This week's list comes from Michael Serafini, owner of Lincoln Park's Gramaphone Records, and Alycia Ryan, a commercial hip-hop buyer for the store who also spins under the name DJ AMPM. The store, at 2843 N. Clark St., focuses on "electronic and dance music -- all indie electronic-based, not just rock and indie rock," Serafini says.
Sa-Ra, Love Czars II (Ubiquity Records) The Drastics vs. Michael Jackson, MJ A Rocker 2562, Aerial (Tectonic) Bop, Clear Your Mind (Med School Music)
Leron Carson, Red Lightbulb Theory, '87-'88 (Sound Signature)
A Work in Progress (Chez Damier and Priceless One), Moment of Truth (Yore) Daniel Wang, The Balihu Years 1993-2008 (Rush Hour)
Various Artists, Spatula City Swings (Spatula City) Tevo Howard, Passion Sound (Beautiful Granville Records), which Serafini describes as "deep, deep introspective house music...starting to blow up."
This week's unofficial list comes from Doug Arnold, a buyer at Dusty Groove America, 1120 N. Ashland Ave.
Various Artists, Psych Funk 101 -- A Global Psychedelic Funk Curriculum (Stones Throw Records), which Arnold says "flew out of here. It came in and went." Eric Roberson, Music Fan First (Blue Erro Soul)
Harlem Underground Band, Harlem Underground (Traffic Entertainment/Paul Winley Records) Tim Buckley, Live at the Folklore Center, NYC, March 26, 1967 (Tompkins Square)
I normally stop by or call a local indie record store in the Chicago area for these weekly posts, but in honor of Pitchfork, I took a different approach this week. On Saturday, I spoke with the very approachable Ian Tsan, one of the owners of the local label Grape Juice Records, about what he was selling. In addition to selling records from bands on Grape Juice Records, Tsan was also selling some older favorites on vinyl from other labels. The locals are bolded. Here's his list:
This week's list comes from Duane Powell, manager of the Dr. Wax store in Hyde Park at 5226 S. Harper Ave. Powell says for this list, he didn't include any Michael Jackson records because all his records are selling "like crazy, of course. I couldn't even tell you a title because it's everything Michael, whatever they can get their hands on." Here are Powell's non-Michael choices:
Maxwell, BLACKsummers'night (Columbia) Mos Def, The Ecstatic (Downtown) Jesse Boykins III, The Beauty Created (Nomadic Music) Musiq, On My Radio (Atlantic) Jaspects, The Polkadotted Stripe (Jaspects)
In the spirit of the great Midwestern summer, I took a road trip this week to Ann Arbor. Instead of posting on a Chicago indie record store this week, I decided to stop by a great A2 local indie called Wazoo Records. Walk up the stairs off of South State Street (not to be confused with ourState Street), turn right, open the door, and you're in a great record store. Just don't confuse it with the apartment door nearby. Almost knocked on that.
This week's list comes from the friendly Forest Juziuk, manager of Wazoo. Grizzly Bear has made the list three times in a row, and this time, the Ann Arbor locals are bolded.
This week's list comes from Dave's Records, an all-vinyl store that packs in nearly 40,000 vinyl records in all formats -- from LPs and singles, to 7" and "12-inch records -- at 2604 North Clark Street. "All I do is vinyl," owner Dave Crain says. Even though he hates lists ("I'm always afraid I'm going to leave something out"), Crain passed along this list of top-sellers. He also blogs at the store's MySpace page.
Passion Pit, Manners (Frenchkiss) Grizzly Bear, Veckatimest (Warp Records) White Rabbits, It's Frightening (Tbd Records) Leonard Cohen, Songs of Leonard Cohen (re-issue, Sony Legacy). Crain notes, "They re-issued five of them, and all of them are selling well, but this is the most popular." Mastodon, Crack the Skye (Reprise) Wilco, Yankee Hotel Foxtrot (Nonesuch) Townes Van Zandt, Townes Van Zandt (Fat Possum) U2, No Line on the Horizon (Interscope)
This week's list comes from RT Edwards, an employee at Jazz Record Mart at 27 East Illinois Street. Rather than tout Miles Davis' Kind of Blue, which Edwards says "always sells" no matter what the week, he came up with a list of some rarer top sellers that have been popular this week.
The list is divided between Blues and Jazz artists, and locals are bolded. Interesting note: The store's owner, Bob Koester, also runs Delmark Records, which is home to some of the artists on this week's list.
This week's list of unofficial top sellers comes from Lance Barresi, owner of Permanent Records, 1914 W. Chicago Ave. Per the usual, Chicago artists are bolded.
As early as Saturday morning, word was making the rounds that the non-profit performance space AV-aerie had (once again) run into zoning issues with the City of Chicago. A benefit show being held at the venue on Friday evening had been raided and shut down by authorities, and now the venue (with the help of the Empty Bottle and other parties) was reportedly scrambling to move future AV-aerie shows to other venues around the city. This morning, TOC's Areif Sless-Kitain blogged about the AV-aerie's troubled state of affairs.
On a related note: Talk to anyone who's been involved in event booking or promotion in Chicago, and they'll tell you it's an exceedingly tough place to try and do business. With that in mind, Greg Kot posted an update on the current status of the city's proposed "Chicago Promoters Ordinance" via his column at the Trib.
Also, The Reader's Miles Raymer chimes in on both of the above topics here and here.
While he may have once been a running punchline on The Young Ones, it seems that Leonard Cohen's pop-culture status has been overwhelming rehabbed in recent decades. So much so that, as he prepares to tour the U.S. for the first time in over 15 years, it looks like his fans (including those hoping to catch his performance at the Chicago Theater in May) might consider teaming up with those of Bruce Springsteen for a class action suit against Ticketmaster. The Reader's "Crickets" blog tells why.
The internet is currently abuzz with rumors that, after a long hiatus, the popular playlist-sharing site Muxtape may be up and running some time in the weeks to come. However, the site now bears the qualifier "in the service of bands" -- suggesting that the 2.0 version will probably come with be for restricted use. In a long explanation about the site's legal snags posted back in September, owner and operator Justin Ouellette indicated just what the revamped Muxtape might involve:
"Muxtape is relaunching as a service exclusively for bands, offering an extremely powerful platform with unheard-of simplicity for artists to thrive on the internet. Musicians in 2008 without access to a full time web developer have few options when it comes to establishing themselves online, but their needs often revolve around a common set of problems. The new Muxtape will allow bands to upload their own music and offer an embeddable player that works anywhere on the web, in addition to the original muxtape format. Bands will be able to assemble an attractive profile with simple modules that enable optional functionality such as a calendar, photos, comments, downloads and sales, or anything else they need."
So, just how this will differ from Myspace remains to seen; but interested parties should probably keep their eyes on the site for future developments.
Econ 101: In times of financial strain and hardship, people start re-prioritizing their expenses. And an individual's entertainment budget is usually the first thing to get a selective "dialing down."
In his "Turn It Up" column in today's Trib, Greg Kot gives a run-down of how the present economic downturn is impacting the concert industry in Chicago:
"Because bands don't make all that much money from recorded music, their primary source of income is the road, and they need to tour more frequently," [Jam Productions vice-president Nick Miller] says. "They look at Chicago, and they plug it in every three to six months, and that's where we will see attendance fall off."
Also in related news today: If you blog, Twitter, or just routinely share YouTube vids with friends, the New Yorker's Sasha Frere-Jones points out that you might encounter some obstacles -- starting now.
So you've gotten some friends together and decided to form a band. You've thought of a clever name for yourself and have written a few songs together. You're ready to take the next step, but aren't sure where to start. Rather than sitting around waiting to get noticed, you can take matters into your own hands. With some hard work and ingenuity, you can book your own shows, promote yourself, and sell your music without paying someone else to do it for you. Martin Atkins is here to show you the way.
Martin Atkins, author of Tour:Smart, has made a name for himself as a drummer for Public Image Ltd., Ministry, Pigface, Killing Joke, and Nine Inch Nails. He's also the owner of Chicago label Invisible Records, and writes an advice column for bands on Suicide Girls (link NSFW). Pretty much, this guy knows his stuff, and he's willing to impart his wisdom onto you and your band tomorrow night, for free. Martin will be hosting a seminar at Reggies on Thursday, where he will discuss the state of the music industry, plus how to book yourself, market yourself, and succeed as a band. Did I mention the seminar is free? They'll also have free appetizers and Red Bull.
The Tour:Smart Band Summit is happening Thursday night at Reggies, 2105 S. State St. It lasts from 6:30 - 9:00 pm and is all ages. While the event is free, you must register beforehand by signing up here.
Greg Kot and Jim DeRogatis have a ton of knowledge between them in rock music and the going-ons in the industry. You've heard them on "the worlds only rock 'n' roll talk show," Sound Opinions, and now you can join them live to discuss the future of the music industry in this uncertain time.
It's no secret that the Internet and the digital age have changed the way we listen to music, buy music, are exposed to music, and generally enjoy artists we like. Record companies are left scrambling to try to figure out how to still make a profit in this new time, but what does it mean for you the consumer/ listener, and for the musicians themselves? Kot and De Rogatis promise to break it down for you tonight at Columbia College's Conway Center (1104 S. Wabash). It's free, but space is limited so get there early. Doors open at 5:30, and the talk begins at 6pm.
Interestingly enough, his hidden celebrity has brought him admiration from his own heros in the world of electronic music. Hernan says,
I meet people on the dancefloor throughout the world; they'll introduce me as the "Mortal Kombat voice guy" and you can see their eyes get as big as plates. These are people that I respect within the industry, that I'm a fan of, and they'll look back at me and say, "I'm am so glad to meet you!" Then the conversation eventually comes around to, "Hey can you please do 'Finish Him!'" or something like that, and it becomes an exchange of fandom from one world to another.
Hernan performs locally under his own name and as Bastard with Brian Franzen.[via]
Chances are you heard a fair amount this past spring about the so-called Chicago Promoters Ordinance, and about how -- after rapid grassroots mobilzation from the city's cultural community -- the Ordinance was tabled for a later date.
But in the face of the city's current budget woes, as municipal powers look for ways to fill a $496 million-dollar budget deficit, you can expect they'll be looking for a lot of ways to squeeze out revenue -- tapping into whatever resources that seem viable. Which most likely means that the Ordinance could be making a re-appearance at the earliest opportunity.
As Sun-Times music critic Jim DeRogatis describes it, the Chicago Promoters Ordinance (aka the "Event Promoters Ordinance," or Chapter 4-157) constitutes "a full-on war against the music community." But that's only one part of the larger picture. In case you hadn't followed the details very closely, the Ordinance would have a detrimental effect on culture in Chicago that would extend far beyond the indie music and dance scene. It would also affect the city's art and performance venues of every stripe -- including theater, comedy, literary events, as well as alternative arts spaces and galleries. In short, the scope of the Ordinance would effectively sever this city's cultural life at the roots.
By way of a recap, local multimedia producers JaGoFF and TheRecordIndustry have put together their own video documentary Chicago's Promoters' Ordinance Kills Independent Music. Shot over the past summer and quickly posted for viral circulation, the documentary features interviews with Jim DeRogatis and Chicago Tribune music journalist Greg Kot; as well as commentary by a bevy of other Chicago scene-movers including Shawn Campbell from CHIRP, DJs Derrick Carter and James Lauer, Galapagos4 hip-hop DJ/producer Maker, and plenty of other figures from Chicago's multi-faceted cultural landscape.
The video's long on testimonials, but also features some excellent info and commentary -- most notably an extensive walk-through of the Ordinance provided by Henry H. Perritt Jr. As a law professor and cultural advocate, Perritt subjects the Ordinance to a relentless critique in terms of its legal and cultural ramifications, and offers the verdict that the thing is both "unconstitutional" and "just plain bonkers."
Stay tuned, because we'll most likely be seeing more of the Chicago Promoters Ordinance in the future. And that'll probably end up being sooner than later.
Even though the crowd was mostly Cubs fans celebrating a win, all clamoring for a chorus or two of Steve Goodman's tune "Go Cubs Go", musician Ted Wulfers should have let the request go the way of "Freebird". Instead, he played a few minutes of the song...while doing a set at a Milwaukee bar inside Miller Park. The Brewers fans didn't appreciate it, and he lost a future booking at the bar as a result.
The Future of Music Coalition, a national non-profit "education, research and advocacy organization that identifies, examines, interprets and translates the challenging issues at the intersection of music, law, technology and policy," is holding a workshop titled "What's the Future for Musicians?" at the Old Town School of Folk Music on September 22, from noon to 7pm. Quoth the news release:
The "What's the Future for Musicians?" seminar will provide musicians, songwriters, independent label owners and music fans with practical advice about a range of internet-based promotion and distribution options, how to navigate the health insurance landscape, the importance of open internet structures and how copyright law and business models affect musician compensation. Breakout sessions will give attendees a chance to interact with the experts on the latest developments in music, technology and policy. The forum is a great opportunity to network with other musicians while getting informed on topical issues.
Panelists will include several FMC folks as well as Nan Warshaw, co-owner of Bloodshot Records; Frank Mauceri from Smog Veil Records; Shawn Campbell from the Chicago Independent Radio Project; Todd Bachman, producer of "Sound Opinions" and more. The organizers also promise a "special conversation" with Rob Sevier of Numero Group about how they find the artists they highlight and how they get permission to re-release recordings.
Gastr del Sol, Mirror Repair EP, 1994, Drag City Records
As it goes with music, the best art can often be a little unruly, a bit difficult -- doesn't behave, in other words. It can prompt discussion, steer conversation in unforeseen directions, or -- at its most poignant -- sometimes render speech useless altogether.
Throughout the course of its long and diverse history, the Drag City label has dealt with its share of musical artists who defy pat categorization -- releasing records by the likes of Bonnie "Prince" Billy, Royal Trux, Silver Jews, Gastr del Sol, U.S. Maple, Joanna Newsome, and many others. Not only do many of these musicians also produce visual work on the side, but a few of them have collaborated with artists in other disciplines. Case in point: The stalwart experimental-rock outfit Red Krayola, whose ranks have included a number of internationally-established artists from the visual art realm -- benefitting from contributions by Albert Oehlen (see above) and Christopher Williams, as well as sometimes collaborated with members of the British conceptual art collective Art & Language.
To showcase this facet of the label's history, Drag City and the UIC's Gallery 400 recently mounted the exhibition Chances Are The Comets In Our Future - A Visual Introduction To Drag City. As expected, the show features cover art and various designs from the DC back catalog, but it also includes miscellaneous art-works from label artist such as Ian Svenonius, Neil Michael Haggerty, and Will Oldham. Also included as related pieces by Oelhen, Williams, Stephen Prina, and legendary punk designer/illustrator Savage Pencil.
The exhibition is currently on view at Gallery 400 at the UIC School of Architecture and the Arts, is free to the public, and runs until October 8. For directions, gallery hours and additional info, see the Gallery's website.
SXSW, America's (and perhaps the world's) largest music festival, posted its list of performing bands yesterday, and Chicago bands are legion. A list of all 34 local acts -- and a bunch from within driving distance -- follows after the jump.
When talking musical influences with Helen Money, it's easy to forget her instrument of choice: cello. She references Bob Mould's Beaster, with its wall of sound and intense, thought-obliterating guitar work. She speaks of The Who and all the crazy rock bands she was exposed to in the '80s. "The stuff I like sounds like life or death," she reasons. And this coming from a woman with a picture of Jimi Hendrix taped to her cello case like he's a saint.
Transmission is the music section of Gapers Block. It aims to highlight Chicago music in its many varied forms, as well as cover touring acts performing in the city.
Editor: Anne Holub, ash@gapersblock.com
Transmission staff inbox: transmission@gapersblock.com
SXSW, America's (and perhaps the world's) largest music festival, posted 
