones read poetry by Walt Whitman and Carl Sanberg, while Gudahl and McBurney read some of his letters and articles of the day that attempted to portray Lincoln as a man with a good sense of humor as well as personable to others. Of particular interest were the recollection of Lincoln's first inauguration ball and a letter he wrote his wife while still an Illinois representative.
The second part of the evening, after intermission, was the Orchestra's rendition of Beethoven's Fifth Symphony, for which quite a few people stayed around for. But Jones earned the star of the night as he recounted a series of Lincoln quotes, including the Gettysurg Address. And when he boomed out, that James Earl Jones way, the last few lines - " that this nation, under God, shall have a new birth of freedom -- and that government of the people, by the people, for the people, shall not perish from the earth"- that was, without exaggeration - pretty damned awesome.
There will be another engagement on Tuesday, but sources tell me those tickets are long sold out.
EDIT: No, tickets are NOT sold out. Tickets are available in the boxes and in the lower balcony. Get over and buy, forthwith!
I dated this stoner dude in college who was a crappy boyfriend, but he clued me in on a few bands that to this day warm the cockles of my punk-rock heart. One of these bands is the New Bomb Turks, a Columbus, Ohio-based group that released their first full-length, !!Destroy Oh-Boy!! in 1993. At the time, they were loud, fast, snotty, funny, and fun; if their clips are any indication, they still are.
To be honest, I had no idea they were still touring, but lo and behold, the Turks are playing at the Cobra Lounge (235 N. Ashland Ave.) on Saturday, Feb. 21. Opening for them are the Mannequin Men, Distinguished Gentlemen of Leisure, and Teenage Tits. The show kicks off at 9 p.m., and blessed be, it's free.
A shadowy presence stalks the land. He (for it is a he) can be felt in moments of absolute isolation, in the presence of darkness so absolute that one's position in the room, or the world, or one's own mind, cannot be determined. He has made his presence felt in Chicago only two other times, once in 2000 and again in 2003. He brings fear and unease, disturbing sounds and visions, but he also brings liberation from inhibition and new methods for breaking out of old ruts. He is John Duncan.
This Saturday, Duncan returns to Lampo (216 W. Chicago Avenue, 2nd Floor) for a new composition, titled "The Hidden." The piece features "digital audio debris, generated audio noise, field recordings, and shortwave radio static," and follows in the style of his many legendary studio recordings, including the seminal Riot LP (1984, AQM Recordings, reissued 1991 on CD) which uses recordings of military Morse code, computer program transmissions and "atmospheric interferences" to create an aura of dread and illogic, but also gritty, industrial beauty.
Itchin' for a dance party rife with '90s nostalgia? Need more Aaliyah and Busta Bus in your life? Relive the hits at the Whistler tonight with the TTTTotally Dudes dance party, headed by CHIRP's Dr. Drase and DJ Manwich.
The boys will play sets in and around hip-hop and turntablist turns by Serengeti and Meat Number 5. Should be a tasty evening out, folks. Best of all, there's no cover. See you there.
Whistler is located at 2421 N. Milwaukee Ave. in Logan Square. Music starts at 9:30pm.
If I remember correctly, Wilco didn't play the Chicago show on the Neil Young tour because they felt that we'd simply seen enough of the band lately. Let's see if I can dig up that quote....ah yes, here's Wilco publicist Deb Bernadini talking to the Sun-Times, "They just felt it was time for a break." It seems that break isn't over yet, either. Wilco announced their Spring 2009 tour and we've been left out in the cold again. Sure, you can head out to Milwaukee or Athens, OH but there won't be any Chicago on this leg. Their site also has a group of festival dates in the summer announced and it's worth mentioning that August 7-9 (the dates of this year's Lollapalooza) are still open.
Ever been to Metal Shaker? Its existence is news to to me, I'll admit it. The bar (3394 N. Milwaukee) bills itself as "A heavy venue on the northwest side of Chicago," and looking at its lineup for these next two months, which are of course the heaviest of all months, I feel it is no hyperbole, friends. Nearly every day in the month of March seems to have an opportunity to see bands with names like If He Dies, He Dies, Embryonic Devourment, and Arbogast, as well as every Sunday's "Blackened Sabbath" nights, where local musicians spin their favorite death and thrash metal.
This Friday (February 20, 9 p.m.), the Metallic Shaking ones will encourage the ever-shifting barriers between black metal and experimental noise crumble just a bit further with a lineup of bands that work the necessary nexus between riff and wail, distortion and dissolution.
Acting as a record release party of sorts, the night's lineup will include the blessedly infernal Locrian, who will have copies of the their first pro-pressed CD release, Drenched Lands, available (co-released by Wisconsin's Small Doses label and At War With False Noise in the UK). I've written about them before on this site, and with the release of each new album, including their great CD-R on Bloodlust!,Rhetoric of Surfaces, the band hones their barbarous approach to drone-played-as-doom-metal to a jagged edge, capable of inflicting wounds that don't close. Soak 'em up, folks, this is the last Locrian show until summer, at least.
Also on board: The similarly-blackened duo Winters in Osaka, recent Ohio transplant David Russell (also head of the A Soundesign Recording label), and new duo Ratatosk (Jason Soliday of Enemy Space, Magic Missile, Coeurl, etc., and Ben Billington of Druid of Huge) will all lock hands and close the circle.
None of the signs I've seen say anything about cost of admission, but it is a bar (21+, yes), so make sure you have $5 in your pocket. If they don't ask for it at the door, buy yourself one of those newfangled beers the kids are drinking these days.
I'm a huge fan of psychedelic music. Mostly I'm a sucker for anything sweet, harmonic and dreamy. So when I heard Future Clouds and Radar, Robert Harrison's new follow up band to Cotton Mather, described as "somewhere between the 13th Floor Elevators and ELO I knew that I would have a good time listening to their 2008 release Peoria. And as I expected I was swept up in a dream like melodic frenzy that was soulful and comforting. With elements of The Flaming Lips, Guided by Voices and Big Star, this is musical comfort food with a trippy edge.
You can gather the feel of this soothing band when they play at the Empty Bottle this Friday, February 20, opening for twang rockers Deer Tick. Anni Rossi starts the night. (To make things even better you can "Pick your Poison" at the bar where your choice of any special drink is $5.) Music starts at 10pm, tickets are $10.
[video] Future Clouds and Radar's "The Epcot View" from the album Peoria
Some month ago, our GB editors allowed a pair of aspiring contributors to participate in a CD-review session for our Transmission page on a trial basis. The experiment was -- in our opinions -- not entirely successful and barely suitable for print. But in recent weeks, one of the involved parties came knocking on our door again, petitioning to join the Transmission team as a contributor with the claim that he'd "redeemed" himself. Being gracious sorts, we decided to give him another chance; this time putting the prospective reviewer (PR) under the supervision of one of our Transmission staff members (TS). What follows is a transcript of the resulting listening-party session.
PR: ...And so that's why they call it a "whoop tube."
TS: Fascinating. At any rate, we've got to get to the matter at hand. We're supposed to review this new CD by a local artist. It's called The Sons, by the local artist Kaspar Hauser.
Hailed by Tyondai Braxton of Battles and Stereogum, Brooklyn's Extra Life have made a name for themselves with their hypnotic combination of math rock and chamber pop. Extra Life hits up the Empty Bottle tonight in support of their album, Secular Works, released last year through Planaria Recordings. Gapers Block had the chance for a quick chat with lead singer and guitarist Charlie Looker before the show.
Gapers Block: Where did the title Secular Works come from?
Charlie Looker: The title Secular Works is a reference to Medieval and Renaissance music, periods which I am deeply into. Composers from those periods wrote sacred music (masses) and then also would write secular songs in the popular forms of the time. When you buy a CD of Early Music, you will often find records of so-and-so's "secular works". So for Extra Life, the title is somewhat ironic. However I'm very influenced by Early Music, both sacred and secular. I have also become interested in religion, simply as a human phenomenon, an outlet for the human will.
The first time I saw Iron & Wine was at Pitchfork Music Festival. Outside. In the middle of the day. Not exactly the best way to take in the troubadour's soft melodies--the mood kind of gets swallowed by the expansive open air.
Now you have a chance to see Sam Beam in a room more suited to his music during a short tour where they will only be playing small, intimate venues. The tour comes in support of Around the Well, a new 2-CD/3LP collection of rare tracks to be released May 19th. The band stops by Chicago on May 13th at Schubas, and May 12th at the not quite as cozy, but still comfortable Lakeshore Theater. Tickets for both shows go on sale Feburary 20th.
Another added bonus: beginning March 6th, you can vote for which songs will be played at each of the shows on their website.
A couple of years ago, Zach Condon -- multi-instrumentalist and maestro for the indie band Beirut -- took a detour from his usual Balkan-ized musical fare and ventured into different terrain. Approached to do the soundtrack for a film to be set in Mexico, Condon traveled to a remote village in the province of Oaxaca in order to conduct some musical field research. There he worked with a local ensemble -- a 13-piece Jiminez funeral marching band, to be more precise -- and began crafting a new series of songs influenced by the Oaxacan style of banda music.
In the end, the film's backers reputedly opted for a soundtrack of the more generically cinematic variety. But the result of the journey was the new Beirut recording March Of The Zapotec, which is now seeing release in its U.S. vinyl edition via the Chicago-based Obey Your Brain label. The album features six tracks of the new Beirut material born from the Mexican sojourn, as well as five additional tracks (grouped under the title Holland) of Condon's bedroom electronics work under his pre-Beirut alias Realpeople.
Coupleskate today isn't exactly the same as Coupleskate a few years ago. The band has had some personnel turnover and, hence, an evolution in sound and aesthetic. 2006's Trophy EP doesn't seem like the natural predecessor to 2009's Don't Scare the Horses. The former has splashes of a lo-fi Archers of Loaf. The latter has been chiseled into a wrought piece of indie-pop reminiscent of a fuller Blood Red Shoes with hints of Metric (especially in the vocals) and maybe even some Redd Kross. "Laws of Physics" and "The Fringe" kick off the record with stomping beats and spiky guitars that demand a listener's attention. The title track and "Foreign Exchange" drop the musical intensity a notch, but the lyrics remain aggressive and snarky throughout. And there are some very dark moments here, especially in regard to the state of relationships, which makes it totally appropriate that they've decided to put out the album over Valentine's Day weekend.
On Friday the 13th at the Empty Bottle they'll play the new album from beginning to end, accompanied by Tiffany Kowolski and Mahjabeen Karim on strings. And according to them, "We might have a few [Valentine's Day] tricks up our sleeves." Jade Tree alumnus and Don't Scare the Horses producer Ryan Rapsys (Owls, Gauge) also performs as Euphone. Reds and Blue open, as well. The show starts at 10PM and admission is $8.
Despite the awful winters, the corrupt politics, and the rising unemployment rate, Chicago is one of the best cities in the world, especially for live music. With numerous acts constantly stopping in Chicago, it's no surprise that important events happen in our fair city. So it was definitely no surprise when seminal 1980s British rock band The Godfathers announced their return to the U.S. for the first time in 20 years would happen at the Metro in Chicago this Valentine's Day. And that the show would be the first St. Valentine's Day Massacre show (a tradition of theirs) outside of London ever. Gapers Block: Transmission had the chance to chat with lead singer Peter Coyne about the upcoming show, music, and what it's like being in a groundbreaking band like The Godfathers.
Normally, I don't go to open mic nights. They're just not my thing. You know you're going to end up with one of two choices at an open mic night. There will either be a group of talentless people plowing through 80s covers and enticing their drunken guests to sing along or you're going to get some musicians that may actually know what they're doing but they play their own stuff and you, the audience member, don't really know how you fit into that equation.
Of course, this is the part where I tell you about the open mic night that you could go to tonight, instead. Tonight and every Wednesday, the Leadway Bar at 5233 N Damen hosts two guys called The Co-op who, in turn, host an open mic. "Hosting" is, of course, a relative term as the guys get to play a few tunes of their own and halfway through the night, the evening becomes an open mic poetry slam, if you're into that sort of thing. You won't see me on stage for either section, but I can often be found at the bar. On top of your atypical open mic night, you get the drink specials. $2 PBR, $3 shots, $4 bombs, $5 White Russians. I can personally recommend every one of those specials.
The presskit that accompanies Mother of Curses, the debut album by Todd Rittmann's new outfit D. Rider, goes out of its way to emphasize that this is not an art-rock record, but rather a record that rocks. Considering that D. Rider is the latest musical outfit headed by Todd Rittman -- former guitarist for the '90s avant-rockers U.S. Maple, and more recently involved in the bands Singer and Cheer-Accident -- the distinction might be warranted. Because let's face it, if what you're wanting is something linear and un-ironic in the way of a conventional rock "song," then Rittmann's probably the last guy in town who's gonna give it to you.
But D. Rider does indeed rock. Joining Rittmann in the band are Andrea Faught on keyboards and cornet, Mucca Pazza saxophonist Noah Tabakin, and Theo Katsounis (lately of A Tundra) stepping in to take the drummer's seat. And Mother Of Curses finds Rittmann checking much of his affinity for musical abstraction and disjointedness at the door. Over the course of eight tracks, he and his associates doling out a batch of tunes spooled on skulking basslines, some fractured Crazy Horse riffage, and heavy rhythms that lurch and lunge against the moorings. Musically, it's very reminiscent of a certain breed of indie rock animal that used to stalk the expanse of the Midwestern plains back in the early-'90s (specifically that pig-poking subgenus that once made up the bulk of the Touch & Go roster). On the vocals, Rittmann's often in trademark form -- sometimes singing as if he had developed an entire book of style from the fragmented, schizoid narrative that Bowie laid down on "Breaking Glass," at others yammering about who-knows-what like David Yow on an amyl nitrate bender.
House legendFrankie Knuckles will be spinning at Smartbar, 3730 N. Clark, for free this Wednesday, Feb. 11. The show goes on at 10pm; Ralphi Rosario backs him up. Red Bull drinks are on special, since they're sponsoring the gig.
Lykke Li is on fire right now. The Swedish pop star brought her music to the US last year courtesy of Bjorn Yttling (yes, that Bjorn) who produced her album, Youth Novels. The starlet's debut made its way onto a lot of year-end "Best of" lists for '08. I must admit, I didn't really like the album the first time I heard it, but now I'm totally getting into her dreamy hopeful ambiance and sugar-sweet vocals. Sometimes all it takes is a second listen...
After a stint in Europe, she's now on the US leg of her tour and she comes to Chicago tomorrow night. Tickets for the Metro show are still available, but I imagine they won't be for long--I've heard her live show is not to be missed. Wildbirds & Peacedrums open. Tickets are $18 ($20 day of show). Show starts at 8pm. All ages. 3730 N. Clark St. 773-549-0203.
Lykke Li - "Tonight"
(Directed by Christian Haag, and shot in one live take in Stockholm)
A show that falls in the middle of the week is a tough gig in the first place, but add in the wrong size venue and you've got a set up for an unmemorable performance. Such was the bad luck of Lady Sovereign, the cheeky British rapper who exploded on the scene a few years back with a slew of radio friendly pop-rap gems.
The show was originally scheduled a few weeks back at The Empty Bottle, but due to visa issues the date and venue was changed. This was the first red flag upon entering Logan Square Auditorium last Wednesday night, when a crowd that would have seemed pleasantly packed at The Empty Bottle came off as sparse and awkward. My friend put it best when she stated "it feels like we've crawled out our bedroom window to go clubbing on a school night."
Despite their dodgy, censor-baiting name, the Toronto-based punk outfit Fucked Up hit the indie-rock mainstream in a big way in 2008. But there's no small irony in the fact that their success arrived when a major shift in the socio-political tide was taking place. The irony was enough to prompt one critic, in a review of the band's latest LP The Chemistry Of Modern Life, to muse: "In times like these, can a band like Fucked Up continue to be relevant?"
Fair enough. In many ways, Fucked Up adheres to the ethos of classic Reagan-era hardcore punk. In its first-gen, early 1980s prime, hardcore howled -- red-faced and fist-waving -- against the social climate its day; giving the middle-finger salute to reactionary politics, to apathy in the face of injustice, to living in the shadow of potential nuclear annihilation, etc. Since first coming together in 2001, the group has drawn heavily from classic hardcore's spirit of defiance and protest -- from its cathartic bombast, right down to adorning their records (26 seven-inch releases and counting) with graphic references to radical political movements of the past.
It's pretty ballsy to drop the word "supergroup" in one's band bio. Headed by the likes of longtime hip hopsters Gift of Gab, Lateef the Truth Speaker, and producer Headnodic, The Mighty Underdogs feel they've earned supergroup status. If their names alone don't sell it, the sheer weight of alt-hip hop talent that appears on their latest album, Dropping Science Fiction, (including Damian and Julian Marley, Mr. Lif, Lyrics Born, DJ Shadow, Zumbi from Zion I, Tash from the Liks, MF Doom, Casual, and Raashan Ahmad) should definitely lend some credit.
Catch the Def Jux boys on tour with Galactic this Friday, Feb. 6 at the Vic.
Andrew already clued you in to Jeff Tweedy's upcoming shows at the Vic to raise money for Emanuel Congregation in Edgewater, Near North Montessori, and Kawasaki disease that are coming up on February 13 and 14. What he didn't know at the time (none of us did, really) was that these won't be the only shows that Tweedy is going to be doing for a good cause.
The Wilco frontman will be hitting the Northeast with shows March 26 in Burlington, VT, March 27 in Northampton, MA, and March 28 in Beacon, NY. Remember, this is a charity show so tickets probably won't be cheap once they go on sale. You can pick them up here. Here's hoping that there are people reading this outside of Chicago that can make use of that info.
Daniel Martin-McCormick and Jacob Long of the Bay-area trio Mi Ami once seasoned their chops as former members of the D.C. art-punk ensemble Black Eyes. Judging from the sound of Mi Ami's debut album Watersports, they've brought some of the Eyes' jagged, agitated energy aboard for their latest musical enterprise. Martin-McCormick squeals and shrieks while wrangling out furrows of scratchy riffage and short peels of feedback. All of that aside, the bulk of the unit's focus falls squarely in the rhythmic department -- with the trio tightly interlocked in navigating the turns of their own breed of knotty, spiraling tribal-funk. And while they douse it all down with generous amounts of reverb, their echo-soaked "drum punk" sounds like it owes less to the spliffed-out spaciousnees of traditional Jamaican roots-rocker dub than it does to, say, the delirium of a fever dream. It seems the band's won over its share of enthusiasts. As one scenester put it on a recnt music-blog post, "I never get to shoot any pictures of this band, because I'm too busy dancing during their sets."
The album art for their latest album, What Year Will You Have the World? looks more like and ad for a children's television program with its bright colors and cartoon images, but it's fitting upon listening to the happiness inside. Peachcake reminds me a lot of the first time I heard Aqueduct back in 2003, with an electronic sound reminiscent of fantasy video games of the 80's. But, their fun, playful music takes on a whole new meaning when you consider what the band has been through in the last few years.
When the band was flying high selling out shows and getting press, they were confronted with a number of obstacles including the death of singer Stefan Pruett's brother (and Peachcake keyboardist) Alex in September 2007. At this point, John O'Keefe (DJ JohnO) and Stefan (aka Space Panda) decided to press on and use their experiences as fuel. Their mission became to spread positivity and hope and make the world a safer, better, happier place through music and art. They bought themselves out of their record contract so they could self-release What Year Will You Have the World?, and then implemented a series of community events, youth outreach programs, and teen hotlines.
Tonight Peachcake bring their lively stage show to Subterranean with A Lull and The Wiitala Brothers opening. The show is all ages and starts at 7pm. Tickets are $10. 2011 North Ave. 773-278-6600.
Forget AutoTune. Forget singing over rap beats (with apologies to Mary J. and Nate Dogg). Forget where modern day pop R&B is going, and we can talk about The Foreign Exchange.
Word is that the comedy duo Flight of the Conchords will be performing at Arie Crown Theater (2301 McCormick Dr. at McCormick Place) on April 28th. New Zealand's "fourth most popular folk parody duo" recently began the second season of their cult hit show on HBO, which airs Sunday nights at 9pm.
Tickets are $38.50 and go on sale Feburary 7th on Ticketmaster. So, all you superfans, um, I mean Mel, you know what to do...
Flight of the Conchords - Business Time
It seems the work of Lindstrøm has struck a deep chord with a number of listeners. After the success of his tune "I Feel Space" back in 2005 and subsequent remix work for the likes or LCD Soundsystem and Franz Ferdinand, anticipation had been running high for the Norwegian electronic producer's full-length debut. The debut in question, Where You Go I Go Too, finally arrived via the Smalltown Supersound label this past August -- meeting with unanimously glowing reviews. By year's end, the album was ranked as one of the best releases of 2008 by such publications as XLR8R, Pitchfork, and Dusted.
When it comes to making electronic music, Hans-Peter Lindstrøm's working process is mostly an organic one. He plays and lays down parts with guitar, keyboards and drums himself; then brings them all together by layering these components into sweepingly panoramic soundscapes. On Where You Go I Go To, tracks sprawl to epic lengths as sonic vistas unfurl and undulate like nebulae over a 4/4 beat. If anything, his sound hails back to the synth-splashed, psychedelic explorations of The Orb and (going further back into the canon) Tangerine Dream than anything from the usual house or techno end of the spectrum. It's an expansive, exploratory breed of electronica that a few critics have dubbed "space disco;" but one could just as easily imagine it accompanying a long helicopter tracking shot from some early '80s Michael Mann flick as, say, providing the soundtrack for the TV edition of Cosmos.
It's 2009. Metallica is being inducted to the Rock and Roll Hall of Fame, selling millions of albums, and playing to full arenas. The crowds are a hodgepodge that's discovered the band at various points throughout their much storied career. Books could be (have been?) written about what people have or haven't liked about them during their 28 years. But people adore them. And even those who have some issues with them still go to their concerts.
At last night's show, the first of two at Allstate Arena near the end of a tour that began in October, Metallica roared out with the first two songs from their latest album before indulging those who apparently shun the band's recent output. (Definitions of "recent" tend to vary, naturally.) Any mention of "new stuff" by James Hetfield was met with lukewarm applause. Even his clever attempts to draw in longtime fans ("We figured out what goes good with the new stuff - old stuff") were met with some hesitancy. But that dissipated as soon as the band tore through the old stuff that almost everyone can agree is good. "Creeping Death" and "Ride the Lightning" back-to-back early on injected some energy into the crowd and kept the momentum rolling for most of the 120-minute set. However, just to show that Metallica can't even please all of their fans, I saw someone roll their eyes for "Master of Puppets" and a stoic girl in front of me texted "I hate this song" during "Enter Sandman." Other than them and some people commenting "Lots of new songs tonight, huh?", everybody seemed pretty pleased.
For the past two years, MySpace Secret Shows have been bringing large bands to small venues for free intimate concerts. You may remember Moby's secret DJ set at SmartBar last April. They've also brought such acts as The Cure, The Decemberists, Lily Allen, and even Neil Diamond to clubs around the country.
This Thursday night, MySpace Secret Shows return to Chicago with Ontario's City and Colour (the acoustic side project of Alexisonfire's Dallas Green). Joining him on the bill is The Color Fred (the side project of Taking Back Sunday's Fred Mascherino).
The show is Thursday night, January 29th, at the Beat Kitchen, 2100 W Belmont Ave. The show starts at 7 pm and is all ages. It's first come, first served, so plan to arrive early. The first 15 people who bring a printout of their MySpace page with Turbotax in their top friends will get express entry.
Click below for City and Colour's new music video, "The Girl".
On one of the most commercial holidays of the year, you can't beat spending the evening with some good old rock music at a show with the word massacre in it. I can't think of a more romantic sentiments to a sweetheart or a more awesome first date. Add in the factor of being part of music history, and you've got yourself a pretty prolific evening courtesy of the Metro and legendary English rockers The Godfathers.
The Godfathers were a alternative garage rock outfit from London, forming in the mid 1980's as a beacon of hope in a UK market dominated by New Wave and Electro. The band was bursting with gritty rock that possessed swagger and soul, were known for their explosive live shows, and basically helped lay the foundation for much of the Brit Rock music and movement of the 90's.
And the band is choosing our fair city for their first US show in 20 years! Also the first St. Valentine's Day Massacre show (a staple of their career, always done in London) ever on US soil. This guarantees that huge music nerds in the Midwest are rejoicing, while those around the world just let out a collective sigh.
Tickets are $20 in advance and $25 the day of. The show is 18+ and doors open at 8:00 with the band scheduled to go on at 9:00. Grab a pair of tickets and get on your music nerd sweetheart's good side this Valentines Day.
In recent days, the local duo Coltrane Motion leaked a pair of free new tunes via their own website. More specifically, they leaked a pair of cover versions by which band members Michael Bond and Matt Dennewitz offer their own reworkings of the Bruce Springsteen songs "I'm On Fire" and "I'm Going Down."
Those familiar with CoMotion's fuzzed-out electronic psych-pop might find the choice of cover material a little surprising. As the band explains on their website:
"After hearing Bruce's cover of a Suicide song ('Dream Baby Dream'), Michael attempted to invert the formula, drowning two of his favorite Springsteen songs in the droning keyboards and mechanical beats that Messrs. Vega and Rev pioneered. But the result doesn't sound much like Suicide or Springsteen..."
As it so happens, the arrival of these tracks coincides with (1) the release of The Boss' new album, which hits in stores on Tuesday; and (2) Coltrane Motion's performance this Friday evening at Reggie's Music Joint in the south Loop.
You may remember when I complained that Mr. Bird wasn't showing much hometown love, so consider me speechless after two surprise Hideout shows and then a tour date announced for Chicago's Civic Opera House (which sold out in 2 and a half hours). Now a second show has been added at the Opera House for April 9th. Pre-sale tickets go on sale today at 11am. Once those are gone, they will be available online starting January 31st, or at the Civic Opera House Box office on January 30th.
Andrew's latest album, Noble Beast, is now available on Fat Possum Records.
Hailing from Queens, The Beatnuts originally got introduced to the music industry by Afrika Bambaata in the early 90s. The duo, composed of JuJu and Psycho Les, immediately garnered attention as producers. Working with such artists as Common, Fat Joe, and MC Lyte, it was only a matter of time until JuJu and Psycho Les decided to try their hand at rapping. 16 years and several albums later, The Beatnuts have cemented their reputation as hip-hop royalty and don't seem to be slowing down anytime soon. Considering the genre has seen super popular acts like Ja Rule, DMX, and Ma$e fade away, it's pretty impressive The Beatnuts have been at it this long.
This Sunday, Scion is sponsoring a free Beatnuts show at Metro. Doors open at 9pm and attendance is not guaranteed, so don't be late. Also, remember to RSVP on the Scion website. 21+
Who's doing what to whom, now? Well, Rick Potts, he of the esteemed Los Angeles Free Music Society (LAFMS) will play playing THIS SATURDAY at Lampo (216 W. Chicago, 2nd Floor) at 9 p.m. $12 at the door.
Potts is a member of the hippest lot on the west coast throughout the '70s (and beyond), the LAFMS, a group that preciently sucked up gargantuan chunks of avant-garde weirdness, modern classical discipline, pop-cultural flippancy for stodginess, and a love for learning to do things in the most unintuitive way, and mashed them all together into a bundle of color and sound whose reverberations are still being felt. The core of some of the craziest Japanese sound of the late '70s and '80s pledged their allegiance to LAFMS, and today, scenes in San Francisco, Portland (who now host longtime LAMFS'ers Smegma), and elsewhere show strong traces of the then-unheard combination of righteous pursuit of new sound with tongue-lolling cartoon-mallet-to-the-head craziness.
Potts, a founding member of LAFMS mainstays Le Forte Four, Dinosaurs With Horns, Airway, and Solid Eye, performs a solo set at Lampo. Pieces will include "Carousel of Progress," a piece that promises "an abstracted audio history of technology, inspired by the Walt Disney / General Electric promotional amusement park ride that displayed with human-like robots how life has improved for us each decade because of the invention of new household appliances," performed on "samplers with carousel sounds, musical saw, the "Mando-Bird" hinged-neck electric mandolin, synthesizer and effects." The second piece, "Kaspar," is named after a cat that arrived at the Potts family's back door the day their beloved dog died, is "a freeform mix of chopped up percussive rhythms and synthesizer sounds with pre-recorded, record manipulated, thrift store LPs providing the vocal track" in which "with a little help, the machines play themselves."
This musicially colorful event, Potts's first performance in Chicago, will go down at 9 p.m., and will cost $12 at the door. A previous appearance by LAFMS alum Joseph Hammer during Lampo's 2007 season was astounding, touching, and quite possibly one of the best shows I've ever seen. I'm equally excited for this one, and I hope you are as well.
Who: Dead Machines, The Haunting, Bruce Lamont, Folk & Violence, Face Worker Where: The Mopery, 2734 N. Milwaukee When: Friday, January 23, 9:00 p.m. How much: $5
What: Back around 2000, right around when John Olson (he of the 800 releases-and-counting American Tapes label, as well as umpteen projects like Spykes, Universal Indians, Weapons, Full Scales, Graveyards, etc.) joined Wolf Eyes, spearheading an atomic fireball of new energy into an already great band, he started another project that at the time met with a bit less fanfare, but which has grown into one of the best noise/improv duos on the planet. Dead Machines, a project between Olson and his wife, Tovah (she also of Wooden Wand and the Vanishing Voice, Tovah D-Day, the Jasons, and others, and proprietor of the Tovinator label), churned out a steady torrent of top-qual basement brain gargling, not only on the hyper-prolific American Tapes, but labels like Hanson, Ecstatic Peace!, Hospital, and Troubleman.
Philadelphia's The Disco Biscuits got their start playing the party scene at UPenn in the mid-90's. Now over a decade later, they've created a loyal, dedicated fan base of die-hards touring the jam band circuit with their mix of electronica, jazz, and rock, dubbed trance-fusion. You may remember them from Lollapalooza 2006 or touring with the likes of Umphrey's McGee. They're known for their long, intense sets, like all jam bands, and they never play a song in the same way twice - performing parts of their songs at different points throughout their set and even playing songs backwards. Their fans call their unique style for converting studio tracks into groovy live performance as "bisco" — a method that makes each live show by this band a unique experience. In taking such risks, their live act can be hit-or-miss, sometimes a bit self-indulgent but other times you'll leave their show with your jaw on the ground, making it a risk worth taking.
The band had taken a break in 2008 from the constant touring that is their norm to record their first studio album in seven years, release date to be determined. It's been over a year since The Disco Biscuits have played in Chicago, but you can catch them continuing to build the bridge between the jam band and dance world this Saturday at the Congress Theater. Joining The Disco Biscuits on Saturday is Philadelphia's underground hip hop DJ/producer RJD2, who is also putting the finishing touches on a new album, and IDM artist Prefuse 73, who you may remember from Wicker Park Fest this past summer.
Catch all three acts this Saturday, January 24th, at the Congress Theater, 2135 N. Milwaukee Ave. Tickets are $25 and can be purchased here. The show starts at 8 p.m. and is 18+. Stick around after the show for DJ sets by Skyler and Derek Specs in the lobby of the Congress.
Free Tickets Contest! The first two readers who email us at contests (at) gapersblock.com with the subject line "Disco" will each win themselves a pair of tickets to the show on Saturday at the Congress Theater! Update! We have our winners! Congrats to Mark and Dave.
Click below to watch TDB's music video for "World is Spinning" from the album The Wind at Four to Fly.
Transmission had a couple friends head to D.C. for the Inauguration festivities and of course they were excited to visit The Black Cat to check out the Hideout's curated Big Shoulders Ball. Tonight's entertainmentincludes the following exciting lineup (lineup times EST):
Judson Claiborne (7:30)
Freakwater (8:00)
David "Honeyboy" Edwards (8:30)
Icy Demons (9:10)
Ken Vandermark (9:35)
Tortoise (10:00)
Andrew Bird (10:30)
Thomas Frank (11:00)
Waco Brothers (11:05)
Ted Leo (11:30)
Eleventh Dream Day (12:00)
Jon Langford w/ Sally Timms (12:30)
Bloodshot Records rollicking punk rock infused country band is warming up Wednesday next week when they play the DogFloydAPalooza festival at the Bottom Lounge.
The evening is a collaboration between Dogfish Head and 3 Floyds breweries to celebrate all of their excellent brews. The festival will be in the Volcano Room at the Bottom Lounge and also rocking that evening will be Big Science, who made many a local year end list with the recent release of their EP The Coast of Nowhere.
If you haven't yet witnessed the greatness known as a Waco Brothers show, Wednesday would be a perfect excuse to drag yourself out in this snow and thaw off with some high energy kick ass tunes while throwing back some quality brews. And nothing warms you up more than a decent amount of alcohol.
DogFloydAPalooza is Wednesday, January 21st. The Bottom Lounge is at 1375 W. Lake Street. Tickets are $10, the show is 21+ and the doors open at 9:00pm.
Hey trusty reader! Are you headed to D.C. for the inauguration? Are you also lucky enough to have a ticket to the Hideout's sold out Big Shoulders Ball (featuring scads of Chicagotalent) at Black Cat on Monday night? If so, and you'd like to do some live blogging (or text messaging, or photography) for Transmission, give me a shout! Email me at transmission {at} gapersblock {dot} com with the subject line "Big Shoulders".
Thought you couldn't go to the Kings of Leon show at the House of Blues next week because it was sold out? Think again. A limited number of tickets will be released for sale this Friday at 5pm on Ticketmaster. Tickets will be $200 for general admission and $250 for VIP. If this sounds like a lot, consider that you could be paying $300 to $500 on Craigslist for the same ticket, and half that profit would be going into somebody's pocket instead of to the kids at the University of Chicago Comer Children's Hospital. Proceeds will benefit pediatric cancer treatment and research at Comer.
The Dare 2 Dream concert is presented by The Lisa Klitzky Foundation and takes place next Saturday, January 24th beginning at 6pm. The Whigs and The Jakes will open for Kings of Leon. The House of Blues is located at 329 N. Dearborn. 312-923-2000. All ages.
A certain number of "Golden Circle" tickets have been held for parents from the school and Emanuel members for $250. General admission tickets go on sale this Friday, Jan. 16, at noon via Ticketmaster or at the Vic box office, 3145 N Sheffield. Early reports pegged general admission at $150 a pop, but Ticketmaster lists them as $100.
Here's the humble beginnings. Six years ago, when Department Of Eagles were calling themselves Whitey On The Moon U.K., one wouldn't have guessed that they were likely to evolve into any sort of Big Indie Darling Thing.
When the songwriting duo of Daniel Rossen and Fred Nicolaus first started collaborating, they were a couple of NYU dormmates -- bored college kids farting around with a sampler, making silly beat compositions with fragments of Gil Scott-Heron, bits of classical Indian music, and snippets from old Steve Martin comedy records. By the time they got around to recording a debut LP in 2003, they'd grown more serious about songwriting and musicianship and aimed to make a proper pop album. The result was a wonderful and brilliantly eclectic collection of songs that were likely to provoke dancing, laughter, or -- in a few cases -- that were just flat-out beautiful. By the time the album became something of a creeping indie-world fave (thanks to its belated U.K. reissue), Rossen had drifted off to find greater success as a member of the band Grizzly Bear; for a time leaving the status of DOE in suspended animation.
It's a fact that 'tomorrow never knows'. You can never predict what the future will bring, although you can try. Schubas will attempt to do just that, or at least offer you some candidates for the future of indie music. Tomorrow Never Knows is a festival presented each winter at Schubas and showcases some of the up-and-coming musical acts from all over the country, including Chicago. The Soft Pack, Department of Eagles (see our preview here), Cursive, Hey Champ, and Bishop Allen are just some of the bands appearing. The festival begins this Wednesday, January 14th and continues through Sunday, January 18th. Tickets for each night are $15 and can be purchased at Schubas' website, where you can also purchase a 5-day pass good for entry to every show for $55 (UPDATE: 5-day passes have sold out). Thursday and Friday individual tickets are already sold out, so act fast (or pick up a 5-day pass) if you want to see any these acts in the home-y confines of Schubas before you're stuck seeing them in a larger venue...
Schubas is located at 3159 N. Southport. All shows begin at 9pm and are 18 & up.
And for a glimpse a little further into the future, don't forget to see the Paul Green's School of Rock students present British Invasion on Saturday and Sunday afternoon at 2pm. Tickets can be purchased separately for $10 ($15 at the door), but admission is included if you opt for the 5-day pass.
Barack Obama's Presidential Inauguration in DC is fast approaching, and that also means that The Hideout presented Big Shoulders Ball is coming up as well! The lineup was already stacked, but since the initial announcement, there have been some big additions: Andrew Bird (who will likely be playing material from his much anticipated Noble Beast--out on Inauguration Day) was added shortly after the announcement, and now Ted Leo (on Chicago's Touch and Go label) has joined the party. The Hideout is calling him their "ambassador" to DC since they say The Black Cat his "home club." Author and U of C alum Thomas Frank ("The Wrecking Crew," "What's the Matter with Kansas," The Baffler) has also been added as a special guest, and The Hideout promises that there's still more to come. If you're even thinking about going to the Capital for the inauguration, I'd get my hands on these tickets fast because they're bound to sell out.
The Big Shoulders Ball takes place the night before the inauguration (Monday, January 19) at The Black Cat in Washington DC (1811 14th St. NW WDC 20009). Tickets are $50. You can get them from The Black Cat's website, or pick them up in person at The Hideout, 1354 W. Wabansia, 773-227-4433. (UPDATE: The ball has sold out.)
Lambchop is a band that seems to, somehow, fly under everybody's radar until they're pointed out by somebody from Nashville. It's a shame, too, because the very large group has some extremely talented members and some incredibly wonderful music. Led by Kurt Wagner's often unexplainable lyrics, the band has a knack for finding their way into my musical rotation often. Being that they're from Nashville, your first thought might be to lump them in the country or folk music category, but their sound is ever-expanding and difficult to define. Their latest album, OH (ohio) is a whimsy tale that goes from interested, to unhappy, to excited, and back to interested. That doesn't make much sense, but if you'd like to see them and attempt to give a better description to their sound, may I invite you to see Lambchop at the Old Town School of Folk Music on January 24th at 7:30 PM. Tickets are $20 and still available.
Here's a late announcement to get excited about: Lady Sovereign is scheduled to play The Empty Bottle on Wednesday, January 28th. UPDATE: The show has been rescheduled for Feburary 4th at Logan Square Auditorium. Tickets from the original show will be honored.
The last time we saw the 5 ft 1 English rapper was at Lollapalooza in '06 rocking hits from her debut album Public Warning, and chugging and spitting on whoever--and she hadn't even hit 21 yet. She's been down for a couple years working on her new album, Jigsaw, set for release in April. Always the rebellious girl, she left JayZ and Def Jam and started her own label, Midget Records (under the EMI umbrella) in order to have more control. Now she's come into her own and doing things her way. Seeing Lady Sovereign at a venue as small as the Bottle is an opportunity you might not see again...
For a taste, go to her website to download "I Got You Dancing" for free.
The show starts at 8pm and tickets are $12. 1035 N. Western Ave. 2539 N. Kedzie. 21+ All Ages. Call 773-276-3600 with any questions.
The first time I saw Fujiya & Miyagi in concert, I almost thought they were joking with their funky krautrock shtick, but the gig didn't stop and I actually started digging it. You've probably heard the heavy baseline from their song, Collarbone, in that Miller Light "Beer Heaven" commercial. Their third album, Lightbulbs, was released in September and is a continuation of the same groovy tracks from 2006's Transparent Things. Fujiya & Miyagi make another stop in Chicago on Thursday, February 12 at Bottom Lounge (1375 W. Lake). Brooklyn trio School of Seven Bells will also play. Show starts at 9pm. Tickets are on sale now for $16 ($18 day of show). 18 & up.
New Years Eve celebrations are usually decadent affairs. The Dandy Warhols made sure that the Metro was no exception this year when they rolled into town with their catchy brand of psychedelic pop to set off the start of 2009.
Truly independent music has an urgency that you don't always find in major label or even indie label releases. Perhaps it is the fact that the band has something more substantial invested or that they are more focused on each step of the process, but as you listen to the debut album from the suburban band Kid You'll Move Mountains you can feel that urgency. Formed from the ashes of Lookout! Records Troubled Hubble, KYMM has been playing together locally since 2006. Members Jim Hanke, Corey Wills, and Nina, Andrew and Nate Lanthrum, see 2009 as their opportunity to launch their sound and their new self-released album Loomings into the national eye.
Loomings is a mixture of the indie pop and alt-country with the kick being the alternating vocals by Jim and Nina. When the two trade off lead vocals, as in the lead single "Volts", the results are, well... electric. In other songs like "Inside Voice", the two lay their melodies over an aggressive bed of piano pop. To keep the album local the band enlisted local designer and musician Marky Hladish of The Felix Culpa and Venna and his company MidwestLove Art & Design to work on the cover. The result is an album that is a visually appealing as it is musically, and an album that the band will officially be launching with a release party this Friday, January 2nd at the Metro with three other great up and coming Chicago bands. Joining them that night will be The Sapiens, Picture Books (who are also releasing a new ep that night), and Pool of Frogs. Tickets are $8 and the show starts at 9:00pm.
If you are like me (and a few million other folks) you spent the past day or so traveling back home from numerous Holiday celebrations. And what better way to burn off the 12 glasses of eggnog you drank and get back into the swing of city life then to catch a free show tomorrow night.
The eclectic five-piece create charming and infectious pop music while utilizing an array of instruments from synthesizers to banjos, ukuleles, and mandolins. An explosion of sound dissolves into earnest lyrics, creating some incredibly catchy multi-layered songs. Also the band compares their sound to "The Arcade Fire meets The Muppets," and anything remotely involving Muppets is alright in my book.
The Empty Bottle is at 1035 N. Western Ave. The show is free (hence Free Monday show) and also playing will be The Black Fortys and Soft Speaker.
If you've yet to finalize your plans for New Years Eve and you'd like an evening of electronic music with a less hefty cover charge, you can head over and catch The Abbey's NYE billing of eclectic grooves featuring performances by Future Rock, Daedelus, and Dark Party.
Dark Party is the duo of Elliot Lipp and Leo123, and exists as a side-project for Lipp's when he's not recording and performing solo. While based in New York, Lipp comes through town fairly frequently -- partially because he likes playing in Chicago, and partly because Chicago is presently the home of his Dark Party colleague, West Coast transplant Leonardo Ciccone. Reputedly, the duo's recorded a debut album that'll be coming out on the Mush label some time in 2009. Unlike the sleek, chrome-plated sheen of Lipp's usual style of electronica, Dark Party offers a doper, more bumpin' ride; with Lipp laying down the bleeps and textures as Leon punches out labyrinths of twisting rhythms that owe more than a little to the pop-locking 808 beats of oldskool hip-hop and electro-funk pioneers like Mantronix and Newcleus.
If you're looking for something to do other than (or while) drinking yourself into a coma in the dark and lonely days after Christmas, you can see a genuine Chicago master of the tenor saxophone, Von Freeman, square off with Edward Petersen (of Covington, LA) on saxophones at The Green Mill this Friday and Saturday. The 86-year old Freeman is a local institution, having been active in Chicago jazz since the early '50s and playing with luminaries like Charlie Parker, Sun Ra and Rahsaan Roland Kirk. The Mill itself is one of the few pieces of Chicago jazz history that predates Freeman; it's the perfect room for the kind of intense, intimate performances that these shows should prove to be. 9pm Friday, 8pm Saturday; $12 cover; 4802 N. Broadway.
What better way to spend the holidays than to see some great live music and give back to the community? The Greater Chicago Food Depository distributes donated food to almost 500,000 adults and children in need per year. This year, the Metro is teaming up with the Chicago Independent Radio Project (C.H.I.R.P.) for a series of concerts to benefit the food depository. Concert-goers are encouraged to bring canned food items to the show, and on December 22nd a canned food item will get you $3 off the ticket price of the show!
Home for the Holidays kicks off tonight with The Hush Sound, Treaty of Paris, and This is Me Smiling, and runs until December 28th with the Midwest Ska Fest. All shows will be at the Metro, 3730 N. Clark Street. Tickets will be available at the Metro box office.
Please note that the Greater Chicago Food Depository is most in need of canned chicken and tuna, canned corn beef, canned fruit, canned vegetables, dried or canned beans, fruit juice, jelly, macaroni and cheese, pasta, peanut butter, rice, and whole grain cereal.
Come check out what's new in the Chicago music scene while giving back to those in need. Full schedule to follow.
Chances are that if you haven't heard Golden Birthday play live during any of their recent appearances around town, you might've heard their name of late. On the eve of the release of their debut album, they've been getting some heads-up attention (see here and here) in the local press. If any of that's made you the least bit curious, tonight's your opportunity as they play at the AV-aerie performance space in the West Loop this Friday evening.
Golden Birthday's sound is a distinctively moody one -- languid, dreamy, drenched in a reverb haze, a bit tenuous, tinged with filigree and shadow. Anyone who was once familiar with the proto-shoegaze of Felt or a number of artists that graced the 4AD roster back in the mid-'80s will probably experience a pleasant sense of déjà vu, and those with less seasoned ears will no doubt find Golden Birthday's music strikingly unique. Also on the bill for Friday's show are local fauve-folk favorites Bird Names and the blippy, tribal abstractionists of the Mahjongg satellite-project Waterbabies. 2000 W. Fulton. Admission is just $5, and the doors open at 9:30 PM.
Chicago's own Scotland Yard Gospel Choir has been making waves opening for the likes of The Arcade Fire, Spoon, The Violent Femmes, and Of Montreal. This chamber pop collective mixes dark humor with an eclectic mix of instruments and styles, at times sounding like The Ramones hired a backing orchestra, and at other times straight-up Belle & Sebastian-influenced folk. They're currently finishing up a new album, due out in the spring, and will be ending 2008 headlining a show at the Double Door tomorrow night. SYGC's shows are always high-energy, which is almost inevitable for a band of this size in an intimate venue like the Double Door but is mostly due to their strong attention to detail and effort put into their live act. This is surely a show you will not want to miss.
Catch SYGC this Friday, December 19th, at the Double Door, 1572 N. Milwaukee Ave. The show starts at 9 pm, but arrive early because the first 100 people through the door will receive handmade buttons and mix CDs from the band. Tom Schraeder and His Ego, The Fabulous Putterbaugh Sisters and DJ Screeble Dee will open. As always, the Double Door is 21+. Tickets are $10 and can be purchased online here or at the Double Door box office.
Really Quick Contest! One lucky reader can win a pair of tickets to the Scotland Yard Gospel Choir show tomorrow, Friday 12/19 at the Double Door. Just be the first to email us at contests (at) gapersblock (dot) com with the subject "La La La" and you and a friend can have sweet night of free entertainment, courtesy of Bloodshot Records. UPDATE: We have a winner! Congrats to Brandon!
What are you doing on New Year's Eve? If you haven't made up your mind, here are two opportunities to have it made for you.
The Dandy Warhols are going to be performing at the Metro's NYE party, with Robert Been of Black Rebel Motorcycle Club DJing to open. The show is 18 and over, and doors open at 9pm. Tickets are $55 in advance ($65 at the door), or $125 for VIP, which get you special seating, four free drinks and limited edition posters.
The Metro is running a contest to upgrade one lucky ticketholder and three of his or her friends to VIP status. All you have to do to enter is purchase your tickets by Saturday, Dec. 20. Winners will be announced on Monday the 22nd.
But that's not all! The Metro has also given Transmission two pairs of tickets to give away! Enter to win by emailing contests[at]gapersblock.com with "NYE" in the subject line; include your full name in the body of the email. We'll select two winners from the entries on Friday, Dec. 19, so that if you don't win you still have time to enter the Metro's contest. Update! We have our winners! Congrats to Kit and Aubrey!
If you've got plans to go to DC (and a place to stay...) for Obama's Presidential Inauguration, you can celebrate the night before with the folks from The Hideout at The Black Cat where they, with Interchange, present The Big Shoulders Ball: a Chicago concert celebrating change. Hideout co-owner and staunch Obama supporter (as is evident by the ENORMOUS picture of Obama hanging on the front of The Hideout), Tim Tuten, has chartered two buses to take the bands and company on the cross country trip. Why am I getting a feeling of America ala 60s full of VW buses, hippie braids and peace signs... Anyway, the lineup is stacked; Tortoise, Waco Brothers, Ken Vandermark and Icy Demons are among the local artists already slated to play. Tickets go on sale today at 4pm and are $50. You can get them from The Black Cat's website, or pick them up in person at The Hideout (1354 W. Wabansia). (UPDATE: The ball has sold out.) The exact date of the show is Monday, January 19 (just in case you've been living under a rock and hadn't heard when Obama would take over as Commander in Chief). The Black Cat is located at 1811 14th St. NW WDC 20009.
**UPDATE** Andrew Bird has been added to the line-up as well!
Owned and operated by the crew at the Shape Shoppe studio and members of affiliated groups Icy Demons and Chandeliers, the recently-launched Obey Your Brain label aims to showcase the work of the Shoppe's allies, associates, and fellow travelers alike -- of adventurous musical artists from Chicago and from across the country. This Tuesday evening, the folks at OBY take the venture one step further as they kick off a series of monthly events that will be hosted by Sonotheque.
The lineup for the first show of the series features a headlining set from the Mahjongg side-project Waterbabies, and DJs Alex Valentine and Smart Cousin are scheduled to spin. Piling onto the bill at the eleventh hour are DJ HoloGram Trav (of the band Killer Whales) and a set from Warhammer 48K offshoot CAVE. Word has it that Nashvillian underground hip-hop emcee Count Bass D, who recently recorded some new material to be released via Obey Your Brain, might -- repeat: might -- also be in the house. Admission is free and doors open at 9 PM. 1444 W. Chicago Ave.
What with Hyde Park's recent high profile, Jimmy's (aka "The Woodlawn Tap"; don't be fooled, nobody calls it that) has been fêted by everyone from local CBS news to the New York Times. It is, for better or worse, in good times and bad, Hyde Park's neighborhood tavern. And if you can successfully dodge the undergrads on the way in, the back room is pretty excellent Sunday night music destination.
Since time immemorial, they've been hosting a Sunday evening jazz session back there. The cast of characters is ever-rotating, but the basic combo centers around Curtis Black (trumpet) and Doug Mitchell (drums), who have been at this for longer than anyone really knows. Their tastes run to pretty classic stuff: think Sonny Rollins, Monk, '50s and early '60s style Miles Davis, etc. The musicians are different every night, but you're usually in for good guest spots on sax, keys, and guitar, particularly in the second set, when the band stretches out a bit. The acoustics aren't great, but the dark-room-and-stiff-drinks factor is not to be underestimated. The music starts around 9pm (there's usually a blues session earlier in the afternoon) and there's no cover, but it's good form to drop something in the tip jar when it comes your way. Jimmy's is at 1172 E. 55th St., at Woodlawn.
You and Me and the Mountain, the newest EP by Chicago progressive math rockers Maps & Atlases, is the type of album you can listen to again and again and still find a new aspect of each song with every listen. And you will want to hear them again and again, as their endearingly quirky sound quickly becomes addictive. This band is able to create chaos in such a way that sounds natural and beautiful without ever becoming over-indulgent. I've been meaning to catch these guys live for quite some time now, as it would be interesting to see their complex music translated into a live format. I am expecting the vivacity and enthusiasm in their music to translate well on stage during their headlining show at Subterranean this Saturday. If you like smart, complicated music that is still catchy, this is a show not to miss!
Maps & Atlases will be playing tomorrow night, December 13th, at Subterranean, 2011 W North Ave. Tickets are $12 and can be purchased here. The show is all ages and starts at 8 pm.
Check out a video showcasing their unique manipulation of the guitar in the song "Ongoing Horrible" after the jump.
It's never a good sign when a lead singer reveals "we haven't played a show in a long time" to a packed crowd during the second song of a set. But this is the type of obstacles you encounter when attending a corporate and free concert.
The Bravery played to a large throng of fans (and fans of free stuff) at The Metro Wednesday night in honor of Puma turning 60 years old. Now there are always pro's and con's to attending a free sponsored concert. Sometimes the music will lack quality (thankfully not the case Wednesday night), sometimes their will be annoying adverts for the sponsor (Puma kept the in your face advertising still present yet to a minimum, a much appreciated gesture), and then the fact you are seeing a show that people didn't pay for, so much of the audience may not be fans of the band at all. These multiple factors played into a very long and strange night that I spent Wednesday with The Bravery.
Rick Froberg's history has warranted a pretty decent following. However, that's not to say he takes advantage of it by doing anything weak. His various music projects speak for themselves and his design work is almost universally lauded. The man clearly understands how to not take a project too long. None of his bands have ever outstayed their welcome. From Pitchfork to Drive Like Jehu to Hot Snakes, he and John Reis have always been an excellent team to deliver aggressive rock'n'roll music.
Now without his longtime collaborator in Reis, Froberg's new band Obits has been generating buzz since playing their first show in New York earlier this year. Their only release so far is a single ahead of 2009's full-length record. While the sound is more melodic than its predecessors, it's not a huge departure from Hot Snakes' post-garage rock urgency and Froberg's vocals still carry a distinct desperation.
Obits open for Constantines, who absolutely slay live, at the Empty Bottle tomorrow evening. The show begins at 10PM and admission is $12. Light Pollution also plays.
If The Smashing Pumpkins are now irrelevant has-beens, the thousands who bought tickets to their five sold out shows - their first proper Chicago shows in eight years - must have missed the memo. I attended the first night at the Chicago Theater, the add-on night at the Aragon Ballroom and the final show at the Auditorium Theater, and each concert was a completely unique experience. I feel I must preface this review by saying that The Smashing Pumpkins are the band that made me begin to love music for the first time when I was 11 years old, and therefore I frequently romanticize this band. That being said, I was a bit apprehensive about Smashing Pumpkins v. 2.0 and feel that Zeitgeist was over-produced and lacked the personality that made the original band so great. Still, of the three nights I saw them in Chicago, they put on a good 2.5 solid performances.
WelikeJustice at Transmission. (And, for the record, we liked that other Justice too.) They've graced our city a few times and given us some good memories from their thump-driven performances. From Smartbar to Metro to the Riv, they've worked their way up the venue ladder and become better showmen as their popularity has skyrocketed over the years. In a few weeks, the French electro duo will put on their biggest Chicago party yet with a New Year's DJ set at the Congress. It may hark back to a time when their claim to fame was remixing Simian and Britney Spears or it may go in a completely different direction. They probably don't even know until five minutes before they hit the stage.
Their Ed Banger labelmates So Me and local trio Hey Champ will open, as will numerous local DJs. (Oh, and Peanut Butter Wolf too!)
And because we at Transmission appreciate our readers so much, we're giving away a pair of tickets to what'll obviously be one of the most fun ways to bring in 2009. Just be the first to email us at contests (at) gapersblock (dot) com with the subject "Justice!" and you'll be the lucky winner of a pair. For those who don't win, the show runs from 7pm to 3am and tickets are $60. The Congress is located at 2135 N. Milwaukee. UPDATE Hold the phone! We have a winner! Congrats to David.
Looking for something to do Friday night? Craving a bit of New Wave for a change? Then head over to The Hideout for the EP release show for local act Big Science.
Big Science was formed in 2007 out of the ashes of a former band, and just finished their new EP, The Coast of Nowhere. The EP offers up some dreamy New Order/Joy Division-esque tunes, and at this point should probably already have an opening slot for The Killers on their next tour. Not the usual sound that comes out of much of the Chicago musical landscape, The Coast of Nowhere is a very strong, heavy, and infectious release.
The Gunshy will also be playing and then following the show will be a DJ set from Tankboy.
Show starts at 10 p.m. and is $8. As always, The Hideout is 21+
Our friends over at Chicagoist just broke the news that hometown hero Andrew Bird has two shows listed on his site at The Hideout on December 14th and 15th.
I'm assuming it's a last minute surprise, since it's not actually listed on The Hideout's website.
And even more odd, according to Ticketweb, the shows are already sold out. What is going on Andrew Bird? Stop teasing and confusing us!
The shows are 21+ December 14th and 15th at 8 p.m. I'd suggest heading over to Craigslist and try your luck at finding at ticket!
Have any idea what it sounds like when sexy robots make sexy love? I imagined a lot of creaking and clanging, but I think Sebastien Tellier has a much better idea on his latest album, Sexuality. With ample production help from Guy-Manuel de Homem-Christo of Daft Punk, the trilingual singer (French, Italian, and English) nails French dance pop, adding his own disarmingly heartfelt lyrics to the robo-beats. And best of all -- dude looks like a thinner and slightly better-dressed Rick Rubin. What a country!
Check Tellier's thick rhythms, romantic songwriting, and bushy beard at his show at Schubas on Tuesday, Dec. 9. Local electro-heads Hey Champ open.
It's by no means the strangest opening act/headliner pairing I've seen, but Daniel Knox isn't the first person I would think of to open for Kristin Hersh, particularly the Kristin Hersh of The Shady Circle, her current show. Now, let's be clear about two things: first, I'm not saying it was a bad pairing; second, I tend to think about stuff like this (to excess) in purely musical terms, even though I realize that the vicissitudes of touring often make strange bedfellows.
It's always nice to travel back to your hometown, and probably even better if your playing in one of the most successful current rock bands to a sold show for a concert that is being taped to air on television. So is the life of Fall Out Boy, the punk pop hometown heroes that returned to their roots and rocked out The Chicago Theatre Tuesday night. The show was brought to town by Fuse television in celebration for the guys' new album Folie à Deux, which is out December 16th, the same day the concert will air on Fuse.
If you're looking for something to do tonight, think about heading over to Bottom Lounge for a concert that's a little different than the usual rock show. He is a member of local indie rock band All Things Lucid and runs Kilo Records. She is a master cellist who has played with Phillip Glass, Kanye West, and even the Foo Fighters in their 2008 Grammy Awards performance. Together, Miles Benjamin and Michelle Morales form the experimental duo The Loneliest Monk. Their cool, ambient music is a nice departure from the standard 4-piece rock or jazz group. It's little bit rock, a little bit classical, a little jazz infused, and all intriguing. They open up for The Loyal Divide (Album Release). Shapes And Sounds and Gaberdine also open. Show begins at 8pm. 1375 W. Lake. 21 & up. Tickets are $6.
*The Loneliest Monk will be handing out "Magic Buttons" at the show that you can bring to the Empty Bottle on December 21st (their first headlining show) for a handmade Loneliest Monk Christmas gift. The buttons were designed by Aaron Albarran, and will reveal their new logo.
Given that this stretch of the Greater Midwest has long been a hive for breakcore activity, it's weird how little of it ever goes off in Chicago. Maybe it's because the breakcore crowd largely adheres to the original rave happening em-oh, and such events are most likely to take place in a warehouse on the outskirts of Pittsburgh or (no, not kidding) a barn in Wisconsin than at a legit/above-ground venue with a liquor license and neighbors who just might be inclined to complain about the noise.
When it comes to breakcore, many would argue that Venetian Snares (aka Winnipeg's Aaron Funk) pretty much rules the roost. Back when Aphex Twin dropped off the radar as Most Innovative And Fanatically Revered Mad Genius of the electronic-music community about five or so years ago, Mr. Snares immediately stepped in to fill the breach. Averaging about 3-4 albums' worth of released material per annum, he's widely hailed in breakcore subculture as the artist who defines (and pushes to re-define) the boundaries of leftfield extremist "electronica." Case in point: In the past few years, he's even made a few side-stepping excursions into composing beatless orchestral and chamber music.
Venetian Snares will be playing at Reggies Rock Club tomorrow evening, Friday the 5th, headlining an evening of nosebleed-inducing splatterbeats and bleeps. Joining him on the roster will be fellow and high-productivist squelch-wrangler Otto Von Schirach, who's currently traveling with VSnares as part of their "Detrimental Disco Wibble" joint tour. Cyrusrex, DJ Naha, Surachai, and Flashbulb are also piling onto the bill. With visual accompaniment by VJ Dizypixl. It ain't a party until someone calls for a medic! Doors open at 8 PM, and it's a 17 & over show. Tickets are $20, $25 the day of. 2109 S. State Street.
New York and Los Angeles have churned out boatloads of hip hop superstars, while Chicago has recently been experiencing a hip hop revolution of sorts. Yet, no one seems to talk about smaller Midwestern cities like Kansas City. Perhaps that's why it may be a surprise to some that heartland America has also produced notable hip hop talent over the years. Minneapolis-based label Rhymesayers (of Atmosphere fame) has taken notice long ago, showcasing talented Midwesterners such as Brother Ali and Mac Lethal. The latter, also known as David McCleary Sheldon, hails from Kansas City and should be on every hip hop fan's iPod.
Look no further than Mac Lethal if you're craving some underground hip hop this Christmas season. His sound ranges from aggressive anger-fueled rhymes where he threatens to "whoop your mother's ass," to slower harmonica-backed melodies that will get the crowd square dancing and clapping their hands in no time. Mac Lethal's bag of tricks definitely has an ample supply of versatility. In fact, it wouldn't be surprising one bit if he moonlighted as a comedian or folk singer in his free time. Just when you think you're beginning to get a feel for Mac Lethal's style, he unloads a fierce Twista-inspired machine gun flow that crashes into your eardrums like a grizzly bear driving a garbage truck. The lyrics are also often impressive, showcasing memorable lines such as "fuck veganism, give me some General Tso's chicken," and "Wilco is great and Ice-T is still clever, but no matter what it's Wu-Tang forever!"
Sunday night, I headed out to the Double Door for a good dose of metal, and I got what I had hoped for. It was a unique night, though, beginning with a cab driven by the one and only Ray St. Ray, the Singing Cab Driver. Knowing that I was going to a concert for an artist whose work I am only marginally familiar with, I was a bit skeptical of the whole night. Of course, that seems to be how I look at every concert these days. Ray's songs got me in the mood, though. Honestly, if you're on your way to see ohGr, it's always best to start your night out with a cab driver who sings a large collection of songs that range in about "Love! Sex! Social Significance! Dreams!" (Or "Other!" as the case may be).
Some things in life you just have to learn for yourself -- usually the hard way. But often times, especially during one's younger and formative years, there's some guardian or elder figure there to offer warnings or advice. For instance, one of my Cajun great-uncles once told me: "The one thing you need to know is how to stay outta trouble. Because the thing about trouble is that it's real easy to get into; and once you're in it, it's a total bitch to get out of." Words like that often go a lot further when you're hearing them from someone who knows what they're talking about.
It seems Sharon Jones, by virtue of her age and experience, knows a good bit about trouble. About being in it, staying out of it, and knowing it when you see it. And to hear her sing, it also sounds like she also knows a good deal about other big things in life; about heartbreak, tenderness, forgiveness, knowing when to put your foot down and not be played for a fool, and -- perhaps more importantly -- about patience for the sake of That Love You Gotta Work On Because One Day It'll (Hopefully) Be Worth It.
I always get a little nervous when going to an 18+ show at the Metro. You simply never know what you're getting yourself into. Such was the case Saturday night when I ventured out to see Nada Surf. I had concers about what I would find what I would find inside, as I honestly had no clue what kind of audience even goes to a Nada Surf concert. All I know about this band is their new album and the fact that I used to sing "Popular" all throughout high school. Would the rest of the audience be my age or would they all be 18 and 19?
A change has come to the band that inspired the phrase "beard rock", and now the Brooklyn foursome are now a trio. Akron/Family's discography has found them collaborating with Michael Gira of Swans and his Angels of Light project, as well as master percussionist (and Chicagoan) Hamid Drake, swaying back and forth between the yelping jammy joy of freak-folk and experimental jams utilizing their musical chops. With the departure of Ryan Vanderhoof, the band is adjusting to new dynamics and enjoying the ride. We sat down with Dana Janssen from the band to discuss the influences for the new record, last-second Chicago venue changes, killer Scrabble moves, and our predictions on how exactly the band will sell out to the man.
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.
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.
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).
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)
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.
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.
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.
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.
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.
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.
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.
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."
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.
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.
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.
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.
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.
Given the unruly and eccentric sonic universe that the Brooklyn quartet Gang Gang Dance have inhabited these past 5 years, it seems fairly fitting that they'd title their new, fourth album after a patron saint of the abject and afflicted. Specifically Saint Dymphna -- the martyred Celtic pagan princess who protects those who suffer from a variety of mental illnesses and neural disorders, epilectics and sleepwalkers, as well as victims of rape, incest and sexual abuse; blesser of families and institutions who strive to shield or heal the damaged from the psychic shocks and traumas of life.
With Saint Dymphna, GGD have taken a few steps toward what some would consider "accessibility." Gone are the avant jaunts into abstraction and the subsuming reverb-drenched haze that murked up some of their prior recordings. Instead, the band's sounding much more polished and linear - offering a new batch of material that twists along on serpentine, trans-global rhythms, foregrounded melodies, and awash in shimmering synth textures. And while the album is being touted as the band's "pop" or "club" move, at its core one finds the band still traveling along the arc of their own delirious and celebratory Fourth-world urban psychedelia.
Gang Gang Dance are currently touring to support Saint Dymphna, a tour that'll probably prove extensive given that the group was recently picked up for international distribution by the prestigious UK label, Warp Records. They're playing the Empty Bottle this Monday night, headlining on a bill that also features touring companion and Kill Rock Stars recording artist Marnie Stern. Tirra Lirra get things started in the opening slot. 1035 N. Western Ave. Tickets are $10 in advance, $12 at the door, and it all gets underway at 9:30 PM.
Even when I took that Ingmar Bergman film class in college, I didn't feel as compelled to learn Swedish as I do after listening to the latest album by the band Dungen. Pronounced "DOON-ghen" (or, so I've been told), the acclaimed outfit put out its fourth studio album, appropriately titled 4 this fall, and head to Chicago this coming weekend.
Listening to 4 I'm struck over an over how the lyrics, all in Swedish (granted, it's the band's native tongue), and all hardly even pronounceable by my lazy Southern tongue are simply gorgeous. Typing in a few phrases to an online translator, I discover simple lines, like the refrain in the track "Det Tar Tid" means (I think) "It takes time", which is a perfect answer to the song's breezy, yet straightforward structure. For once, I'm not hung up on memorizing lyrics (I can hardly wrap my mind around the words), but I'm focused on the progression of the songs, which is appropriate with Dungen's evolving music style on this album. Somewhere between psychedelic pop, folk music, Jethro Tull-ian flute ragas, and jam band guitar noodle, Dungen is kind of a delicious musical stew. There are piano, organ and perhaps even a xylophone in the mix, and it all works in this wonderful psych-pop melange.
Songs like "Fredag" (an instrumental piece) and "Samtidigit" with its psychedelic jams are perfect for nodding to on the train in the fall light, or rocking to as the band hits the stage this weekend at The Bottom Lounge. Tickets are $15 (adv) and $18 (door) and the show is 18+. Headdress, Chandeliers, and Life On Earth open.
Hey, hey! Right now, the first reader who writes us at contests (at) gapersblock (dot) com with the subject line "Swedish Fish!", will win a free copy of Dungen's album 4. Chop chop! UPDATE: We have a winner! Congrats to Jessica!
Can't decide what Halloween show to hit up? Here are a few ideas on what to hear at some of the music venues in Chicago:
Thursday, Oct. 30
The Abbey Pub: Pre-party your Halloween. Join a myriad of local acts as they don musical costumes to perform not as themselves! Performances include: B1G T1ME as Tom Waits, Jinx Titanix as Meatloaf, Canasta as The Decemberists, All City Affairs as George Michael, The Webstirs as Flaming Lips, The Delafields as Velvet Underground and The Getouts as Neil Young. Doors open at 8pm, show starts 8:30pm. Tickets $8 (adv) or $10 (door). 21+. The Abbey is located at 3420 W. Grace. 773-478-4408.
Friday, Oct. 31
The Bottom Lounge: Celebrate Halloween as well as The Bottom Lounge's 6th anniversary with King Khan & the BBQ Show. (Transmission will have a review with pictures from the hijinx on Nov. 1.) Opening: Women, CoCoComa, and The Goblins. Show 9pm, Tickets $10, 18+. The Bottom Lounge is located at 1375 W. Lake St. 312-666-6775.
The Metro. Get your Goth On at the Annual Nocturna All Hallow's Eve Ball with DJ Scary Lady Sarah. Sponsored by American Gothic Productions (and we don't mean pitchfork-carrying farmers, here). Tickets: $10 with costume, $15 without costume, 18+. Doors: 11pm / Show: 11pm. Tickets will be available at the door. The Metro is located at 3730 N. Clark St. 773-549-0203.
The Double Door: DD definitely doesn't take a break from its yearly musical costume show. This time around they're offering performances by: The Sleepers as Aerosmith, Blackbox as Michael Jackson, The Midnight Shows as Eddie Money, My Cold Dead Hand as The Cramps, The Slingerland Ride as Tom Waits. Tickets $10. Doors open 8pm, show 9pm. 21+. The Double Door is located at 1572 N. Milwaukee Ave. 773-489-3160.
Sonotheque: Get your dance on at Sonotheque's Dark Wave Disco Halloween featuring The Villains and residents Trancid & Mark Gertz along with Kid Color. Hosted by PaulinChicago, with visuals by Panic Films. Party from 9pm-2am. Tickets at the door are $8 before 11pm, and $12 after 11pm. Sonotheque is located at 1444 W. Chicago Ave. 312-226-7600.
The Abbey Pub: The musical costume swap continues with a whole other lineup of acts. Performances include: Dead Electric as AC/DC, Bon Motts as Tom Petty, Fringe Benefits as The Cars, Phil Angottti as The Who, Nick Tremulis as The New York Dolls, John Aselin as Tommy James and the Shondel, and Avalanche Rescue Team as the Smiths. Doors open at 8pm, Tickets $8 (adv) or $10 (door). 21+. The Abbey is located at 3420 W. Grace. 773-478-4408.
Martyrs': Enjoy mid-EVIL themed tunes from Cealed Kasket with opening support by vlad the impaler (with Martyrs' owner Ray Quinn, booking guy Bruce Krippner, and veteran bartender Jon Van Bladel). Tickets $10 (adv or door), Show starts at 10pm. 21+. Martyrs' Pub is located at 3855 N. Lincoln Ave. 773-404-9494.
Darkroom: More dancy dancy at the Darkroom's Halloween party. It's Life During Wartime's Halloween Hellection dance party with resident DJs Bald Eagle and Mother Hubbard with very special guests Shout Out Out Out Out and San Serac. Doors open at 9pm, 21+. Tickets are $12 adv/door or $10 with costume at door. Prizes will be given for best costumes, along with candy and glow stick giveaways. Darkroom is located at 2210 W. Chicago Ave. 773-276-1411.
Saturday, Nov. 1
Darkroom: Get over your candy hangover with some nice Reggae at the Darkroom. Spinning is Tidal Wave with selector Slacky J and special guests. Enjoy fresh tunes and fresh dub plates. Doors open at 9pm. Tickets are $8 (cover after 11pm) 21+. Darkroom is located at 2210 W. Chicago Ave. 773-276-1411.
"We laughed so much our chests caved in" is an interesting way to begin an album, but it doesn't sound at all out of place on Roommate's We Were Enchanted. The electronic instrumentation plus the wonderful strings laid out like pop, indie-rock or even contemporary classical at times is what makes this album a pleasure to hear with surprises throughout. I've never heard a record before with so many out of left field instruments sounding like they're meant to be played at the same time. Who else is playing güiro and keytar on the same song? What about Game Boy and harpsichord? (With this in mind, I would love to know what "brownie*" means in the liner notes for "New Steam." Speaking of that tune, there are elements of it that are awfully close to "March of the Siamese Children" from The King & I.) The 8-minute title track encompasses many of the features that make this the fullest-sounding Roommate record yet, though it's the simple "Night" (strangely enough, also the one that almost doesn't sound like it belongs) and closer "Isn't Radio" that stick out most. Kent Lambert and company have created an album that takes over the air and captures the listener's imagination.
Note: Roommate's Kent Lambert wrote in explaining the brownie: "The brownie is a homemade musical instrument created by David S. Moré (a sound artist/musician once based in Baltimore who now lives in Chicago). It's basically a Brownie Super 8 camera box with metal springs mounted on/in it and two contact mics--one suspended in a spring inside the box and the other stuck to an inside surface of the box. The mics output to 1/4" jacks that can be connected to mixers, pedals, etc. The springs can be struck with mallets (Mr. Moré made his from barbecue skewers and superballs) to make deep, gonglike sounds. Also mounted on the top of the box are three steel strings which can be tuned to various spooky notes." Also, the above photo should be credited to Sarah Gross.
Roommate plays at the Bottom Lounge this Sunday, October 26, with the Judy Green, Jeff Harms and Rock Falls. Admission is $9 at the door. (That's $2.25 per artist.) The show begins at 8PM.
What would the result be if three talented musicians allowed there ideas and unique sounds to come together in moments of spontaneous exploration? Not exactly like free jazz, but a sonic exploration, an adventure in song and form. Chicago's Pillars and Tongues, Evan Hydzik, Elizabeth Remis, and Mark Trecka, find as much joy and satisfaction in the process as they do they product, but as a listener you get a strong sense of soul in their experiments. As its core, I imagine you could call this gospel music, but only in the most primal sense of the word.
Last week this trio released Protection, their debut for Chicago's Contraphonic, a four track conversation, a musical dialog, pushing the idea of structure to its furthest levels. First performing together years ago as part of Static Films, on stage they execute both prepared and improvised work, responding to the environments in which they are playing. Tonight they make one last appearance in Chicago before spending the next month touring France and Italy.
Chicago's Tirra Lirra released their debut ep Breathe Bodies back in August of 2007 on Static Station Records. They mix traditional rock with pounding, almost tribal, rhythms, modular synthesizers and samplers. Chris Mathis, Jared Sheldon, Tony Janas, Brian Hank Henry have been playing shows around the city for the past two years, and with each performance improving on the primal nature of their sound. Last week the boys found themselves in New York playing with fellow Chicago outfit Magical, Beautiful. Not being in a band myself, I can only image the feeling of being on tour, and introducing a whole new audience to your live sound. When I asked Tirra Lirra about their experience in New York, they had this to say, "Our show this past weekend @ Death By Audio in Brooklyn was blessed by a 10 story neon VOTE OBAMA sign on the building next door, and our first encounter with THOTH of the Angel Tunnel in Central Park. Expect us to channel one or both on Saturday at the Bottom Lounge".
Tirra Lirra will be performing the Saturday (Oct. 25th) at The Bottom Lounge with Chicago's Clique Talk and Fujiya & Miyagi. The show starts at 9:00pm, and tickets are $15. This is an 18+ show.
Well, not it, per se, but Diplo's coming to the Abbey Pub Thursday, Oct. 23, which means plenty of opportunity to dance your face off. The renowned DJ, whose work has led to collaborations with Santogold and Martina Topley-Bird, will be joined by Abe Vigoda, Boy 8 Bit, and Telepathe. Abe Vigoda (No, not that one. I wish.), for one will be promoting their new album, the edgy-and-happy-about-it Skeleton. Should be a good show, yo.
It was three years in the making, but this past May Chicago's The Atomica Project released their sophomore album, Grayscale. It is a beautiful album filled with down tempo electronic beats, and unlike their debut, a heavy dose of live instrumentation. Wade Alin is the man behind the programming, and when I talked him back in June he had this to say about Grayscale. "The concept of the album is definitely inspired by Chicago and all of its climatic highs and lows. The Midwest in general has some top notch storms. They're dramatic and sometimes unforgettable." Dramatic and unforgettable much like the vocals Lauren Cheatham, who has been compared to Tracey Thorn on more than one occasion. Lauren's voice has a certain strength in its delivery, but she also has the ability to adjust to softest moments of the tracks. The lead single from Grayscale is called "Gravity", and it is perfect example of what this duo has to offer.
The Atomica Project will be performing TONIGHT @ Darkroom with Woven and Panda Riot. The show starts at 8:00pm and the cover is $7.
Local trio and thrill Jockey recording artists Pit Er Pat aren't averse to playing home-town gigs, so chances are you might've caught them playing at the Hideout or elsewhere lately. In case you haven't, the word on the streets for a while has been that they've altered their sound recently -- specifically that frontwoman and vocalist Fay Davis-Jeffers has largely set her keyboard aside in favor of a guitar, and that the band's moved into territory that bears a "dub reggae influence." Judging from the band's new High Time CD, which releases on Thrill Jockey this week, there's more than a little truth to the rumor.
Yes, Pit Er Pat has largely abandoned their prior post-rock/fusion cocktail lounge sound; the one so richly crafted and fleshed-out via John McEntire's production of the band's last LP, 2006's Pyramids. What chiefly remains, however, are the band's frail, elusive melodies -- except now they're intertwined with some roots-rocker grooves that give drummer Butchy Fuego and bassist Rob Doran something meatier to tuck into. And the pair seems to enjoy themselves on tunes like "Evacuation Day" and "Copper Pennies" as they tie and untie various rhythmic knots and guide the tunes through unexpected and crafty transitions.
Has it been a while since you've seen a fun, wackadoo band? Well, I'm not promising anything, but there's a good chance Bearsuit will fit the bill. The UK sextet are touring in support of their latest album, OH:IO, which conjures up images of space suits, pep squads, and Camera Obscura. What I mean is, Bearsuit is twee enough for those who like to put hats on their cats, and yet is enough of a screamy freakshow to placate the irony-friendly ex-punkers. Featuring girl/boy vocals and styles ranging from space pop to electro-bop and punk rock, if anything, their performance should give you something to talk about the next day.
So you thought you had already met you folk-pop quota for month? Well, hopefully you can make an exception for the upbeat strum and squeal of Portland's Jared Mees. As the co-founder of Tender Loving Empire, a media and arts collective, a record label, a publishing company, a gallery, a concert production house and a custom screen printer, Jared was in control every piece of his second full-length album, Caffeine, Alcohol, Sunshine, Money (stream the album here). From the production to the incredible screen printing, this album is a perfect extension of the aesthetic TLE has been building over the last few years.
Accompanying Jared on the album and on the road is a collection musicians known as The Grown Children. There is percussion/drum work from Ezra Holbrook (The Decemberists, Dr. Theopolis), viola and string arrangements by Jordan Dykstra, (Marriage Records, Valet, Atlas Sound), accordion, piano and organ from Eric Gilbert (Finn Riggins), and vocals by Megan Spear as well as contributions from a host of others. Together these musicians play a fun brand of indie folk pop that when mixed with Jared's insightful and witty lyrics becomes quite addictive.
Who doesn't loves kittens and toy piano's? Well it is clear that singer/songwriter Russell Baylin is a fan, and as his latest band My My My prepares to release their first album, Little Cat Plays the Alpha Rave, you can't help but smile at that cute little kitten. My My My claims to be suitable for fans of the supergroup New Pornographers, and that is not completely off target, but there are clearly a few more influences in Baylin's sound. His voice has a depth and clarity that is very distinctive and enjoyable, and when mixed with the beautiful harmonies of Sarah Snow the results are magnetic. A perfect example of this can be found on bouncy duet "Middle Age Hardware and Youthful Indiscretions", which has me spinning in circles and jumping up and down. Where the rhythms generally stay up beat, the mood of the album shifts between light and dark, but it can all be shiny kittens and toy pianos. Ultimately, Baylin is one of the strongest unsigned singer/songwriters that I have heard in quite sometime, and Little Cat Plays the Alpha Rave is an album worth checking out.
My My My will play a record release show for "Little Cat" this Saturday, October 11 at Subterranean with Baby Teeth and Oh My God. Doors open at 9:00 and the show begins at 9:30. Tickets are $12 and this is a 17 and over show.
It's not always easy to drag yourself to a show on a "school night." Yet when the show happens to be Jamie Lidell, it's worth the schlep. Wednesday night caught the British-born, now Berliner producer and neo-soul singer at Metro. If you ever get the chance, don't pass up this multi-talented performer who sings like a cross between Stevie Wonder and Amy Winehouse and flips out smooth and tasty beats across five tracks simultaneously. Overarching playful, Lidell's retro-future electronic soul fusion left a stamp of upbeat positivism on the audience, one that's hard to forget.
To understand Lidell just look at his pants. Long and flowing black-and-white striped cotton things, like pajama bottoms. Not so unlike those stocking caps you see in a Dr. Seuss story, only they were stocking pants, overflowing onto his funky pointy black shoes with silver buckles. And to complement this silliness Lidell had on a white tunic-like shirt. Clearly the guy doesn't take clothing seriously, almost like an afterthought. But boy can the guy sing. What Lidell creates onstage reflects the two halves of his musical identity — one part electronic music producer, the other part neo-soul singer. He switches between belting out songs with unabashed emotion, like "Another Day" and "Wait for Me" from his recently release album Jim, to performing in one-man band fashion, from his amalgam of equipment that included two Powerbooks, mixer, fader, sampler and more.
Audience members were of the fashionable, stylish variety. Band members kept the playful theme running high in various costumes — the saxophonist in a red, full-length kimono, guitarist wearing a white jumpsuit and cape. At one point during a particularly free wheeling jam, the drummer jumped down into the audience with a tambourine, rocking along with the boisterous audience. The feel good factor in a Lidell show overall infectious, you can't help but sing and dance along.
Robert Beatty is known primarily to many noiseniks as the electronic blood flowing through the band Hair Police. For many years, Beatty, an original member of the group, honed his craft within the band's tumultuous live shows and increasingly frightful live shows, fighting through the drums, guitar, and vocal vomit to conjure waves of shortwave attack signals and deep-space transmissions of fear and agony, coaxed out of low-tech and decidedly home-modified instruments.
As the group honed their nefarious crafts and grew more adept, Beatty's electronics, originally primitive and beepy (triggered by a primitive set of drum machine pads), grew increasingly assured and multi-tonal as he attacked his machines with renewed purpose. Along with his many other band projects, such as Eyes & Arms of Smoke and Sick Hour, Beatty inaugurated his solo project, Three-Legged Race, as an all-electronic ode to the final transmissions from a submarine, sinking deep into the sea with no hope of recovery. Furthermore, his work scoring for the films of Takeshi Murata further reinforces Beatty's desire to travel with equal confidence within academic or visceral music circles.
This Saturday (October 11), Lampo presents a program of Beatty's work as Three-Legged Race, debuting two new pieces, "Falling Order I and II," for the crowd. Devotees of Beatty's recent work will notice the word "order" as a recurring motif, such as the pieces on his highly acclaimed LP for Tone Filth, Living Order/Mourning Order. It suggests Beatty's redoubled commitment to compositional techniques, in direct contrast to his more improvisational gestures in Hair Police and other groups.
The new Lampo space is located at 216 W. Chicago Avenue. The show begins at 9 p.m., and admission is $12.
Make no mistake, the Chicago quartet Chandeliers are enamored with keyboards and tricky beats in a big way; but thankfully they don't have much truck with the sort of electro or that chincey, flat blog-house fare that's so glutted the indie market these past two years or so. Comprised of various members of local outfits like Icy Demons, Bronze, and Bablicon, they're one of many local projects that's spiraled out of the South Loop-based Shape Shoppe network. After numerous appearances about town and putting out a 3-song EP, Chandeliers have made their full-fledged recording debut with the recent stateside arrival of their debut LP, The Thrush.
With the opening track "Mr. Electric," Chandeliers lay their aces on the table, giving the listener a strong sense of what's in store. The music glides on a spacey shimmer inspired by vintage Italo-disco, with slight electro and synth-pop nuances billowing to the fore every now and again. The more crafty and complex underpinnings of the band's em-oh, however, reveal a deeper debt to early 70s jazz-fusion and astro-funk (a la Headhunters-era Herbie Hancock). Beneath all the sheen and shimmer, Chandeliers delight in the interplay of contrasts and balances -- the interplay of playing warm tones off versus cold, luster over grit, hefty riding shotgun with lite, and often floating crafty rhythmic shifts and sleights-of-hand against stark drones and subtle modulations.
At last night's My Morning Jacket show in Iowa City, singer Jim James fell headfirst into the crowd and was hospitalized. Tonight's Jim James solo performance at a Barack Obama Victory Fundraiser has been cancelled and My Morning Jacket's sold out Chicago Theater shows later this week have been postponed. There's no word yet on a rescheduling.
If you really need to see a show on Thursday and/or Friday, may I suggest STNNNG and Cougars at the Beat Kitchen, Kid, You'll Move Mountains and the Fake Fictions at the Bottom Lounge, Silver Jews at Metro or Stereolab at the Vic?
As Preston Lovinggood took the stage, acoustic guitar and white sweet towel in hand, he did not look the part. I don't know if it was the well-trimmed hair or the clean shaven face or maybe the sweater worn over a button-up shirt, but he really did not fit the look the of the rest of the band. He talked about how they were glad to be back in Chicago, and how they had spent a month here back February playing a residency at Schubas. Wild Sweet Orange then proceeded to play every song in their catalog, and completely blow the crowd of maybe 90 people away. After that I don't think anyone care what he looked. What draws you into the music of Wild Sweet Orange is the passion, energy, and sincerity that Preston brings to each and every song. Through out the performance the emotion was visible across his face and in his voice, and the band matches that intensity every step of the way. The first of two big surprises came as an electronic beat arose just before Preston launched into "Ten Dead Dogs", and it remained through out the song. It served as almost remix version of the original. The second surprise was the closing track. Preston asked the audience if they wouldn't if they closed on a softer note (having just played "Tilt"), and the crowd applauded the opening notes of "Sour Milk". What was interesting is the band joined in in full force half way through the song, and really rocked what it typically a quiet acoustic song. Preston thanked the crowd, and said everyone had made the launch of their fall tour an enjoyable one.
Opening the show was Chicago's Otter Petter, and they were extremely fun and entertaining. I had never fully understood the Ben Gibbard references until I saw Michael Pritchard perform live. The sound is as if Ben Gibbard had moved to Chicago and decided to play dusty bar room rock, and there is nothing wrong with that. After Otter Petter, Audrye Sessions changed the mood lighting with bright white Christmas lights. The California group filled the room with their effects and experiments. Every second of their performance was filled with sound, and some of those sounds were quite exciting. For example, I can't remember the last concert I attended with an accordion player. They were the loudest performance of the night, and for me the most surprising.
Wild Sweet Orange will be on tour with Audrye Sessions through October, and then they will open a few shows for Counting Crows before spending the last leg of the tour with Margot & The Nuclear So & Sos. The tour ends where it began at The Bottom Lounge on November 22nd. Image above by Dominick Mastrangelo (taken at the Bowery Ballroom in New York in May).
Among the corn and college students, Champaign's Headlights have managed to create quite a bit of buzz lately. Not only they embarking on a 23 stop European Tour this month, they are also providing the theme music to CNN's election coverage. That's right, all of CNN election promo will feature the song "Get Your Head Around It" taken from their 2008 album Some Racing, Some Stopping. You can check out one of the promos here. In addition, Champaign's Polyvinyl records just announced that the Headlight's will be releasing a remix album on December 9th featuring remixes by several of their friends including Chicago's Casiotone for the Painfully Alone.
[MP3] Headlights - Cherry Tulips (TJ Lipple Remix) from Remixes
Headlights will be perfoming at Schubas with Helicopters and World's First Fyling Machine TONIGHT at 10:00pm. Tickets are $10 in advance and $12 at the door.
Otter Petter, whose members include brothers Michael (guitar,vocals) and William Pritchard (drums), Jojo Yang (keyboards and vocals), Raphael
Dussaussoy (guitar), and Alex Barandi (bass), came together in 2005 with the intention of playing indie pop and playing it well. Over the last three years that is exactly what they have done. Releasing their debut ep that same year, this Chicago band started to gain a local following and by the end of 2007 they had tour East Coast and finished recording their debut full-length album. On January 22nd they self-released Fireflies and Lamp Lights which is a perfect blend of roots rock, sugary pop, and more complex indie rock. As they continue to tour and record they grow as a unit, and into a solid fixture of the Chicago scene.
Otter Petter will be opening for Audrey Sessions and Wild Sweet Orange this Sunday at Schubas. The show starts at 8:00pm and tickets are $10 in advance and $12 at the door. This show is 18+.
Check out Born Ruffians at Schubas tonight. The show should be fun; Born Ruffians bring lots of energy and have an infectious, jangly sound often reminiscent of Clap Your Hands Say Yeah, if you know, CYHSY grew a pair. Locals Percolator open.
Late notice, but better late than never: Tonight's Hot Chip show at the Metro isn't sold out yet, so the Metro is offering $5 off the $25 ticket price if you order online and use the code "madeinthedark".
If I was to say that Kevin Martin is a legendary electronic music producer would you know who I was talking about? Much like Scott Herren (Prefuse 73, Piano Overlord, etc.) or Tadd Mullinix (Dabrye, James Cotton, etc) or even Luke Vibert (Wagon Christ, Plug, etc), Martin changes his alias to suit his mood and type of music his wants to create. However, whether it is the free jazz of Ice or the industrial hip-hop of Techno Animal or the hyper dancehall and reggae beats of The Bug, Martin is sure to move the crowd. "I've always exploited my obsession with bass frequencies," explains Martin as The Bug. "How bass moves people, and provokes intense physical reactions." On his most recent release as The Bug, London Zoo (Ninja Tune, 8/08), bass is exactly what Martin throws in your face. It pounds and vibrates and keeps you shaking from track to track. With appearances from Warrior Queen, Flowdan, Tippa Irie, and many more, this album really does feel like a zoo showcasing several different talents over Martin's beats. Regardless of the alias, you can expect to move when standing by the speaker of Kevin Martin a.k.a. The Bug.
The Bug will be performing with Ghilain Poirier ft MC Zulu and Dj C at Subterranean on Wednesday (10/1). Doors open at 8:30pm and the show begins at 9:00. This is a 17+ show, and tickest are $13.00 ADV. / $15.00 DOS.
Over the last two years, San Fancisco based LoveLikeFire has self-released two ep's that have garnered a regional following and a fair amount of blog buzz. Lead by the powerful vocals of Ann Yu, these eps were packed with indie rock anthems and melodies that lead the listener to believe there were bigger things ahead. Earlier this month the UK label Heist of Hit Records announced that LoveLikeFire had been signed and were locked away in San Francisco's Tiny Telephone studios working on their full-length debut.
Spending the last few months with producer Bill Racine (Mates Of State, Rogue Wave), Ann and the boys (Dave Farrell, Robert Kissinger, and Ted Parker) are ready to hit the road for a 35+ date US tour. A tour that will include an appearance Monolith Festival at Red Rocks, and has them rolling into NYC end of October for the 2008 CMJ Music Festival.
[MP3] LoveLikeFire - Unlighted Shadows (from 2007's An Ocean in The Air)
[Video] LoveLikeFire - I Will (Official Selection of SXSW 2008 Film Festival)
LoveLikeFire will be appearing at Schubas with Star and Seabird on Sunday (9/28). The Show starts at 8:00pm, and tickets are $8. This is a 21+ show.
Just when you thought she could just do one style - torch-style jazz, slow blues - she comes with a new way to approach music from another genre's angle. Accomplished singer, songwriter and composer, she visits Symphony Hall at the CSO Friday night. She is promoting her latest, Loverly and may play a bit of "Harvest Moon", her contribution to the soundtrack of "My Blueberry Nights", a critically acclaimed film from this summer.
Totally true: The best way to celebrate the end of a week is with hip-shaking. Celebrate this Friday with The Occidental Brothers Dance Band International at Martyrs' at 10 p.m. Their flavorful indie-via-Africa rock makes a perfect companion to the dub/punk/jazz/beat infusion of The Eternals. The show is 21+.
With a name like Tobacco you are bound to have a few "F***ed Up Friends". Well, I am sure Black Moth Super Rainbow member Tobacco is not actually named Tobacco, but I do believe he has a few strange friends. One of those friends just happens to be the very talented emcee Aesop Rock who appears on the lead single "Dirt" from Tobacco's solo debut album F***ed Up Friends (Oct. 14th, Anticon). One of the most inventive hip hop songs I've heard in awhile, "Dirt" can be streamed here. As a whole, this album finds Tobacco exploring a darker and more complex sound then that of BMSR. Mostly instrumental and filled with analog synths and monstrous beats, this album takes you from the truck stop to the back woods and makes no apologies for the stops along the way. There are still traces of the sunshine and hazy that abounds in the dreamlike world of BMSR, but in Tobacco's world there is a storm approaching.
Tobacco will be opening for Why? This Friday (9/26) at The Bottom Lounge. This is an 18+ show that starts at 9:00pm. Tickets are $11 adv $13 day of show
This Thursday, 9/25, head up to Evanston to check out one of the area's newest venues — SPACE — and hear the croonings of Chicago performer Tom Schraeder & His Ego to boot. Schraeder, a native of Chicago, brings a solid swagger to the stage with some Austin-influenced Alt-country stylings, and a easy-going relationship with the mic. His voice sounds familiar, in that "we dated one summer", kind of relationship one has with the lead singer in the popular college band. His lyrics have a scruffy honesty that's comforting and comfortable — like an old pair of jeans you just can't be apart from.
Tickets to the show Thursday are just $10, but thanks to the nice folks at SPACE, enter in "transmission" on their ticketing page, and get in to the show for free!
Tom Schraeder & His Ego performs Thursday night at SPACE located at 1245 Chicago Ave., Evanston (near the Dempster stop on the Purple Line). Doors open at 8pm, and Scott Lucas (of Local H) and Chris Seleski open. For more info. call (847) 492-8860.
Sometimes I like to take a step back when looking at a band and think, "Where will they be in five years?" There's no better band to do that with then England's Noah and The Whale since they themselves like to think about what life will be like in "5 Years Time". There are a couple factors to consider when evaluating a bands potential longevity. The first factor would be their current popularity compared to their current age as a band. Well, Noah and The Whale formed in late 2006, and spent most '07 tour England and playing wherever they could. They released their debut single in late 2007. Their popularity is really off the charts, seeing that their video for "5 Years Time" was added to youtube in June and has received over a million hits in just three months. However, much of this popularity can be attribute the Saturn Commercial featuring their song. If you think back to 2003, the band Jet had a song featured in an I-pod commercial, and seemed to blow-up over night much like Noah & The Whale. Where is Jet today?
The second factor is the actual music that the band is playing. Is it original, is it something that fans will continue to want, is there room for growth and longevity? After listening to The Whales debut album, Peaceful, The World Lays Me Down, I would have to say yes to all of these questions. They have found a sound that is as timeless as that found on the now 10 year old album, In the Aeroplane Over The Sea. There is love and sadness, fantasy and reality, horrible outfits and big dreams. They have ability to have commercial success and still resonate with the hipster elite. It should be a formula that will endure, but only time will tell where they will be in "5 Years Time".
Noah and The Whale will be appearing at Av-Aerie for an ALL AGES show on Sept 25th with Light Pollution. Tickets are $5. They will also be performing a free show at Reckless Record on Saturday (9/26) at 6:00pm, and following that up with a show at the Empty Bottle that evening. Tickets for the Empty Bottle performance are $10 advance, $12 at the door. This show starts at 10:00pm.
Even though a sanitation vehicle parking lot may not be the most ideal setting for a summer music festival, the Hideout Block Party is one of the best music weekends in Chicago. This year as part of the World Music Festival, the Hideout's lineup featured acts from Hungary, Czech Republic, Israel and Mali, among others. Last week in Transmission we mentioned some acts that we thought would be highlights. Today we look back on what happened during the last weekend of summer.
The British garage duo Dan Le Sac vs. Scroobius Pip hyped up the crowd, especially after comparing them to the previous night's motionless crowd in Ames, IA. After that humbling, the crowd got some energy and bounced along to the UK hit "Thou Shalt Always Kill", "Beat That My Heart Skipped" and "Letter From God to Man" that samples Radiohead's "Planet Telex." (The first recognizable notes of "Planet Telex" may have actually received a bigger cheer than for the song.) Following them was the Czech psychedelic rock band Plastic People of the Universe in front of a much larger crowd than their Hideout gig earlier in the week. Clearly inspired by Frank Zappa and the Velvet Underground, the Plastics also sound at times like a coarser and heavier West Coast Pop Art Experimental Band. Unfortunately, they didn't really keep the audience's attention as people drifted in and out of the lot at an alarming rate. But when they were on with the more rock-influenced songs, they sounded fresh, as if the songs hadn't been from nearly forty years ago.
Israeli metal band Monotonix has been discussed more for their insane live performances than their music. And that may be warranted since their record Body Language is pretty good, but their shows are total chaos. Instead of setting up onstage, they set up among the crowd. A few songs into their set on Saturday, they moved 20 feet. After another few songs, they moved again. Singer Ami Shalev made Les Savy Fav's Tim Harrington look tame while disrobing, crowdsurfing, humping an elephant sculpture and screaming at the top of his lungs. Guitarist Yonatan Gat played a heavy dose of Sabbath-like riffs while drummer Ran Shimoni spent significant time hovering over the crowd on top of his bass drum as his kit was carried around by dozens of hands. Again proving that good bands can become great bands in the right moment, Monotonix was by far Saturday's most entertaining set.
Formed in 2001, in the halls of an unnamed Chicago high school, the boys of Caw! Caw! have been around the block a few times. They have played the local venues, even the men's room the aforementioned high school, but have never taken the show to the national stage. Originally a punk band, through the years they have experimented with a few different sounds. From atmospherics to jangle pop, this trio has now come to play and record somewhat of a hybrid sound. Still heavily guitar driven, they kick off their first national tour this Tuesday in support of their new ep Wait Outside (Slanty Shanty Records).
Wait Outside is an energetic set of seven songs about fantasy and escape, with plenty of thoughts about friendship. It is filled with patchwork guitars and driving rhythms. However, one of my favorite aspects is the wonderful cover art by Liz Born. Unfortunately on my copy the cover is hidden by a huge sticker, but if you were to purchase the album at their record release show this Tuesday at the Abbey Pub I'm sure there would not be a sticker.
Caw! Caw! will be performing at The Abbey Pub with Sam Knudson and the Shame Train and Sugarfoot on Tuesday Sept 23rd. Doors at 7pm and show at 8pm. Tickets $6 in advance and $8 at the door. This show is 18+.
"I stopped thinking in terms of traditional songwriting. I worked on shapes, forms, and textures, scents and colors. Elements which are more earthy and organic inspired me."
Youtube sensation Theresa Andersson is one talented woman. I say ONE woman because she is able to create every part of her music live all by herself. Every song she performs live is a perfectly orchestrated and choreographed dance with her drums, guitar, fiddle, dulcimer, tambourine, record player, 2 mics and her 30 odd loop pedals. She tracks every instrument and vocals live and loops them within the live performance by operating her pedal loops through out the show with her toes. It is incredible.
Her debut album, Hummingbird, Go! was released on Sept. 2nd by Basin Street Records. Recording each part herself in her New Orleans kitchen, Andersson then took album to Sweden and left it in the hands of friend and producer Tobias Froberg. While the album was being mixed Theresa needle felted 1,500 individual CD jackets for the teaser EP "I the River."
Theresa Andersson will be performing at SPACE in Evanston this Sunday (9/21) with Janelle Kroll. The show starts at 8:00pm and tickets are $10.
[Thanks to Drive Thru editor Robyn Nisi for this review of Paul Weller's recent show in Chicago]
While many music acts from the '80s are living off the fame grid, save for the occasional reunion tour or award show appearance, Paul Weller is still working hard. The former frontman of The Jam and The Style Council has built a very respectable and varied solo career. While his music is popular in Europe, Weller is virtually unknown in the States, despite his unique brand of soul-tinged rock.
The crowd at the House of Blues last night was sizeable (although not sold out) and for the most part looked like a crowd of middle-aged, well-dressed parents at a football game. Touring for his most recent album 22 Dreams (Yep Roc), Weller is incredible shape, jumping around onstage nursing drinks, and smoking (gasp! Are Brits exempt from the smoking ban?) throughout the evening. His energy matched his set, which covered his career reaching as far back as his days leading The Jam and lasted almost two-and-a-half hours. From the set's opener "Peacock Suit" to the third encore, a cello-tinged cover of "All You Need is Love," Weller's vocals remained strong. The most delightful part of seeing him live is hearing extended, jam-length versions of his songs. "Wild Wood" had an intense, dub-heavy revision, and "Shadow of the Sun" took a trip into Thin Lizzy territory with guitarmonies between him and guitarist Steve Cradock (of Ocean Colour Scene).
Despite how entertaining and rich his entire set was, the crowd was quiet the entire evening but briefly rallied for Weller's best-known hits from the Jam's era, "Town Called Malice" and "That's Entertainment." Many in the crowd, who were likely fans of Weller's music when it debuted thirty years ago, were now in sport jackets and Dockers jumping up and down screaming in delight alongside Weller's younger fans. As I stood next to a dead ringer for imprisoned former 'N SYNC manager Lou Pearlman who was clapping his hands and dancing on the floor, I thought about a somewhat crass line that comedian Chris Rock has said: "You are always going to love the music you were listening to when you first got laid." It seemed like "Malice" loosened up the self-consciousness of the audience, and despite however awkward it looked, people of all ages finally felt free to boogie, albeit for a few minutes. Weller smiled and danced around himself as the floor went wild for his famous chords. Maybe he had the same nostalgia on his mind, too.
-Robyn Nisi
I know we are in the middle (or maybe the final years) of a raging '80's revival in music, fashion and just about everything else, but is it too early to talk about the early signs of a '90's revival? When I first played the new EP from San Francisco's The New Up I was instantly transported back to the early 90's and began craving my flannel shirts and Doc Martins. Theirs is an irresistible combination of power pop with just enough attitude, "grunge" if you will, to keep you interested. By the end of the 24 minute six track romp that is Broken Machine, I find myself searching for my copy of Veruca Salt's American Thighs, Siouxsie and The Banshees' Superstition, Belly's Star, PJ Harvey's Rid of Me, and even my copy of Bloodletting by Concrete Blonde.
The New Up, originally formed here in Chicago, are led by the powerful vocals and Linda Perry-like dreads of singer/songwriter Es Pitcher. In 2003 they fled for the warmth and history of San Francisco and released their self-titled debut album the next year. In August they self-released their latest EP, the first of three that will be released over the next 18 month's, Broken Machine (stream). Touching on the "lonely machinery that distracts us from our lives," and themes of pollution and technology, this album is not only packing with 90's glory, but some serious topics as well. Es is supported by guitarists Noah Reid, drummer Jack McFadden, bassist Dain Dizazzo, and the fascinating flautist/electronic wizard Hawk West.
For the third straight year, the aptly named musician/promoter collective Umbrella Music will bring improvisers and jazz musicians from around the country and globe to Chicago for five days of music, November 5th through 9th.
The festival is perhaps without peer in the United States in terms of bringing cutting edge European acts to perform stateside, and its emphasis on musical meetings between local musicians and those from other cities and countries adds an alchemical element to the proceedings. The festival will once again open with a free multi-stage evening of performances at the Chicago Cultural Center and then move to venues across the city for concerts.
This year's festival brings in free jazz luminary John Tchicai, Italian free noise punk power trio Zu, New York based cornetist and composer Taylor Ho Bynum, and Globe Unity Orchestra founder Alexander Von Schlippenbach to town, amongst many others. For a full list of the offerings, visit umbrellamusic.org
When faced with the challenge of picking a band name T. Thurston, like most, was lost. Flipping through the pages of his notebook he found a side note he had written, "Remember the Magic and the Beauty". It was something of a mantra or maybe just a reminder that no matter where are or what has happened or hasn't happened, you have to remember the "magic and the beauty" of life or music or all that you love and enjoy. So what better way to consistently reminder yourself then to name your band Magical, Beautiful.
A former member of Head of Femur, T. is a veteran of the Chicago music scene. He has played piano for Casiotone for the Painfully Alone, and spent time in a band called Northwest. He has learned something new from each band, and has been creating music on his own for several years now. When performing live, T. gathers a group of like-minded musician to help bring his sound to life. Over the years that has included 14 different individuals, but his line-up tomorrow night will be Charlie Vinz on banjo, bass, and violin; Nick Broste (Shape Shoppe) on organ and trombone; Chris Keener on synth, melodica and vocals; Alance Ward on drums & trumpet. M,B's most recent release was a single called "Right, Rock" which was filled with layered sample, surprising tropical undertones. A 12" Vinyl version of "Right Rock" should be coming out before the end of the year with two new songs on the b-side.
Of existence borne by celebrity, is it better to bow out gracefully or flame out, attempting to keep the streak going while disaffected fans largely turn from you? No one wants to be the one who touts the "return" of a heavyweight when they're not really sure he can stand up to the blows of an ever-changing public. Especially when most of that public last saw him in xXx: State of the Union. You did see that, right?
Ice Cube's had his hands in a lot of different pots, but his base is being a rapper. He'll still give you the Scowl (which is trademarked). He'll still be backed up by above-average production. What old fans aren't sure of is if this is the end of the caricatured Ice Cube, who was such a departure from his image when he first showed up as a member of NWA in the late '80s. It's a testament to PR efforts that, in this age of questionable "authenticity", where hardcore thugs hawk vitamin supplements and hedonistic rockers find God, he can still produce an album that a few people will check for.
His constant recreation as cuddly actor to funny straight man and more on the big screen mirrors the change from hard-lined revolutionary to Puffed-out materialism to coast-based set-trippin'. So I guess you can excuse the buying public, especially those that watched him move through these stages, from buying too much into the "he's back! The Ice Cube I used to know and love is back!"
The rapper known as Ice Cube will take the stage tomorrow night at the House of Blues. His reticence in the past to doing "old shit" may not bode well for those who want "It Was a Good Day" or even "Bow Down." I know, though, that the scowl will still be there.
The music and imagery that Portland's Ryan Sollee is able to conjure up has the feel of an old southern saloon, a gospel church, and a nursery rhyme all at the same time. Where Colin Meloy wallows in tales of the sea and fictional bird people, Ryan focuses on coal miners, bodies at the bottom of the lake, and blood on the train tracks. In both cases, they are building lore, creating eloquent pieces of fiction and setting them up top music filled with acoustic guitar, accordion, and so on. Yet, The Builders and The Butchers bring an added element of sing-a-long gospel choruses, audience participation, and don't forget the old bullhorn. The Builders' thrive on the audience often distributing tambourines and washboards to get the crowd involved.
Originally intend to be a band that performed funeral music, Sollee started writing and singing songs about dead relatives, coal mines and the creepiest bodies of water, lakes. As he played these songs for friends they decided to join in and the tempo and mood began to elevate to the level that is today. On June 10th, Bladen Country Records rereleased the bands self-titled debut album that was original released in 2007. They are on tour all month, and a band that should not be missed.
One of the trendiest bands around these days is New York's Ra Ra Riot. Their debut album, The Rhumb Line (Barsuk Records), was released last month and has brought an unbelievable amount of praise from the likes of Rolling Stone, New York Times, and of course Pitchfork. Earlier this month the even appeared on the indie friendly Conan O'Brien. They have drawn comparisons to other trendy bands like Vampire Weekend and Noah & The Whale, and musically these comparisons make sense. However, if you are repulsed by the style of Vampire Weekend, but find yourself humming along anyway then this is your band. As strange as it may sound, they actually seemed more concerned with their music then their appearance.
Highlighted by the fine cello play of Alexandra Lawn, Ra Ra Riot came together in 2006 at Syracuse University. Releasing their debut EP on Rebel Group records in 2007, and were quickly signed to the major label V2. In May they signed to Barsuk, and now are both an indie and major label band, for whatever that's worth. If you are looking for quality cello-based trendy pop then check out Ra Ra Riot tonight at Subterranean.
Ra Ra Riot are playing tonight (9/11) at Subterranean with Chicago's dance pop duo Walter Meego and Pepi Ginsberg. Doors open @ 9:00 PM and the show starts @ 9:30 PM This is a 17 & over show and tickets are $12.00.
For the 10th straight year, world music gurus Mike Orlove and Brian Keigher of the Department of Cultural Affairs will deliver a smorgasbord of music from across the globe over the course of 7 days in September. This year's festival runs from the 19th through the 25th, presenting over 70 concerts at more than 20 venues.
Amongst the large City run public music festivals in Chicago, the World Music Festival stands as a unique event. The format differentiates itself from the Grant Park monoliths, the Blues Festival and Jazz Festival, branching out from Millennium Park to venues across the city. In addition, it's the longest running and largest international music festival in the United States, and the variety and depth of music programmed is truly impressive.
Given the variety of music being presented a musical preview would be difficult, but to help us navigate the offerings, the Department of Cultural Affairs has made a preview site with audio to check out the artists.
Although it was a stormy Monday evening that for every reason should have been as banal as any other waterlogged expanse of American humdrum, Spiritualized swooped down to lift the roof off emotional stagnation, breathing life and soul into vast internal choirs.
Kristin Gundred of Grand Ole Party. (Photo by Kirstie Shanley)
Arrived around half past 8 at Metro. Grand Old Party, who hails from San Diego, kicking out bluesy rock on stage. Singer/drummer Kristin Gundred belts out songs about love and its many vices with full gospel fortitude. Accompanied by bassist Michael Krechnyak and guitarist John Paul Labno, the trio held the audience captive with songs like "Nasty Habits." Note: at this point I took a look around the crowd to find, frighteningly (but in a good way), a sea of doppelgangers all around — quasi-hipster intellectual types bespectacled and thoughtfully listening to the music. More than a handful of guys sporting hooded sweatshirts, and women of all shapes wearing all kinds of (read: in mode) glasses.
Gundred, a woman with the Herculean vocal prowess of Beth Ditto and the angst of PJ Harvey, a welcome and necessary antidote to recent developments (read: a dangerous anti-feminist V.P. candidate) in actual Grand Old Party. The band's piercing garage band rock fueled by unfettered female disquietude a soothing kind of electrical relief. And doing a solid job of warming up the audience for gospel/space rock of Spiritualized.
Spiritualized hits on stage around 9:20pm. Jason Piece, wearing a white t-shirt and jeans, and of course sunglasses stands parallel to the audience, still it's the closest I've ever come. I saw them at Pitchfork this summer but this performance starkly contrasts. In a smaller venue Pierce connects more intimately with the audience — he's less of a distant rock star performing on a far away planet before thousands and more of a man pouring out profuse intensity and soaring emotion. And although this time he still didn't utter any words outside his songs, he clapped along with everyone at the beginning and end, and appeared more interconnected with the audience's response.
Two gospel singers, also in white, behind Pierce, with Kevin Bales on drums, Richard Warren on bass, Tony "Doggen" Foster on guitar, and Tim Lewis on keyboards. The first song, "Amazing Grace," fills the room with humble, yet soul-baring transcendence. "Shine a Light," from the group's 1992 progressive debut album, Lazer Guided Melodies, follows, a song that aptly sums up the performance: plaintive yet profoundly moving. Unlike at Pitchfork, at which mostly saw songs from the band's recent album, Songs in A&E, predominated, last night saw a good number of the old but good ones, like "Ladies and Gentleman, We Are Floating in Space," and "Come Together," both from the 1997 acclaimed album of the former song title. And songs like "Soul on Fire," and "Death Take Your Fiddle," both from Songs, had the audience rocking out, building into the guitar frenzy (sans gospel singers), because, let's face it: once a spaceman, always one. By the end the audience begging for more, enraptured. Like music in a gospel church, Spiritualized leaves you transformed and transfixed.
The encore sees the gospel singers return and like "Amazing Grace," which kicked off the show, another spiritual-sounding hymn, "Lord Can You Hear Me When I Call," — from the 2001 album, Let it Come Down, bathes the audience in a particular kind of affectionate light.
And afterward, out on the street, the storm had lifted.
The first time that I heard the terms "Baile Funk" and "Favela" (which means shanty town) was in 2005 and the release of Diplo's compilation of Brazilian dance music. It was the first compilation that was not published in Brazil. I was hooked by the infectious beats mixed with the tropical feel and DIY punk/underground aesthetic. There was this energy and excitement surrounding the off-key vocals shouted vocals over the dirty dance tracks, and finally it was brought to the public's attention. Since that time the spotlight has been on Brazil, and acts like Bonde Do Role and CSS were instant successes, but now Sao Palo has given us a new act with a slightly different sound.
Singer Mylene Pires and DJ/producer/drummer DJ Periferico (aka Erico Theobaldo) make up the duo Telepathique, and on August 5th they released their debut album Last Time on Earth (The Control Group). This album, originally released in South America in 2006, is filled with diverse sounds from pure dance, to guitar tinged funk, to electro-hyper-sexual grooves. It's complex, but extremely enjoyable, and it adds a whole new dimension to the music of Brazil. Their live performance is set-up like a hip hop show with the DJ and singer, and they always keep the crowd moving.
Have you ever gone to a concert expecting to see a great dance band or your favorite electronic musician perform, and all you get is a guy in a hoodie hunched over a laptop? True, the smoke machine wasn't as cheesy as you thought it would be, but you could have lived without see him drink that glass of water during the set. And that video of his cat is not making anyone dance. Translating dance music to the stage is not easy, and you have to put forth a little effort to keep the crowd involved. Toronto's Woodhands is full of effort and they even leave the laptops at home.
The brainchild of Dan Werb (vocals, synths, drum machines) and Paul Banwatt (drums, vocals), Woodhands has gathered national press in Canada and was tagged as one of 5 bands to watch in 2008 by Exclaim! Magazine. Seeing that their debut album, Heart Attack, was just released last week most of this buzz has come from their on stage presence. Even though their sounds is pounding dance music, fast and fascinating, while on stage they strip it down the roots of the sound. Armed with a keytar and analog synths, Woodhands brings forth the attitude and swagger of glam rock while pounding out their big beats.
Woodhands will be performing tomorrow night (9/5) at The Empty Bottle with The Juan MacLean and Beau Wanzer. The show starts at 10:00pm and tickets are $14.
I'm not sure who Laura is or what she ever had to do with a five piece rock band from Phoenix, but she sure left a mark. She also left behind a wide range of stories and melodies that Danny Godbold (keys, guitar, vocals), James Mulhern (guitar, percussion, vocals), Greg Muller (drums), Mitch Freedom (bass) and Jacob Woolsey (everything else) have managed to condense and package as their debut album Thinks and Feels. In fact, they used to call their band What Laura Say Thinks and Feels, but they decided that was to long of a band name. I suppose some should say something to Alec Ounsworth (Clap You Hands and Say Yeah), but I will leave that up to someone else.
All of the different parts of the band came together in 2006, and they began working on Thinks and Feels. After self-releasing the album in 2007 they caught eye (or ear) of the young North Carolina collective Terpsikhore. Run by members of Annuals, they were glad to add the band to their growing roster of talented bands and they reissued the bands debut album last month. Musically, WLS blends piano pop with southern flares and classic roots rock. They are easily compared to bands like Cold War Kids or Wild Sweet Orange.
I am always amazed by duos that can create massive sounds with just two instruments. Examples that come to mind are The Black Key's and the full on roar of Daniel Auerbach or the room shaking sound of Matt & Kim or The Dodos. If I had just one word to describe the sound of Shalloboi it would be reverb; room filling, ever-growing and growling reverb. This Chicago duo, consisting of Tyler Ritter and Stefanie Goodwin, has figured out a way to capture their impressive sound without too much processing. Recorded through utilizing natural room sounds, mic placement, doubling and pure volume, Tyler is able to use this as an additional instrument. The huge drone makes for an unsettling, but always interesting platform for the hazy and wondering vocals of Stefanie Goodwin. All of the vocal effects were achieved through the use of natural reverbs courtesy of an abandoned stairwell in the apartment building where the band lives and several spaces in the congress theater. I'm not sure if I would want to live in their building, but I love how their latest album turned out.
Down To Sleep is actually their fifth record, and it took about two and half years to record. The opening track, "The Sun is so Bright" begins like a sunrise, slowly moving and illuminating the edges of the sky. It is clear and clean with faint electronics, tambourine, and whispered vocals. However, at the 4:37 mark the song filled with a forceful and heavy drone. The sound is powerful and unexpected, and it can be followed through the rest of album. Shalloboi is a member is cllct.com so this release and all five of their albums can be downloaded for free.
If you want to hear some great jazz Sunday evening and don't feel like fighting the crowd at Millennium Park for Ornette Coleman, head to the Checkerboard Lounge to hear the GMG trio. Featuring special guest Corey Wilkes on trumpet, the Chicago-based trio is comprised of Greg Spero (keys), Graham Czach (bass) and Makaya McCraven (drums).
GMG sums up their sound as "well-structured, yet improvisatory songs that build and release tension with an energetic frenzy." Their recently released self-titled debut more than lives up to that claim—and with Wilkes, artist in residence and board member of the Jazz Institute of Chicago, as the special guest, this performance should be energized and fresh.
And get there early: The first 50 people to arrive can purchase the GMG debut album for $5 instead of $15.
Show starts at 7:30. $10 admission, or $5 for students over 21 with IDs.
Sure, you could sit out all in the Millennium Park glory that is the Pritzker Pavillion on Wednesday, September 3rd along with every other indie music lover in the midwest and wait for Andrew Bird to take the stage for a free show, or, you could put your money where your mouth is, and do some good for the children at the same time. Rock For Kids, the same awesome non-profit organization that helps at-risk youth in Chicago through a variety of music-oriented programs is auctioning off not one but two chances to meet Mr. Bird and sit your butts in some cushy premium seating at his upcoming event downtown. Bid here or here, but do it soon — the auction ends on Monday, September 1.
We here at Gapers Block Transmission aim to cover the local music scene and emerging Chicago artists as much as our resources permit. What follows is the transcript for a proposed review of the new CD Eve, Adam & the Apple by Chicago-based artist Slow Gun Shogun. The editors fanned the CD out to a potential contributor (PC) and an unaffiliated party (UP) in a focus-group styled experiment. What follows is a transcript of the results. Believe it or not, the transcript that follows was heavily edited and abridged in order to remove the more pedantic, digressive, and profanity-strewn passages. Needless to say, we will not be hiring either party for any future assignments.
UP: Yeah, but I don't feeling like getting up to get it just yet. What have we got?
PC: Some new CD by an artist who calls himself Slow Gun Shogun.
UP: Can't say I'm familiar.
PC: Local guy, apparently. It's a seven-song EP called Eve, Adam and the Apple. Judging from this, he plays a lot of the instruments himself -- one-man band style -- with the help of one "Miss Palanti" on drums. Appears to be self-released, on a label called Devil's Bedpost.
Your plans are probably made for tonight; either watching the speech or avoiding it, but we at Transmission would be remiss if we did not mention the Chicago Jazz Festival. Four days of the celebration of a true American art form in a city that's done so much as a showcase and as stomping grounds for its luminaries and its everyday practitioners.
The Chicago Jazz Festival is being bookended by two legends of jazz; Sonny Rollins tonight, and Ornette Coleman on Sunday night. Both men are nearing 80 and are still creating and playing gigs worldwide.
Other publications have done excellent recaps of both men's careers; Rollins as possibly the greatest saxophonist alive, Coleman as one of the fathers of free jazz. But we'd like to stress that, while the titans bookend the event, the musicians in the middle aren't slouches. Very few will play "straight ahead" jazz, as that has seemed to fall out of favor in favor of standards and histrionics, but there's something for everyone. Schedule is over here. Here's to hoping that a (mostly) dry weekend will get you out into the sun and into some good music.
Long weekend with nothing to do? Enjoy the last lingering days of summer weather, my friends, at the Bash on Wabash festival. It runs Saturday and Sunday, Aug. 30-31 at 1300 S. Wabash Ave. A $5 donation benefits the Greater South Loop Association. Catch the usual festival fare, including crafts, booths, kids activities, and gobs of bands. Check the music line-up:
Saturday
Noon: Columbia R&B Band
1:10 p.m.: The Artist Formally Known As Vince
2 p.m.: Margaret Murphy
2:50 p.m.: The Sleepers
3:40 p.m.: The Wabash Cannonballs
4:30 p.m.: Velcro Lewis & His 100 Proof Band
6 p.m.: The Steepwater Band
7:30 p.m.: Waco Brothers
9 p.m.: Mucca Pazza
Sunday
Noon: Columbia Rock Band
1:10 p.m.: School of Rock
2 p.m.: Cooler by the Lake
2:50 p.m.: The Stacks
3:40 p.m.: Indignant
4:30 p.m.: Todd Hembrook & the Hemispheres
6 p.m.: North of Memphis featuring Michael McDermott, Vanessa Davis and Howard Levy
7:30 p.m.: William Elliott Whitmore
9 p.m.: Murder by Death
Missouri born TK Webb has been on the scene for a few years now, and released his second LP, Phantom Parade, back in 2006. He is no stranger to the stage, and over the years he has found a unique way of combining rock sounds with dirty delta blues. Last summer, Webb decided that he needed a fuller sound on his next record and so he formed The Visions. Consisting of Brian Hale (ex-Love As Laughter) on 2nd guitar, Nic Gonzales (The Comas, Love As Laughter, Blood on the Wall) on drums, and Jordan Gable on bass, they begin a full on rock assault on their new release Ancestor (Kemado Records, Sept. 2nd). They band clearly has gelled quickly, and they will be put to the test on a lengthy cross-country tour in September. Here is what TK had to say about the decision to bring a band together. "It felt like gravity pulling the sound towards being bigger. From solo acoustic to a trio to a four- piece electric group. I found myself surrounded by bland half-baked folk acts and wanted out. This project feels right. It feels like a band should."
A solid rock album is pretty much what we have come to expect from the New York label Kemado. Since its inception back in 2002 they have released an incredible catalog of intense and obscure rock albums, including releases from Turzi, Witch, Dungen, Langhorne Slim, The Sword, and others. TK Webb's Ancestor fits perfectly in the Kemado catalog.
TK Webb & The Visions will be playing at the Double Door this Sunday (8/31) with Roky Erikson and the Explosives and The Wisebloods. Doors open at 8:00pm and the show starts at 9:00pm. Tickets are $20 adv. / $22 dos.
The Hideout announced the full lineup for this year's Hideout Block Party today. The big news is that Neko Case (who, as the legend goes, is a former Hideout bartender) will be headlining both nights. On Saturday, Sept. 20, she'll play with her own band, and will perform unreleased songs from her upcoming album; it'll be her only performance in Chicago this year. Then on Sunday, Sept. 21, she'll play with The New Pornographers -- who are about due for some new material too, come to think of it.
Kicking off the party on Saturday will be Plastic Crimewave's Vision Celestial Guitarkestra, a do-it-yourself musical experience; last year's performance featured more than 60 performers contributing to a semi-harmonious drone. If you've got an instrument and amp, you can get in for free and play along, provided you arrive by 11:30am. No experience necessary, and yes, you can stick around for the rest of the show.
One- and two-day passes are now on sale at HideoutBlockParty.com; it's $25 for one day, $45 for both. The full lineup is below the fold.
From the sound of top-40 radio these past couple of years, you'd think that a good portion of the pop-music industry had been taken over by robots. Little surprise that there's been talk in some quarters lately of a grassroots backlash -- something along the lines of a Citizen's Council for a 15-Year Moratorium Against the Use of the Vocoder. But back in 1982 when deejay Afrika Bambaataa and his crew the Soulsonic Force delivered "Planet Rock," synthesized vocals were still very much a novelty. An instant dance-club smash and b-boy anthem, "Planet Rock" was a hybrid of Kraftwerk keyboard riffs undergirded with liquidic rhythms and 808 kicks, and sported a crowd-rousing cybernetic call of Bam asking party people, "Can y'all get funk-ay?" As history shows, the answer was a unanimous yes. Not only did the tune birth a new breed of boom called electro-funk, but it also inspired more than a few producers down South to take a few moments off from contemplating thongs, turn their attention to some other low-end affairs, and engineer the Miami Bass sound.
It was, however, Bambaataa's work as a pioneering DJ in the 1970s that earned him the title "Godfather of Hip-Hop." And while that may have been three-plus decades ago, he hasn't shown any signs of waxing complacent or slacking off to rest on any honorific laurels. On the decks, Bam's kept his game up. He demonstrated as much when he was in Chicago back in January of last year to spin a headlining set at Smart Bar. He entered the DJ booth donned in a silver lamé hood-and-cloak affair, which he soon shed for optimum mobility as he got busy with the wax and wheels. For the remainder of the night, he threw a long, tight, and relentless set of old-school joints that kept the dancefloor packed and jumping for the full duration. It was lively, it was dope, and it left a good many attendees sore from dancing for a few days thereafter.
So if you missed it last time, this weekend's your chance to recoup. Afrika Bambaataa will be returning to town to play a headlining set at Smart Bar this Friday night. DJs Tone B Nimble and Intel will be spinning in the warm-up slots. 3730 N. Clark St. Doors open at 10 PM and tickets are $15.
What are you doing on New Year's Eve? If you 
Tonight's 
Late notice, but better late than never: Tonight's Hot Chip show at 
