[This interview comes to us from reader Rachel Angres.]
Beth Tacular and Phil Moore of Bowerbirds were gracious to share a telephone line and a few stories while sitting in their un-finished cabin located in a remote area just outside of their hometown of Raleigh, North Carolina. The cabin is a work in progress that Beth and Phil began building with their very own bare hands over the course of three years, coincidentally since the time they began recording their previous album Hymns For a Dark Horse back in the fall of 2007. The band just released its latest effort, The Clearing, this past month.
They started building the cabin by gathering scraps of wood from the surrounding land to build the structure and foundation. As an artist herself, Beth was exhilarated about this challenging process, perhaps because she utilized her craftsmanship and artistic talent to incorporate art into the manual labor.
It must be pretty strange to see someone else portray you in a cover band, but Greg Norton, bass player from the influential Minneapolis punk trio Hüsker Dü, was a good sport about it.
Best known for his iconic handlebar moustache, Norton has kept a relatively low musical profile since Hüsker's demise in 1988. Instead, he pursued his interests in the culinary arts and, after many years in the restaurant business, currently works as a sales rep for a wine broker. However, in recent years he's been playing bass in The Gang Font feat. Interloper, an oddly named supergroup with members of The Bad Plus and Happy Apple.
Last Saturday Norton and his girlfriend Tobi Severson traveled from their home in Red Wing, MN, to Chicago's Quenchers Tavern to celebrate his 53rd birthday at a gig by Hüsker Düdes. Possibly the world's only Hüsker Dü tribute act, the band, featuring bassist Geoff Greenberg (Mr. Rudy Day), guitarist Dan Fanelli (Land of the El Caminos) and drummer Eric Mahle (Sunken Ships, Sybris) formed in early 2010. That fall the rhythm section played a few tunes with notoriously erratic Hüsker Dü drummer Grant Hart on guitar during his solo appearance at Quenchers.
Hüsker Dü bassist Greg Norton sings with the Hüsker Düdes. (Photo by John Greenfield)
Korallreven's simply titled debut album An Album by Korallreven is an exploration through Balearic pop and southern Pacific sounds in a dense yet ethereal electronic aesthetic that features Julianna Barwick and Victoria Bergsman (formerly of the Concretes, currently performing as Taken By Trees) guesting on vocals. The Swedish duo of Marcus Joons and Daniel Tjäder (also of the Radio Dept.) begin their first US tour that puts them at Schubas on Tuesday, the 6th. New York's Young Magic opens. Tom Krell (How To Dress Well) spins music before and after sets. The show starts at 8PM, is 18+ and $14. Gapers Block had a chance to chat with the gentlemen before they headed out on the road.
For 20 years now, Da Brat has cemented her status as one of the most noted women in hip hop; as the first female rapper to ever go platinum (1994's Funkdafied), this Grammy-nominated artist has definitely earned a place in music history. After riding in the fast lane with three follow-up albums, along with several television and movie roles, Da Brat (aka Shawntae Harris) hit a speed bump in 2007 with a prison term that threatened to end it all. Now, the Chicago native, part of the Legends of Hip Hop tour, is back in the driver's seat; here, she talks about her life, lessons learned, and of course, loving hip hop.
Gapers Block: You've been in the game for a while now. Take us back to the girl growing up on Chicago's west side — when did you know you could rap?
Da Brat: I knew when I was in junior high school when I was battling all the guys and was just wearing them out. And then when I started to see MC Lyte, [Queen] Latifah and Monie Love, I said to myself, "Oh — this is what I'm going to do."
Canasta prepares for their journey (photo courtesy the band)
Some bands tour via car, van or bus, but Chicago indie band Canasta is going to have to manage their upcoming tour with some planes and a convoy of trucks and jeeps. As part of the U.S. State Department's Bureau of Educational and Cultural Affairs' Arts Envoy Program the band will be performing in Mongolia next week. They'll begin their tour on Friday, February 3, in Ulaanbaatar, Mongolia and also play in Tsetserleg, Harhorin, and Arvaikheer, finishing up in Ulaanbaatar on the 12th. Canasta will play similar sets to what they usually break out for evenings at Schubas and the like, but admit that there might be some changes in their normal format. They'll not only give live musical performances, but also give workshops and lead jam sessions with the locals. Canasta is comprised of Matt Priest (lead vocals, bass, trombone); Elizabeth Lindau (violin, vocals); Jeremy Beckford (guitar, vocals); Brian Palmieri (drums); Ryan Tracy (keyboard, piano, bass, vocals); and Sarah Kneebone (piano, keyboard, vocals).
Perhaps some pre-trip inspiration can be gleaned from a song from their latest album:
While they're away, we've asked the band to live blog their experiences for Gapers Block's readers. Look for more from the band while they're in Mongolia (if they can find some wifi) and once they're back home.
In the middle of packing this week, the band's keyboard/piano player Ryan Tracy was kind enough to share his thoughts on the band's upcoming adventure.
On August 26th, a leather-clad, Viking-esque man named Nordic Thunder took to a rain-slicked stage in Finland and showed the world how a Chicagoan rocks the fictional guitar at the 2011 World Air Guitar Championship. Despite a valiant effort that included one monumental slide off the stage, the U.S.'s 2011 champion lost by 0.3 points to Germany's The Devil's Niece.
On the other side of the world, I, along with many of my Rotary coworkers, watched Nordic Thunder, who we knew as that video guy, Justin Howard, flip sweat-drenched hair and jam his imaginary ax. It was hard to believe that guy on stage was the same quiet guy from the elevator.
Nordic Thunder (aka Justin Howard) (photo by Alyce Henson)
It got me thinking, who is this Nordic Thunder fellow and just what makes him rock? Luckily, the air guitarist had some free time between photo shoots and signing autographs to sit down for some tea.
Labor Day weekend may be upon us as the unofficial end of summer, but that doesn't mean that outdoor festivals are finished for 2011. The AV Club's Fest is coming up soon and the Hideout Block Party is a month away, but if you're up for a weekend out of the city, Champaign might not be a bad spot from September 21 through 25. The Pygmalion Music Festival returns for its 7th year with arguably its best lineup yet featuring Explosions in the Sky, Cut Copy, Braid, Gang Gang Dance, the Pains of Being Pure at Heart, the Dodos, Japandroids and a bunch of other acts, including a gaggle of great locals. Polyvinyl Records' 15th Anniversary highlights this year's festival on Saturday, the 24th. Ahead of this year's festival, Transmission chatted with founder and organizer Seth Fein. Even though full festival passes recently sold out, single show tickets are still on sale. Visit pygmalionmusicfestival.com for details on the whole weekend.
Transmission: What was the initial inspiration for Pygmalion when it began in 2005? Seth Fein: Basically, I just knew that Champaign-Urbana could support a festival like this one. I had been to AthFest in Athens, GA and had heard of Bloomingtonfest in Bloomington, IN, so basically, I had the model that I wanted to work with. I wanted to give it a name that has significance to me and the community and I landed with Pygmalion: in honor of Slowdive's last record from 1995, and to pay homage to Richard Powers' novel, Galatea 2.2 -- a true modern day Pygmalion story.
T: What are expectations for Pygmalion now in its 7th year? Do the expectations increase each year based on the prior year's success? SF: I think just above all, that it feels more professionally handled and that the level of artistry is improved. I spent a lot of time working with my existing sponsors and a handful of trusted agents to bring together this year's lineup. I think it was a success. Expectations for me are simply to just be able to present a solid night of artists every night of the festival. That's definitely been the case the past three years in my estimation.
T: How did the Polyvinyl 15th Anniversary show come together? And has it been the intention that, as the festival grew, there'd eventually be an outdoor event? SF: I work closely with the label, and seeing as how [label manager] Seth [Hubbard] is a best buddy of mine, it was a natural extension of what we'd done in the past. In 2006, we did the 10-year, and I reckon that 2016 will be the 20-year. That one will likely tear the town down. As for there being an outdoor show, not necessarily. It's something I'd thought about for a while, and even once stated that that would never happen, but I have a tendency to change my mind, and fast.
T: Each year features a lot of Champaign-area bands that are new to many out-of-towners. How critical is it to balance the national headliners with the locals? SF: Very. That's part of the intention of the festival. I want to be able to expose both locals and out-of-towners to our great music scene here, and one of the ways I can do that is to have a bunch of them performing at the festival. It's a great pleasure of mine.
T: What's the most satisfying thing about organizing Pygmalion? What do you do on September 26? SF: I think just participating in the local culture here in Champaign-Urbana. I grew up here, and I actually stayed because I could see all that the town had to offer, and all the ways in which the town could grow. I hope that I am making an impact in that arena. September 26 -- hopefully my wife (festival photographer Justine Bursoni) will accompany me to a round of golf, and a nice dinner somewhere. Then, I will sleep and start planning for 2012.
T: There're a handful of animal-based acts on this year's lineup: The Dodos, Deerhoof, Bear Hands, Hedgehog, Iron Tigers, Mammoths, DJ White Rabbit, Why I Like Robins, Year of the Bobcat. Anything to read into that other than it's a common theme in band names? SF: I think bands are just bands in that way. Bummed there was no "wolf" band, though. Wolves rule.
Our final interview at the festival found us sitting down with Chicago house and juke DJ Chrissy Murderbot and MC ZULU. We chatted about the importance of answering your emails, how great the Chicago dance music scene is, and joked about living out of a hatchback.
Keep checking back for our final reviews and thoughts on Pitchfork Festival 2011.
Life can take turns in ways that we cannot always predict or prevent. We depend on our minds and experiences to guide us through the very worst that life has to offer us. However, when our mind fails or deceives us or when violent forces in our lives set out to damage us it is hard to know where to turn. There are organizations that are there to help, but at the end of the day we need an outlet for all of the emotions that these situations can create. For local musician Upright Ape his life has always been complicated. He is bipolar with schizoaffective disorder, but when he met his fiancé a new element was added to his life. The family he was becoming a part of had been severely damaged and had been living on the street because their home was not safe. Upright Ape attempted to cope with this in the only way he knew how, through music. Over the last year he has recorded and self-released six albums all revolving around this situation. He is giving them away on his website, but also collecting donations that he is giving all the proceeds of to local charities that work with family that have been affected by domestic violence and child abuse.
Upright Ape is a very private person, but reached out to me a few months ago to tell his story and begin the process of spreading the word about this project.
What do you talk about with a few of the guys that basically helped lay the groundwork of hardcore and punk rock music? KISS of course. Keith Morris, Dimitri Coats, and Steve Shane McDonald of OFF! chatted with Gapers Block about their early music memories, how to successfully keep sane playing in bands, and give a comparative analysis of how many times Keith Morris has seen Guided By Voices vs. Mott the Hoople.
We sat down with Philly based Sun Airway after their early afternoon set at Pitchfork Saturday. While enjoying Gang Gang Dance in the background, we chatted about the writing process, how art influences music, and a few band members early notable memories of "The Boss."
Keep checking back all weekend and next week for more Pitchfork Festival 2011 coverage from Gapers Block
We kicked off our conversations at Pitchfork series this year when we sat down with G-Side, the Alabama rappers that would later take the stage Saturday and deliver a raw and energetic set that had critics and fans alike praising them across the Internet. We chatted with Yung Clova and ST 2 Lettaz about the Southern hip-hop scene, their first music memories, and what important acts from the South are on their radar.
[This interview was submitted by Rachel Angres — a music enthusiast and creative writing teacher. She is also a three time thumb war champion.]
Color Radio is a band unique to the Chicago local scene. Two brothers, Jonathan and Tohm Ifergan came together with their close friends to create such marvelous lyricism and dynamic sounds that are as echoic and obscure as they are familiar. To listen to their forthcoming album, Architects (due out in June 2011) has such rhythmic precision. It is their glowing vocals, which blend over layers of dreamy guitars that are finely tuned and followed up by ambitious percussion. Their sound has similarities to such bands as Here We Go Magic and Radiohead. Though it is unique to its own, blending dreamy pop with glimmering guitar solos, their talent is immediately apparent when listening for the very first time. And on stage it is their warmth and exuberance that can't keep you from smiling ear to ear. I had a chance to ask the men a few questions, and they gladly agreed.
Pictured from left to right: Joel Chasco, Matt Thomas, Jonathan Ifergan, Tohm Ifergan (photo courtesy of Color Radio)
In the early '90s, in the electronica dominated club scene in England, kids needed something to chill out to after-hours. Born out of down-tempo electronic and hip-hop beats, trip-hop was the sound. Pioneering artists like Massive Attack, DJ Shadow, Tricky, Portishead, and the soulful, smoky, down-tempo sounds of Morcheeba provided many a kid with chilled out 3am soundtracks.
It's now been 15 years since Morcheeba's alluringly dark debut album Who Can You Trust? was released, and 12 years since the release of their platinum follow-up, and critically acclaimed, Big Calm. Since then, the trio, consisting of vocalist Skye Edwards, and sibling DJ's, composers and multi-intrumentalists, Ross and Paul Godfrey, put out two more albums together before deciding to pursue alternate paths. Skye worked on her solo career while Ross and Paul released two more albums as Morcheeba before Ross moved to Hollywood to write film scores and Paul moved to the South of France to tend to his family. Fortuitously, Ross ran into Skye on the streets of London in 2010 and, after a couple of drinks and an intense conversation, the trio decided to give their fans what they wanted: a reunited Morcheeba album.
The rest is history for 2010's release of Blood like Lemonade. The three, including an entourage of phenomenal musicians, are currently on tour in the U.S. and Canada celebrating the release of the anticipated 7th album. Morcheeba will be at Chicago's House of Blues on Tuesday, February 22, 2011. I had the opportunity to talk to Ross about the band, the new album, the future of Morcheeba and music in general.
For the second day in a row, Brian King and David Prowse of Japandroids played Schubas Tavern to a New Years Day crowd that mainly consisted of post new years eve celebrants looking for some post-angst rock. Joining Japandroids for the New Years day night hijinks was the Chicago anthemic synth-rock band Light Pollution. They took the stage promptly at 10:00 p.m. and began playing to an already full room.
Light Pollutions' James Cicero and Matt Evert, the long-haired, bearded friends, were joined by guitarist Nick Sherman and newcomer, bassist Justin Park. Perhaps a nod to the sentiment of the night, the band began the set with "Sleepwalker," new material that will potentially go on their still unnamed forthcoming album. Interspersed through the set were fan favorites and critic approved "Oh Ivory" and "Good Feelings." In between songs, Cicero warmed up the crowd for the "super cool dudes" from Japandroids and removed a grey sweater to reveal a white Hawaii shirt that looked like it had seen extensive touring. After playing through "Bad Vibes" off of Apparitions, Cicero took tambourine in hand and finished the set with new song "Wild World," a mournful, yet redeeming tune.
After finishing their set, Light Pollution quickly packed away their instruments and made their way to Schubas' green room. Cicero, Evert and Sherman sat on a long couch with their backs to a concrete wall furnished with the concert posters of acts passed. Bassist Justin Park paced back and forth, chowing down and pita bread and hummus that Schubas had provided.
It's been a big month for Punch Brothers' banjo player and Chicago native Noam Pikelny. As if his current bands' two Grammy nominations weren't enough, Pikelny also appeared on Letterman to receive the Steve Martin Prize for Excellence in Banjo and Bluegrass. When I spoke to him this week over the phone he was gearing up for a U.S. tour with the Punch Brothers, which stops in Chicago this weekend, December 11th and 12th.
"I think it's a great thing for the banjo and for bluegrass music," Pikelny told me about the award. The banjoist found out he'd been selected as the award's inaugural recipient via a letter signed by the board of professional players and musicologists involved in the decision process, several of whom Pikelny described as musical role models. The board consisted of Earl Scruggs, Pete Wernick, Tony Trischka, Anne Stringfield, Alison Brown, Neil V. Rosenberg, Bela Fleck and, of course, Steve Martin.
Before Pandora, Hype Machine, and even Last.fm, the best way to discover new independent music was through a site called Epitonic. Founded in 1999, Epitonic was one the first sites to offer free (and legal) mp3s from independent bands and labels from around the world. Music fans would spend hours digging through the site's recommendations and discovering bands they would have completely missed without the site. Epitonic lasted until 2004, but has remained dormant since. However, one of the original founders and co-owner of the site, Chicagoan Justin Sinkovich (The Poison Arrows, File-13 Records), is being the site back is a big way, and the support has been overwhelming. He has started a Kickstarter page for fans to help and show their support, and is planning a launch event to be held when the new site is ready. We recently had the opportunity to ask Justin a few questions about Epitonic, why it is coming back, and what we can expect.
The first thing Michael Zerang wants to talk about, following our initial chit-chat and coffee orders, is his new xylophone. "It's the thing that's most obsessing me right now," he says. Zerang rattles off numerous details about the instrument: made in the '30s, blonde with rosewood bars, four octaves — few xylophones made these days are that large. "It's an unforgiving instrument. It doesn't have a 'give' the way a vibraphone or a marimba does. It's like a bagpipe — it's either on or it's off," he laughs. He's practicing it for a performance he'll give today (September 2) at noon, as part of the Michael Zerang Organic Unit, a sextet accompanying a Butoh dance troupe at the Jay Pritzker Pavilion as part of the Chicago Jazz Festival.
Of course, xylophone is not the only tool in Zerang's arsenal. Neither, for that matter, is music his only outlet for his love of rhythm.
Casual followers of Zerang's music know him as a master jazz/free improvisational percussionist, a rock-solid base from which all manner of musical forms can spring. Whether thundering behind the well-oiled jazz compactor that is the Peter Brotzmann Tentet or grounding the transmissions of gentler musical aliens like his trio with Mats Gustafsson and Jaap Blonk, Zerang is an ensemble's lightning rod. Unlike many free improvisers, Zerang possesses a rare gift — fearlessness in the face of silence. He's just as comfortable with negative space as with filling the frame.
In the middle of the '00s, somewhere outside of Ellisberg, Wa., hopefully amid a grid of criss-crossed string and with trowels in hand, Jason Davis and Daniel Walker met on a college archeological dig for Native American relics. A number of early collaborations and tours later, the two of them formed a band named for their shared passion by joining with drummer Benjamin Haysom and guitarist Zach Dilday in the summer of 2008.
Since then, the prolific group Archeology has released 5 EPs, and this past March its members released their first full-length, Memorial. It's a tight collection of harmony-laden folk tunes running just over half an hour and possessed of the kind of bittersweetness you're likely to experience on a cold, lonely fall day around sunset.
The band will be playing to a Chicago crowd on July 30, a perfect show to catch before Lollapolooza rolls into town and takes over. But be careful where you get your info on the where and when. The show was originally scheduled to take place at The Cave, but it's since been moved to Double Door. Music starts at 8 pm tonight, and tickets prices range from $18-20. As a preview to the show, Jason Davis sat down for a brief interview to discuss the band's style, lyrics and ambitious output
GB: So you've already had five EP's in the last year?
JD: We had three more announced EPs, and then we did two that were kind of under the radar. We were really new to the concept of releasing our own records, so the first two we just did shows around and released them that way. It sounds really foreign now, and I can't even believe we were at the point that we had to find out about how to get our music on iTunes independently and whatnot. The last three, we put a lot more effort into them and toured around them.
Gapers Block sat down with some of the artists at the 2010 Pitchfork Music Festival to talk about the festival itself, their favorite festival memories, and much more. Click here for more interviews and coverage from the festival.
What a way to end Pitchfork, rushing backstage less than 30 minutes before Big Boi hits the stage to take some amazing photos and have a quick conversation with one of the most important figures in modern hip-hop. Big Boi talked about his thoughts on playing the festival, how he unwinds while keeping so busy, and what he hopes is the legacy of Big Boi.
Interview with Big Boi at Pitchfork Music Festival
Gapers Block sat down with some of the artists at the 2010 Pitchfork Music Festival to talk about the festival itself, their favorite festival memories, and much more. Click here for more interviews and coverage from the festival.
We talked to Sharon Van Etten, who opened up the festival Friday, while she enjoyed a day off. We discussed the transition from an intimate venue to a festival, her creative process, and life in the Brooklyn music scene.
Interview with Sharon Van Etten at Pitchfork Music Festival
Gapers Block sat down with some of the artists at the 2010 Pitchfork Music Festival to talk about the festival itself, their favorite festival memories, and much more. Click here for more interviews and coverage from the festival.
We sat down with Peter from Here We Go Magic before they played Sunday to talk about recording their latest album, constant touring and life on the road, and about being signed to a Midwest label.
Interview with Here We Go Magic at Pitchfork Music Festival
Gapers Block sat down with some of the artists at the 2010 Pitchfork Music Festival to talk about the festival itself, their favorite festival memories, and much more. Click here for more interviews and coverage from the festival.
The sun finally came back out Sunday while we chatted with Adam from Bear in Heaven. The band had a long Saturday, playing the festival before heading over to play a late show at Lincoln Hall. Adam told us about influences of the band, working together, and what it's like to go from playing a sweaty outdoor festival to an indoor venue in a matter of hours.
Interview with Bear in Heaven at Pitchfork Music Festival
Gapers Block sat down with some of the artists at the 2010 Pitchfork Music Festival to talk about the festival itself, their favorite festival memories, and much more. Click here for more interviews and coverage from the festival.
We sat down with Shawn from Netherfriends to chat about the artists he is excited to see at Pitchfork Festival, playing teenage house parties, and doing what you love. We also survive a near death experience as our interview tent almost collapses on us, proving that Pitchfork Festival always gives us a surprise or two.
Interview with Netherfriends at Pitchfork Music Festival
Gapers Block sat down with some of the artists at the 2010 Pitchfork Music Festival to talk about the festival itself, their favorite festival memories, and much more. Click here for more interviews and coverage from the festival.
If you're a fan of hip-hop, and aren't familiar with Freddie Gibbs, do so now. The Gary, IN native is swiftly rising to the top, bringing a fresh yet familiar sound to the heavy and heady style of gangsta rap. He's charismatic, humble, and one hell of a showman. He sat down with us to discuss growing up in Gary, the Midwest style of hip-hop, and where he sees the genre heading in the future.
Interview with Freddie Gibbs at Pitchfork Music Festival
Gapers Block sat down with some of the artists at the 2010 Pitchfork Music Festival to talk about the festival itself, their favorite festival memories, and much more. Click here for more interviews and coverage from the festival.
We talked to Josiah Wolf from WHY? after they finished their set Saturday afternoon. We discussed musical influence, the bands he was able to catch at the festival, and if you listen (not that) closely, you can hear the massive dance party of LCD Soundsystem in the background. A chat with WHY? and the sounds of lasers in the background isn't such a bad way to end the second night of Pitchfork Festival.
Gapers Block sat down with some of the artists at the 2010 Pitchfork Music Festival to talk about the festival itself, their favorite festival memories, and much more. Click here for more interviews and coverage from the festival.
I sat down with EL-P after his performance Friday at Pitchfork. We chatted about working with Trent Reznor, what type of work scares the shit out of him, and what he believes is the future of hip-hop and music.
Gapers Block sat down with some of the artists at the 2010 Pitchfork Music Festival to talk about the festival itself, their favorite festival memories, and much more. Click here for more interviews and coverage from the festival.
I started my Pitchfork Festival as soon as the gates opened, racing across the field to chat with Liars before they headed to load-in. We chatted about sleep deprivation, their love of the Midwest, recording covers, and getting the toxins out on-stage.
the ChristMisfits in full regalia at their Songs of the Season show last December at Lilly's, photo by Marie Kelly.
Misfits tribute bands are a longstanding tradition that includes bands like Crimson Ghosts, The Nutley Brass, and The Misfats, who bill themselves as "the fattest Misfits tribute band ever." In recent months the list has grown by at least one: The ChristMisfits, a Chicago-based tribute band who made their debut over the holidays at Lilly's dressed in Santa hats that fell over their faces in a metaphorical devil-lock hairdo. They came armed not only with instruments and vocals, but with songbooks printed on faux parchment paper so that fans could follow along to altered Misfits songs with titles like: Gratitude; Where Reindeer Dare; and I Turned Into a Snowman.
The band returns to Lilly's this Saturday for ChrisMisfits in July, and have added six never-before-heard songs to their repertoire. The ChristMisfits are comprised of Bret Tanzig on "vocals & gifts", Jonny Only on "bass & scream", Jeff Wolfgang Von Frankenstein on "guitar & tights", and Lizzie "Robo" Cook on "drums & tinsel". I spoke to them by phone and email to get some perspective on their upcoming show.
I am an very open about my dislike for showing up at shows on time. It is not only that I have a cool factor to maintain, but there is also the probable chance that the opening band will take up a large portion of my life that I will have to fight to get back. This was not the case last year when I misunderstood the start time of an Archer Prewitt by an hour and saw local band Big Science open. I was taken to a delightful as well as complex musical place. I was severely disappointed when the set ended and thought what a tragedy it would have been if I had been on my game that night and showed up when I had planned to. Doing that, I would have missed a band with such a multi-sound effect that gives a sober synesthesia allowing you to see their music. Maybe this is because they combine so many different vibes in to each song that the senses become overloaded and instead of shutting down, explode in all the right ways. In any regard, they need to be seen live to really understand this experience.
The band (made up of three Jasons and a Jeremy) just released their second effort last month entitled Skyscraper Sound and plays this Friday, July 2nd at the Double Door. I had the chance to ask Jason R. some questions their unusual sound, their super hip, geek-tastic name and good old fashioned band togetherness.
For Chicago native Jody Watley, there really is no place like home. With over 20 million solo records sold worldwide and Billboard chart-topping hits that include "Looking for a New Love," "Everything," and "Real Love," the Grammy-award winning singer and songwriter, performing in a special homecoming concert this week in Chicago, talks about returning to her Windy City roots, her record label and upcoming album, Chameleon, and why performing in Chicago will be extra special this time around.
Gapers Block: Transmission: Your godfather, the legendary Jackie Wilson introduced "Jody Watley" to the world — was that when the bug hit you?
Jody Watley: Well I think I always had the desire to be a performer from my love of Motown and Diana Ross and the Supremes. Jackie Wilson was very close with my mother and father. At one time, my father was a gospel radio personality on WVON before I was even born, and he always had a lot of friends that were in show business. That's how the relationship with Jackie Wilson came to be.
GB: Describe for us what that experience was like, being exposed to Jackie Wilson and his music at an early age.
JW: The first concert that I remember attending was Jackie Wilson at The Regal Theater, which of course is where the Harold Washington Cultural Center is now located. That was one of the reasons [I chose this venue for my show] is because when I did some research on it, I realized this was simply meant to be because I haven't been on that spot since I was a little kid. My first time on stage was with Jackie Wilson at his show and it definitely had a profound impact on me; the people — and the women — were going crazy! He was such a phenomenal performer and even at a young age, you know when something is really special. So that is a little known fact [about me]. Jackie Wilson was definitely very influential and whatever my desires were, experiencing that time with him probably sealed the deal in many ways.
According to our sources, GWAR entered the country last week "via [their] bat-shaped helicopter and are now at an undisclosed slave pit preparing for tour" after a four-month break. Gapers Block gave a call to Oderus Urungus of GWAR to catch up with the lead singer of the one of the most disgusting and politically inappropriate bands the world has ever known in anticipation of their performance tomorrow at Durty Nellie's in Palatine.
Gapers Block: GWAR started in 1984 — that's more than two and a half decades. How has humanity managed to survive this long?
Oderus Urungus: I don't know, and I'm not very happy about it. I blame a lot of this on other people, particularly the human race. As long as they keep having sex, there will be more of them than are dying. But I'm pro-sex, as long as I get to watch.
GB: Is this tour still in support of your latest album Lust In Space?
OU: Yes! It is a continuation of the beating given at the end of last year. We're heading to all the places we didn't hit on the first half of the tour because frankly, we're very bad at Google and directions. We're pretty sure we have the right coordinates this time.
GB: When was the last time you were in Chicago?
OU: Chicago... I don't measure time in the same way as you do. We have a longstanding necro-bestial love affair with the people of Chicago. We've all had sex so many times, there are so many Oderous babies wandering the streets. It's kind of disgusting. And the baseball teams confuse me. There should be only one team in one sport. That sport should be Afghan Goat Rugby. (long, unsuitable-for-print description of the "rising sport" ensues).
GB: Do you find booking a venue again difficult after you've performed your particular live act?
OU: Durty Nellie's — we have been there before. They're usually very good about it: We'll say "Are you cool with alien barbarian monster marauder m@#$%&*fers violent thrusting about their crude parts while knee-deep in gore?" and they'll say "Yes, of course, we'll give you 10 million dollars."
GB: I see you also played the Gathering of the Juggalos in 2009. Was that a good experience?
OU: It was done for money, plain and simple. But also to experience the cultural phenomenon that is the Gathering. I mean, it was the most bizarre thing I did last year. More power to the juggalos and juggalettes. We'd do it again in a heartbeat. They manage to get every single penny from their fans.
GB: Anything the crowd should expect from you this Wednesday?
OU: The smells of fecal matter. Some of the fans didn't enjoy the fecal matter — we were surprised. If they don't want fecal matter on them, it only goes about 30 feet or so. So now we're letting people know that. Fecal Matters Matters — that's our new non-profit.
GWAR plays at Durty Nellie's on Wednesday, June 2nd. Tickets are $22, doors open at 7pm (21+).
Since forming in August of 2009, The Blind Staggers have played countless shows in and around the Chicago area with notable bands such as Deals Gone Bad, Split Lip Rayfield, The Devil Makes Three, and the Siderunners. This four-piece, alt-country band consists of Damien Christian (vocals, guitar), Laura Loo (vocals), Shrek (bass), and Swede (drums). Under no circumstance should one delay in checking out The Blind Staggers — their enthusiasm and determination about their music is sure to make this outlaw-country band explode.
Local DJ Collective the Chicago Workgroup have been doing their fair share to bring Chicago both a new sound and a couple of fairly old ones. At once a blog, a collective and a residency every second Wednesday at Smartbar, the seven DJ deep Workgroup has been making strides to showcase forward-thinking house and disco. All Systems Go! - their monthly night at Smartbar - has been booking ever more prominent artists in both genres, and tonight's bill is topped by none other than DFA's Holy Ghost! with CWG DJs Scotty Brandon, Samone Roberts, Kid Color and Weaponry providing the support and Mister Joshua, Ross Kelly and OneFiftyOne sharing hosting duties.
Despite strong line ups for All Systems go in the next couple months with Trus'me on March 10th and Aeroplane on April 14th, the Chicago Workgroup hope to achieve much loftier goals. Before an eventful Friday evening out, I met with Samone Roberts, Scotty Brandon, Noah Casser (Weapony) and Josh Ferguson (Mister Joshua) to discuss the Workgroup's beginnings, future plans, the benefits of being a collective and a little bit on how technology has helped in unexpected ways.
UPDATE: Smartbar has just released a statement confirming that the ridiculous snow storms on the east coast have canceled Holy Ghost!'s flights out of New York. Pre-sale tickets can be redeemed for the rescheduled performance in the Spring or refunded at the Metro Store. Though Holy Ghost! will not be performing tonight, All Systems Go! is soldiering on with no cover all night.
On the road, Goatwhore vocalist Ben Falgoust acts as tour manager, merch guy and occasional van driver. When not enthralling the crowd, he can likely be found loading in equipment or selling t-shirts. It's only one example of the fortified work ethic and resolve that has kept the band moving for over a decade.
I met up with Falgoust and Goatwhore guitarist Sammy Duet after their HOB show on January 20. We sat in a small corner of their dressing room to talk about the New Orleans band's turbulent history: how it affected their music, the drive that kept them going, and how Chicago played a role in much of it.
Where there are people, there is music. It makes us feel the things we need to when we don't already. It enhances them when we do. It carries us backward and pushes us forward. It can be found in every known culture and has been performed in public since the time of antiquity. It should come as no surprise to find it being performed just a few steps beneath the ground. After all, there are fantastic acoustics and 24-hour audiences to be found in the tunnels below.
The tunnel musicians of Chicago can be heard amid the roar of trains. Depending who you ask, there are only four performance-permitted stops: Jackson and Lake on the Red Line, and Jackson and Washington on the Blue. Some will tell you about these four. Some will tell you there are only three. I'll tell you what time already has: where there are people, there is music.
I recently spent three nights walking through the tunnels for a closer listen. These are the sounds, and the people I heard.
Galactic Inmate is a rowdy, slighty twangy, metal/rock band from Chicago with a loyal following. The three members-- Keith Herzik on guitar, Brett Whitacre on drums, and Arman Mabry on bass, started playing together in 2004. Now, they don't play live very often, but when they do, it's loud as hell. I saw them at Quenchers the night before Halloween (they were dressed up as ZZ Top) and was blown away by their awesomeness-- they kicked ass even with Herzik's yarn beard perpetually tangled in his guitar strings-- so I set up an interview. I met Mabry at The Green Eye on a rainy November night. He jovially sipped PBR and whiskey, the diet of champions.
How do you all know each other?
Keith and I are both from Austin. I knew of him when I lived there but I never met him. It just so happened that when I moved up here with my old band, The Hamicks, I met him. Because eventually, in Chicago, you meet all the Texas people. We didn't really play together initially but we were down the hall from each other at a practice space. One day he and I started messing around, playing old Austin band songs like Scratch Acid and Ed Hall. We were having a great time doing that, so he said "Hey, man, our drummer Bret would like to play..." and that's how it happened.
Alex Perkolup is a musician who currently plays bass and guitar in the critically acclaimed progressive rock band, Cheer-Accident. Originally formed in 1981, Cheer-Accident has maintained an impressively fresh and interesting sound, oscillating between noise and pop, refusing to be categorized. The music is moody, complex, and highly composed, but never muddy. Perkolup has been one of the three mainstays in their ever-evolving lineup for six years. He has also played in Bobby Conn, Lovely Little Girls, and The Flying Luttenbachers, among others.
Do you have formal music training?
I started lessons at eight and went on until I was about nineteen. I had one guitar teacher for nine years of that time who was a big influence on me. I started playing because of Eddie Van Halen. I came out of the metal school of musicianship. I was really into difficult playing and my guitar teacher recognized that. He introduced me to King Crimson, Mahavishnu Orchestra, Gentle Giant and some progressive rock bands, so he was very instrumental in my influence.
Paste magazine sat down recently with our favorite local mashup DJs: The Hood Internet and had a little chat. Read and learn about the creative process behind their dancefloor breaking mashups, their feelings on Girl Talk, and plans for an actual Hood Internet album release. These guys (well, a solo STV SLV, but still) rocked our anniversary party like nobody's business, so we have a lot of love for what they do.
A weekend full of interviews with some of the nicest bands around was capped off with Paul and Perrin, two of the musicians in the band Beirut. The guys and I camped out backstage under a tree, chatting about the wonderful staff and actual musicians who work at Pitchfork Festival, their encounter with a drunk Pete Shelley of the Buzzcocks, and how part of Beirut was formed in a Haggen-Dazs. Special thanks to WBEZ for reading my mind and taking a shot of the guys a day before during their set, somehow knowing I would get so engrossed in our conversation that I'd forget to snap a picture.
Thanks for tuning in as I sat down with some of the artists this past weekend, and I hope everyone had a wonderful Pitchfork Music Festival 2009.
Early Sunday afternoon we sat down in the shade with the all girl rock trio Vivian Girls. The band spoke about the craziness of playing in front of a massive festival crowd, how Pitchfork is centered around the city, their story of opening for Sonic Youth, and the relaxed the atmosphere at the festival all weekend.
Check back later for our last installment of Conversations at Pitchfork.
Speaking to The Thermals was a lovely start to Sunday at Pitchfork Festival. The Portland trio chatted about what bands they were excited to see, their favorite festival memory of dancing on-stage with the Flaming Lips, their recent move to a new label, and how things are going with Kathy's band All Girl Summer Fun Band.
Thanks to Kirstie for taking some lovely shots of The Thermals, and keep checking back for a few more interviews with bands at Pitchfork Festival.
Hans-Peter Lindstrom is a dedicated guy. He flew all the way from Norway to play Pitchfork Festival. He arrived five hours before his set in Chicago, and told me he was jumping back on a flight Sunday morning to return home. Lindstrom was kind enough to sit down and chat with Gapers Block during his whirlwind weekend of travel, praising the selection of bands that Pitchfork books for the festival, his enjoyment of working alone as a solo artist, and how he selects the music he remixes.
And before Lindstrom could leave, Justin from WBEZ convinced the Norwegian DJ to pony up for an installment of their delightful segment the Wikipedia Files. Of course Justin had to steal our thunder and demand I take a glamor shot of him and his new best friend Hans-Peter. Clearly these two hit it off, and have forged a lifelong friendship. I can only hope this picture will end up framed on the WBEZ office wall.
Keep checking back for more interviews with artists from the festival this past weekend.
What you see above is the true face of festival fatigue. The Antlers sat down with us to chat 10 minutes after performing on Saturday. The guys joined us to have a post show beer and a smoke break, and shared what bands they were looking forward to seeing at the festival, the open mind that festival goers have when checking out new bands this weekend, their preferred location for recording, and how recording Hospice was a therapeutic labor of love.
Keep checking back for more interviews with bands from the festival this weekend.
The Black Lips closed out Saturday night with a searing set of rough and raw blues fueled garage rock. In person the band is sarcastic and entertaining, much like the stage antics their known for during a live show. The fine folks over at ReadyMade Magazine let me and the band crash their swanky display, as the guys expressed their dislike of festivals (love to play, hate to attend), memories of being chased out of India with their record label Vice, their sinister plan to take over and shut down the festival with their radical ways, and even give the festival itself a Pitchfork style rating.
Keep checking back for more conversations with artists all week at Pitchfork.
Call it twee, call it shoegazer, or call it whatever you like, but make no mistake about the fact that The Pains of Being Pure at Heart make bright and cheery pop music. Their sunny music matches the bands sweet and friendly disposition perfectly, as I caught up with the band backstage after the brief downpour of rain Saturday afternoon. The band spoke about still being in the honeymoon stage of success, dished the dirt on a pop-punk Warp Tour past, and Peggy disclosed her rebellious ways of sneaking backstage at the first Pitchfork Festival.
Keep checking back for more conversations with artists all weekend at Pitchfork.
Next up I spoke to Cymbals Eat Guitars, one of my picks from our feature of bands to check out this year at the festival. Earlier the band kicked off Saturday with their brand of fuzzed out '90s style indie rock. Their laid-back music was the perfect soundtrack to a breezy early Saturday afternoon. The guys discussed the extremes of playing both venues and festivals, their favorite memories from early Lollapalooza festivals (including Neil's memory of Cyprus Hill and an inflatable bong), the surreal moments of their success this past year, and their guilty admittance of loving dance rock. And to fully explain their photo, the guys really needed a bathroom break. I was more than happy to oblige their need to express this frustration. Even indie rockers have to cave and use the port-a-potty.
Keep checking back for more conversations with artists all weekend at Pitchfork.
This weekend Gapers Block is sitting down with some of the artists at Pitchfork to talk about the festival itself, their favorite festival memories, and much more. Keep checking back all weekend for more conversations at Pitchfork Festival.
Before you take a listen, I have to disclose I'm a writer, not a sound engineer, so I apologize for the rough around the edges audio. You'll hear background noise, the occasional siren, and even the cheering crowd of DOOM during one interview. What else would you expect though from a live music festival? Have no fear if you're not a fan of audio, though. I'll be transcribing and posting the transcripts of each conversation throughout the week. Until then, turn up your speakers, and check out what some of the bands play Pitchfork Festival had to say.
I started off my Saturday chatting with the happiest indie pop duo in the world, Matt and Kim. I can say without a doubt, they are two of the sweetest people around, and a ridiculously dedicated band, constantly touring and even sometimes playing multiple shows a day. They shared with us a favorite a festival story of Matt jumping into the most contaminated lake in Norway, expressed their love of top 40 hip-hop, and clued us in on the perks of no longer having to rough it on the road.
Keep checking back for more conversations with artists all weekend at Pitchfork.
In addition to being the sharpest-dressed band in Chicago, JC Brooks & the Uptown Sound have been taking the city by storm with their unique brand of raw power soul.
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.
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.
Yea Big & Kid Static's first music video, "The Life Here," hit the front page of YouTube, resulting in 250,000 views in two days. Along with those views came a whole lot of negative, often racially charged comments. The duo talk about it on Current.TV.
At the age of 24, Chicago's Brendan Losch has already accomplished a great deal. He just self-released his second full length album, Until We Meet Again, and is dedicated to recording a song a week throughout the year. He also run the fantastic music blog, Count Me Out, and has opened for many successful acts including Bowerbirds, Nicole Atkins, The Dodos, Woven Hand, and others. On June 23rd he will open for friend and fellow talented musician Michael Nau (a.k.a. Cotton Jones Basket Ride) at Schuba’s.
When I saw Brendan had released his new album I felt it was the perfect time to ask him a few questions.
Robert Francis, a 20 year-old indie-folk singer songwriter from L.A., recently opened at the Park West for Australian singer Missy Higgins. He’s on his first national tour and attracting attention from a myriad of music journalists who believe that he’s on the verge of a big break (and probably all want to claim that they “broke” him), and I wouldn’t disagree.
His songs are deeply personal and possess a sort of haunted country twang caused by a myriad of folk instruments, many of which he plays himself. He loves Townes Van Zandt, is frequently compared to Bob Dylan and has been described as a young guy with an “old soul.” In fact, he’s much nicer (I imagine) than Bob Dylan and I sensed a very youthful passion for his music.
I sat down with Francis before his Park West gig and asked him about touring nationally for the first time, getting along with his band in a small van and his very musical family. When I entered the theatre, his manager and band mates were frantically trying to repair a set of amps that had just exploded, but he sat calmly in one of the booths and we talked with 80’s music blaring in the background.
Legendary, yet still active photographer extraordinaire Pat Graham will land in Chicago on Thursday to discuss his decade-spanning career as a touring photographer. Coinciding with the recent release of his first official book, Silent Pictures (Akashic books), Graham will hold a speaking engagement at The Book Cellar, with a special introduction from Chris Thomson from Red Eyed Legends and former Circus Lupus, The Monorchid, and Skull Kontrol fame.
Graham, who rose to fame as the semi-official Dischord Records photographer has spent years on the road with Modest Mouse, June of '44, and Tortoise, creating fine art prints, calendars, and contributing to an endless stream of record covers and liners. Come out and meet the photographer at this rare appearance/book signing.
The event starts at 7:00pm Thursday, December 20. The Book Cellar is located at 4736 N. Lincoln Ave. Call 773-293-2665 for more information.
Four more years!!!: DJs Bald Eagle and Mother Hubbard
It's been four years since the Life During Wartime DJs crew came together and started spinning at clubs in Chicago. They're still at it, and their chosen moniker is, unfortunately, still relevant. The duo of DJs Bald Eagle and Mother Hubbard currently bills its homebase monthly appearance at The Hideout as “Chicago’s Dance Party.” While that may sound like a bold claim, it’s certainly apt. The past two years have seen LDW move to the top of the local popularity index, having proven themselves to be one of Chicago’s most reliable homegrown party-sparkers. This weekend sees them celebrating their four-year anniversary with a two-night dance party at The Hideout.
Holy crap! Pitchfork scored an interview with Bjork about her new album, Volta, which will be released in May. And contrary to her charicaturized personna, she's completely coherent!
"I just wanted to get rhythmic again. Medulla was my way of pulling out of that, refusing to be categorized as 'Oh what rhythm is she going to do next?' Just feeling the pressure of all these young drum programmers or producers or whatever you call them contacting me, like, who was going to be the flavor of the month. It had become this kind of fashion statement, it just wasn't right.
"I mean, I do love one-upmanship sometimes, like when you see kids breakdancing and who can do the best tricks. It's common, it's in our nature as animals, like the birds of paradise who've got the best feathers and that sort of stuff. But it's fun when it's impulsive and it's about fun. When it becomes clever, when it becomes more of a left-brain, who can mathematically out-do the other, it's not so fun anymore. And maybe I just sort of pulled out and did a whole vocal album."
Eight Forty-Eight interviewed musician and teacher Michael Droste this morning about his just-completed One Song Every Day project , which began as a New Year's resolution in 2006. Listen to the interview here (mp3).
Later in the show, Chicago Public Radio's decision to kill its nighttime jazz programming was defended by music critic John McDonough (mp3), who pointed out that many of the most vocal opponents of the decision don't actually listen to jazz on the radio.
If you do listen to jazz on the radio, your last chance to do so at 91.5 on your FM dial is tomorrow (Thursday) night beginning at 8pm, when Dan Bender, Richard Steele and Sarah Toulouse will host the final eight hours of jazz programming as a team.
The Tripwire runs a 2003 zine-only interview of Thax Douglas by Elia of Scotland Yard Gospel Choir. We're told Douglas departed because he had "deep dissatisfaction at his perceived lack of status in Chicago and felt bleak about his economic prospects here." As Douglas reveals that the blood bank is one of his primary sources of income, one is left to wonder, perhaps New York's pay more?
You may recall earlier this year when, upon the leak of his album, Lupe Fiasco suggested he might just take his rhymes and go home. These days he's singing a somewhat different, albeit similarly end-game-focused tune: he tells Tom Breihan "[his] thing is to put out the next two albums, and then [his] mission is complete." There'll likely be the empire to attend to, but being a mogul is different than being a rapper, right? (He talks about other stuff, of course: topics range from Pitchfork to Pink Floyd.)
Today, Nerve interviews local band OK Go. On the subject of local website Pitchfork Media: "Yeah, they really don't like us [sighs]. I think it's personal. They were a small Chicago-based site when we started out as a small, Chicago-based band, and I think there were some infidelities with someone's girlfriend. But they really hate us."
Thax is a Chicago music institution, whether you like his poetry or not. You knew you were at a "real Chicago show" when, after the lights went down, he stepped quietly out on stage, pulled out a piece of paper and read a poem in honor of the night's entertainment. Most of his live poetry has been brief (read in under 30 seconds) but the impression he left behind lasted much longer (there's even a documentary). Chicago adopted him as "ours", but no longer. In a short while, Thax will pack his poems and head out to New York City. In honor of his legacy, tonight, Chicago musicians will say farewell at a special show at the Hideout featuring Sybris, Tight Phantomz, Dick Prall, and Daniel Knox. I had a chance to ask Thax a few questions about the show and his poems and Chicago music venues, and below are his responses.
A raucous band of cellos. A tuba concerto. A double bass concerto. May is Low Register Month (you didn't know?), and the deep-voiced instruments are full of surprises and rare appearances. Plus, the Chicago Symphony Orchestra kicks off its Keys to the City piano festival. If you survive NATO and Mother's Day Brunch, come back for June.
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