Gapers Block published from April 22, 2003 to Jan. 1, 2016. The site will remain up in archive form. Please visit Third Coast Review, a new site by several GB alumni. ✶ Thank you for your readership and contributions. ✶
...so why can't we? So asserts Enemy curator Jason Soliday of his two day fest, called simply "A Fest." This two-night festival of experimental and noise music concludes tonight (you're absolutely right, I should have informed you about yesterday's show) at Enemy, 1550 N. Milwaukee Ave., 3rd Floor. Donation suggested, starts promptly at 9 p.m. Lots of acts to get on, so no Rock O'clock for these folks.
Tonight's acts:
Bokeh (Mykel Boyd of Somnimage Recordings fame, along with Mandy Matz on violin) Battleship (marvelous Hafler-ish subaquatic drone and shortwave) Quicksails (Ben Billington of Tiger Hatchery and ex-Druids of Huge) Jason Soliday (Enemy honcho on Sidrassi Organ and hellish mayhem; possibly something completely different) Hex Breaker Quartet (Telecult Powers + Grasshopper match up -- live streaming from NYC!) Bile & Horseman (Dog Lady + Tar Pit collaboration) Startless (Jason Zeh + Vertonen collaboration) Mike Shiflet (astringent electronic chemtrails all the way from Columbus)
After the jump, a bit about what went down last night:
[This review and photos come to us from reader Rachel Angres.]
Following the energetic set by opening band Dry The River, there was a sense of disjointedness as Bowerbirds began. The stage was somber — in mood and lighting. The first few songs were hurried; Beth switched from keys to accordion as if it was a game of "capture the flag." Phil sang in his own timing, as the percussion rushed the songs into an abrupt ending.
Eventually, seemingly after realizing how loyal and forgiving the fans were, all five members of Bowerbirds loosened up and began to sing and play in synchronic bliss. Their faces relaxed and their eyes closed slightly. It felt as if the band had a need to share their emotional tie with each song, a longing to express their life stories through music. The enchanting harmonics of Beth Tacular's voice, soothed the rugged tenor of her counterpart — and real-life love — Phillip Moore was as beguiling as it was symphonic.
Been looking for the right opportunity to get into this whole EDM (electronic dance music) craze? This weekend might be your best bet.
On Saturday, March 31st, English DJ/producer headlines the Congress Theater. Performing under his stage name Feed Me, Gooch's sounds channel some of the biggest names in the elctroniic music scene. See his latest EP Feed Me's Escape from Magic Mountin for a unique blend of the lighter, trance-like side of the genre (i.e. DeadMau5) and the heavier, glitchier--dare I say--dubstep sounds of other heavy hitting EDM artists like Skrillex. Feed Me, who's signed to DeadMau5's label Mau5trap, provides a solid span of styles that give an authentic, yet non-polarizing, glimpse into the music scene.
Sure to be the ultimate party setting, this stacked show goes from 7:30pm to 2:30am Saturday night. Other DJs on the bill are local duo Team Bayside High, Jackmaster, Plastician, Kill the Noise, as well as Skream & Benga. It's 17 and over show. The Congress Theater is located at 2135 N. Milwaukee Ave.
But wait! Gapers Block is giving away two pairs of tickets to the show tomorrow to a lucky couple of readers. Just email us at contests@gapersblock.com with the subject line "FEED ME!" and you and a friend will head to the show for free. [Update: Hold the phone, we have our winners! Congrats to Ryan and Nina.]
Damion Romero treats living spaces like speaker cones, automobiles like drummers, and telegraph wires like direct lines to the music of the cosmos. A true acoustic scientist at heart, Romero creates his physical, high-density drones not from effects pedals or overloaded distortion, but from the intrinsic properties of a room, self-generating feedback loops, and monolithic, featureless boxes of his own invention. I've written about Romero previously, in the lead-up to his 2008 performance at Lampo, and all of that still holds and bears re-reading. That performance made use of Lampo's then-new loft space on Chicago Avenue, receiving the vibrations from the floor of the venue with ultra-sensitive geophones, sending the back into the system, and turning the room into an expansive, throbbing sonic object, a sound that surrounds you and reacts to each body in the room. For his performance this Saturday, the Renaissance Society's Bond Chapel (1025 E. 58th St.) in Hyde Park will be the resonant object in Romero's first four-channel speaker work, entitled Quartet. When asked for more details on the project, Damion said he didn't want to "jinx it" by providing details, further deepening the mystery of what's really in those flat, featureless metal boxes of his.
The performance starts at 8pm this Saturday, March 31. Admission is FREE, and no RSVP is required. First come, first served.
Clyde Petersen of Your Heart Breaks opened for Kimya Dawson at Sunday's show at the Old Town School of Folk Music, introducing his first song with: "This is a song about sneaking out of your parent's house to smoke weed in high school." It was like listening to my kid brother jam out on his guitar... if I had a kid brother, and if he was a musician. Like Dawson, Petersen is from Washington State, and had positive things to say about his visit to Chicago: "I like the bean, I enjoy your bean," he said, and: "I like that there are a lot of animators in your town who are cool ladies."
Petersen's songs ran the emotional spectrum from teenage nostalgia, to finding his way in the world as a transgender person. Dawson joined Petersen in a song dedicated to the memory of a deceased transgender activist; her metallic, animal-print leggings and halo of hair contrasting with Petersen's dressed-down aesthetic.
Petersen ended his set with an amazing piece titled "God Speed John Glen" about the 1961 space race between the U.S. and the U.S.S.R. that included recorded feedback loops of his own guitar playing, acting out both parts of a conversation between an astronaut and ground control, and a nod to both Elton John and David Bowie in the lyrics: "I think it's going to be a long long time... ground control to Major Tom."
The Treasure Fleet are a 60's influenced psych-rock band from Chicago featuring members of The Arrivals, The Smoking Popes, Sass Dragons and The Lawrence Arms. The band will be at Township this Friday for a special listening party of their new record titled Cocamotion due out in May on Recess Records. You can check out the bands first-ever interview on Jaded in Chicago.
Shy Mirrors of Stockhom, Sweden features Mike Downy of Chicago's New Constitution. This is their first US tour as a band.
Listening party for Cocomotion is this Friday, March 30th, goes from 5-8pm, is All Ages and is free. Be there for you chance to win tickets to the show!
Show is Wednesday, April 4th, starts at 9pm, is 21+ and is $8.
You can buy tickets and get more info of this show here.
Protest The Hero shows are a rare breed. Typically, a show's energy starts off strong and, if it's good, that energy--both the band's and the audience's--continues to build momentum throughout the set. If it's its bad that energy tends to trickle out of the venue and by mid-set it's clear that everyone is simply counting down to the final song. Protest The Hero's music, however, puts their shows into a narrow category. The overall upbeat, fast, and aggressive nature of this Canadian metal act's songs leads one to believe that the crowd would respond to them with nonstop movement--be it in the form of moshing, fist pumping or serious head banging.
Photo by Steve Stearns
The problem is that Protest The Hero's songs are also persistently complex. There's barely time to recover from each tempo change before the next one hits. It's nearly impossible to be concerned with rocking out when you're eye locked on guitarists Tim Millar's and Luke Hoskin's fancy finger work. The rhythmic synthesis of bassist Arif Mirabdolbaghi and drummer Moe Carlson is almost too impeccably tight to believe without visual confirmation. The problem with Protest The Hero is not that they are not fun to watch. It's that they are nearly impossible to take your eyes off of.
[This piece comes to us from reader Sarah Brooks.]
Chairlift, an electronic-pop duo combining Caroline Polachek's stunning vocals and musical effects from Patrick Wimberly, are set to play at the Empty Bottle on Friday, March 30. Their catchy, playful sound is inventive and enjoyable, and if you're new to their music, it's likely you're more familiar with them than you may think; Chairlift's first hit single "Bruises" was featured in an iPod commercial back in 2008 (you can refresh your memory below).
Since their breakthrough onto the music scene, Chairlift has released a plethora of their futuristic, innovative tunes. Their music, which utilizes a variety of instruments, synthesizer effects and vocal techniques to create a range of different listening experiences, has one thing in common: it makes you want to stop whatever you're doing in the moment to get up and dance. Their latest album, Something, was released in January, which produced more of their funky beats and infectious rhythms.
Check out the music video for "Amanaemonesia" featured below to gain a feel for their unique sound. The song is not only extremely catchy, but the eccentrically awesome video resembles a cross between a music video from the future and an '80s workout tape.
Chairlift plays The Empty Bottle on Friday, March 30, 2012. Tickets are $13 and the show is 21+. In addition to Chairlift, the show features bands Nite Jewel and Moon Furies and begins at 10pm. The Empty Bottle is located at 1035 N. Western Ave., (773) 276-3600. This show is sold out.
[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.
The lineup for this year's Pitchfork Music Festival took further shape today with the announcement of 11 more performers. Sleigh Bells, Dirty Projectors, Flying Lotus, Danny Brown, Clams Casino, The Olivia Tremor Control, Iceage, The Men, Purity Ring, Schoolboy Q and The Atlas Moth will play at the festival in Chicago's Union Park July 13-15.
Unfortunately for those who waited for more acts to be announced before springing for tickets, three-day passes are now sold out. Single-day tickets are still available for $45 apiece.
Ten years ago I saw Andrew WK at Laga in Pittsburgh. Half of the crowd (those there to see Lost Prophets, mostly) had no idea what to make of him. Strange looks like "Who is this guy to have fun with metal?" and "He must be a joke" came from all corners of the room. Of course, those of us who knew what we were in for had a grand old time. People screamed the lyrics. They jumped on stage. They moshed and pogoed. A kid who sat in front of me in an Internet law class ended up on Andrew WK's shoulders. It was all great fun with a party leader who created energy for everyone else to feed from. Even some of the early scoffers jumped on the bandwagon.
Now it's 10 years later. Andrew WK's headlining the Riviera and he doesn't have to win over anybody. He can be looser with a friendly audience. Feel like playing your first album front-to-back and interrupting it to show off your classical music training with some "Rhapsody in Blue"? No problem. Need four guitarists? Sure. Get the crowd to chant "Pizza"? Why not? Like anyone at this level of success, there's not much of a challenge anymore. He still preaches about having fun and making the most out of every second alive, but there's no one in the back corner having an epiphany and thinking, "This guy's right!" Devotees dressed in his signature white t-shirt and jeans were everywhere. A girl did her makeup to mirror I Get Wet's album cover. A kid with "Party Hard" written all over a cycling cap crowdsurfed at least a half-dozen times. Only Morrissey sees more people trying to join him on stage. With that hysteria surrounding him, the energy never stops.
Andrew WK, his wife and a backing band of six churned out chunky riffs that wouldn't be out of place in hair metal, fist-pumped until they physically couldn't, encouraged circle pits that'd level towns if they were made of water instead of people and sang/screamed with tremendous gusto. (Andrew WK's a little hoarse.) A complete performance of I Get Wet (with "I Love Illinois" substituted for "I Love NYC"), clearly the highlight to most everyone in the crowd, was followed by some scattered hits from later albums. An encore of "We Want Fun" produced absolute chaos on the floor. Was it the most musically proficient show? Not exactly. But is it hard to top as far as entertainment? For sure.
[This review and photos come to us from reader Rachel Angres.]
After an abbreviated performance by DJ Brady, The Big Sleep, a Brooklyn based noise-psych band, opened the show Wednesday night at The Empty Bottle. The crowd trickled in as local group APTEKA played a short but lively set. Within 20 minutes, the entire venue was packed. People shoved each other to get to the front and catch a glimpse of A Place To Bury Strangers members setting up for their performance. "I love their pedals. I want to take them apart and create something even more crazy with them," said an audience member, motioning towards the homemade creations splayed along the stage floor.
A Place To Bury Strangers' lead singer and guitarist, Oliver Ackermann, sang with a calm and buzzing tenor. He dragged the neck and body of his off-white, rusted guitar across the ceiling and dropped it down to the floor. One of Ackermann's signature techniques is to experiment with the instruments while on stage. In one instance, he placed the guitar directly in front of the floor amp, creating aching and abrasive feedback. The bassist, Dion Lunadon, sang eloquently and shredded it on the bass. Lunadon was by far the hit of the evening — with fog and fluorescents flickering, his frame luminous and stoic. His fingers frantically manipulated the strings with fervent perfection.
[This review comes to us from reader Brian Kutanovski.]
The sign outside Subterranean last night read "All Pigs Must Die," which gave a distinct feeling that inside was a punk rock show. Not meant in a purely derogatory sense toward police exactly, lead singer Kevin Baker mentioned in an interview with The New York Times that the band's name regarded "a pig" as "anyone who is irreversibly corrupt." Even with an antagonistically political band name on the bill, the All Pigs Must Die set itself was light-hearted and doused with practical jokes. The much anticipated band had a shoulder-to-shoulder Sub-T crowd chanting along to "God is War," (a track from their latest album of the same name), but the hostile dirges didn't translate into a hostile show attitude. It was more like an old family reunion.
Co-headlining were San Diego-based hardcore rockers, Narrows, promoting their latest album, Painted. With unrelenting fist-pumping speed playing to feedback-filled breakdowns, Narrows set the tone for a show of what would be a crusty chomp of distortion with intervals of noise and cock-rock guitar riffs. "From a venue that looks like it should be a brothel, it sounds more like a basement," said Narrows lead singer Dave Verellen into the microphone during their set. Considering it was the last show of their month-long tour (both bands appeared at SXSW last week), the concert was treated as a somewhat legitimate basement party. During the end of Narrows set, a member of All Pigs Must Die stage dived pantsless onto Verellen and was thrown into the crowd. From then on, the crowd participated in consecutive stage dives and piggy-back rides, all in good fun. These two bands are relatively new popular acts, yet all veterans in the hardcore scene since the '90s (the two bands' members also played in Converge, Botch, and The Hope Conspiracy), ended their sets with hugs and ear-to-ear grins.
The opening band was Pittsburgh youngsters, Code Orange Kids, who also made an appearance at SXSW, stomped the hell out of the stage with their short-shorts and slip-ons while the drummer threw haymakers into his floor tom during a song. Their female guitarist had the deepest growl by any vocalist last night, and their volatile energy was intensely cathartic.
Even after more than two decades of near-consistent world-wide touring, the old-hand members of Narrows and All Pigs Must Die seem to never quit their assault in the American hardcore scene. They certainly proved this point last night in Chicago.
Chicago's Thrill Jockey Records remains an indie powerhouse, and as of late has been burnishing it's well-deserved reputation for finding and releasing music by wonderfully eclectic and diverse acts, so it is no surprise that they recently added New York's Rhyton to the roster with the release of their eponymous first album, which has entirely sold out its limited LP and CD editions.
That's to be expected, as the album is a gem, one of my favorites so far this year, mixing elements of swirling early '90s desert rock with a heavy dose of jazz-inspired Krautrock, resulting in something that sounds a little like a collection of late-night outtakes from an Ege Bamyasi-era Can studio session. The songs wind and meander organically from one passage to the next, creating a rich, psychedelic sonic pastiche. A collaboration between Dave Shuford (No Neck Blues Band, D. Charles Speer), Jimy SeiTang (Psychic Ills), and Spencer Herbst (Messages, Matta Llama), Rhyton's music tends toward long-form improvisational jams, keeping with the group's roots in casual sessions between the members. Though the debut album is now unavailable in it's physical media editions (MP3s can, and should, still be purchased), Chicago has the good fortune to host the band on one of the dates of their brief current tour.
Rhyton plays Tuesday, 3/27 at The Burlington, located at 3425 W. Fullerton Ave. NYC's Turn To Crime and Chicago's Solar Fox open. Tickets are $8 at the door, and doors open at 9pm.
Fear not, faithful R. Kelly fans, we at Transmission are happy to report that R. Kelly's 2007 soap-opera-esque series Trapped in the Closet is making a heroic comeback on IFC with brand new episodes. In an interview with Rolling Stone, the star said: "When I first began experiencing the unknown journey of writing Trapped in the Closet I knew after the first chapter that I had tapped into something that was not of this earth." You got that right, bro.
Final thoughts on SXSW 2012 from none other than lead singer JC Brooks (naturally of JC Brooks & The Uptown Sound). Photos and video are courtesy of the band.
— Day 6
The interior of our touring van is covered in wolfmother wallpaper, and as we leave Austin and our first SXSW in our rearview I can shove my overfed self-critic into a mental trou de loup and say that we did some damn fine work...
Our final day in Austin began well — we were all good little boys and got ourselves to bed at a reasonable hour the night before, knowing that we were facing a 4 show day at the end of the gauntlet that was SXSW. I was particularly nervous because my voice wasn't feeling too strong — it actually wasn't feeling much besides hurt-y (as Ralph Wiggum would put it). I did my morning routine of throat sprays and gargles, all the time wishing that I wasn't so grimly adherent to my work ethic/personal philosophy. See, I had been told through the week to be smart and conserve my voice because we have 4 shows on the final day of the festival. Unfortunately, all I heard was: Save the good shows for later. Being hyperaware of mortality in general, I know that later isn't necessarily going to be a reality for all of us, and that death can often be sudden and cruel, so I don't save anything for later. I have a deep and abiding fear of seeing death approach and (knowing the flagellate that I can be) using that last split second of life to kick myself for not putting it all out there during my last performance, for not fully listening during my last conversation, for not fully falling into my last kiss. So I saved nothing, and though I had a week of great shows, staring down the "home stretch" was giving me agita.
JCBUS and Counting Crows' Adam Duritz (photo courtesy the band)
[This review comes to us from writer Rachel Angres.]
A Place To Bury Strangers released their latest album Onwards To The Wall on Dead Oceans in early February. The album was produced, mixed and mastered by the trio, which now after a six year swap includes front man Ollie Ackermann (guitar/vocals), Dion Lunadon (bass guitar) and Jay Space (drums).
Using the "wall of sound" technique and some DIY instrumentation, (they nerd out by building their own amps and various instruments to take on the road with them) APTBS has spent the last couple years preparing for what they love most — being on the road. The band brings a volatility that is more malleable when compared to the typical shoe-gazing method of compression, blending and reverberating slurred and sullen vocals.
We had some technical difficulties, but here's the final day of tour diary from Jip Jop, and some photos from a few impromptu shows to remember. Guess the old rule rings true — it's not a good party, till the police show up.
— Day 4
Hello from Austin! Our second show brought the house down (almost literally) with police coming to stop all the commotion. We followed a couple of great bands from Berklee School of Music — Canary and Against Atlas.
Seeing some of our favorite artists has been a major highlight of the trip. SBTRKT (below), Terror Pigeon, and Deerhoof to name a few...
Fiona Apple at Lincoln Hall Monday night (photos by Stephanie Griffin)
Fiona Apple probably only needed to show up and stand on the stage with her tank top, long skirt, and combat boots and a sea of adoring fans would have been pretty content. What the packed house at Lincoln Hall was treated to on Monday night, however, was an intimate (though brief) show by the emotional singer. Apple played for just under an hour, but she hit almost every high point from her last three albums, while providing some glimpses into her upcoming new one, The Idler Wheel is wiser than the Driver of the Screw, and Whipping Cords will serve you more than Ropes will ever do (Epic - release date TBA).
Armored in her classic mid-'90s outfit (she could have been keeping it in storage since 1996 when Tidal came out) and rocking some seriously enviable arm muscles, Apple wrapped some of her long hair up off her face and half-engaged, half-ignored (half hid from?) the sea of eager fans at her feet. Her openers "Fast As You Can," "On the Bound" and "Paper Bag" wound the crowd up and brought out some professions of love (which the songstress politely acknowledged and demurred). The sing-a-longs continued through "Mistake" and then came to a hushed halt (quite literally) when Apple went into the first of three new songs, "Anything We Want," with a length of copper pipe in her hand as supplemental percussion. Her next song was a very quiet number (more loud "SHHHH"'s from the audience who demanded full attention from their neighbors) titled "Valentine" which has a haunting refrain, "I root for you / I love you," that's still stuck in my head.
UPDATE: And once again the secret sale came and went in a flash. The announcement went out via the Lollapalooza e-list and in what seemed like moments later they were sold out -- which was bound to happen, since only 750 souvenir tickets were released. The festival turn to Twitter and Facebook followers only to announce that passes were sold out.
Disappointment turned to anger for many music fans when more than 70 of the three-day passes quickly appeared on ticket broker website StubHub, for prices ranging from $375 to $999.
For the multitudes who missed out, the next chance at tickets will be Tuesday, March 27, when "early bird" three-day passes go on sale for $200 apiece.
It took more than six years for Brooklyn-based pop punkers I Am The Avalanche to release their second album Avalanche United, but the buzz around this band barely seemed to teeter off after all that time. I Am The Avalanche has deep roots in the pop-punk scene--vocalist Vinnie Caruana fronted seminal Drive-Thru Records act The Movielife prior to its breakup and IATA's debut release on the same label in 2005.
Caruana's gang put out their shiny new album in October of last year and after supporting runs with genre gods like Saves The Day and Brand New are hitting up Chicago on one of their first headlining tours since its release.
I Am The Avalanche's self-titled debut was a heart wrenching lament of pretty much...well...everything, full of chugging guitar rhythms, aggressively autobiographical lyrics and booze-induced anthems. Whereas the band's newest release is decidedly more upbeat, melodic and boozy--but in a good way. The record is no less energetic than its predecessor, but this is a whole new brand of energy for this group. That said, Avalanche United isn't all fun. Caruana's anxiety-riddled vocal style creates poignancy in every line regardless of whether he's feeling remorseful, reminiscent, sarcastic or just plain old pissed off.
Hear--and see--for yourself Saturday, March 24, at Subterranean (2011 W. North Ave.). It's an early show so openers Red City Radio and Hostage Calm take the stage at 5:30pm. This also means the show is all ages. Tickets are $12 in advance or buy them at the door for $15.
[This preview comes to us from reader Rachel Angres.]
The harmonies in Bowerbirds' most recent release, The Clearing, on Dead Oceans Records, are magnificently subtle. Vocalist Phil Moore often leads his finely crafted falsetto into a harmony accompanied by his female counterpart, Beth Tacular. The polarity in their vocals is distinct and dichotomous. Little bits and pieces meticulously gather together and build a melodious abode, nuzzling in one's ears.
The Clearing is an album that can remedy even the coldest of hearts — it is a haven of warmth and symphonic solace. Lyrics swarm in as percussion builds on the hinges of a grand piano leading into an intense bellowing of seduction. Hailing from North Carolina, the duo's Southern charm enriches the lyrics, which are simply a series of sonnets to nature. It is an ode to the unknown.
The Clearing moves into the meadowlarks and valleys, as the sun slowly settles. The words reflect the triumphs of braving each season. The Clearing was recorded initially in Beth Tacular and Phil Moore's Wisconsin Cabin, with minimal recording equipment and the incredible outdoors that inspired their lyrics. Rare Book Room Recordings soon picked it up where it was mastered in NYC by Nicolas Vernhes.
Bowerbirds perform at Lincoln Hall on Thursday March, 29, 2012 at 9pm. Dry The River opens. Tickets are $14. 21+. Lincoln Hall is located at 2424 N. Lincoln Ave. (773) 525-2501.
Our Saturday morning update comes from the keyboardist (and Clip Art mastermind) Andy Rosenstein of JC Brooks & The Uptown Sound. This came in early Saturday, so my apologies for not getting it posted sooner — totally editor error, these guys have been amazing with their daily recaps. Photos and video are courtesy of the band.
— Day 5
by JCBUS keyboardist (and Clip Art mastermind) Andy Rosenstein
With only one show to play, yesterday felt like a day off. Billy and I went over to Barton Springs in the morning for a run along the water. It was excellent to be able to escape from pavement and crowds, if only for 40 minutes or so. It was dangerously rocky for running, but if you're visiting Austin for the first time, I can't suggest it highly enough as an easy hike.
After cleaning ourselves up, we headed down the Bloodshot day party. Technically it was located at the Yard Dog Gallery, but in practice was just a whole lot of people energetically hanging out in an alley. The food was great, the Lagunitas beer flowed freely, and it was my first chance to watch the many many members of the Bloodshot family play on one stage. I got to see Lydia Loveless for first time. She killed. Rosie Flores and her band blew my mind. Then it was our turn.
Chicago's Grandeurs are a group out to prove the power of whispers. The quietly seductive alt-folk they play is out to prove the power of speaking softly. Grandeurs achingly slow songs hypnotically entrance listeners into their world of dark bars at 4am.
If you missed out on Thursday's 5pm live stream of JC Brooks & The Uptown Sound performing at the YouTube/Google Live At The Lot party down at SXSW, you can enjoy it today while you're just hanging around your cube. Check this handy time-stamped URL, or play the whole thing on the embedded player below (you can get to the band at the 4h 22m 16s mark). Great job, guys! If you're not already reading along with the band's SXSW 2012 tour diary, just check out their posts here in Transmission, along with updates from Chicago hip hop group, Jip Jop.
The boys have been busy busy busy! This update came in during the wee hours of the morning from Billy Bungeroth (oop) bassist, Ben Taylor of JC Brooks & The Uptown Sound from down in Austin at SXSW. They've got another couple full days of shows to go! Power through it, fellas! Photos are courtesy of the band.
— Day 4
Sweet merciful crap, I'm exhausted. It's 3am and I finally made it back to the hotel and it sounds like an angry bear is sawing logs in the bed next to me. But no worries, since as soon as I finish writing this, I'm going to collapse. We rocked the outdoor stage at the Paste Magazine party this afternoon, right after the indoor set by our LA doppelgangers, Vintage Trouble; ran into their guitarist and drummer on 6th street a few hours ago, nice folks.
There's nothing quite like the fresh scent of vinyl in the morning. Or the adrenaline rush of finding that missing piece from the puzzle that is your record collection. Is your mouth frothing at the thought of that type of sensory overload? It's people like you that keep the annual CHIRP Record Fair coming back year after year.
Photo credit: Flickr.com/mediafreek
This year the fair can be found at The Chicago Journeymen Plumbers Union (1340 West Washington Boulevard) on April 14 and 15. The fair runs each day from 10am-5pm.
Now in its tenth year, the only record fair in Chicago proper will boast more than 80 sellers tables. While the record selection is the real highlight of this two-day collector's paradise, expect to find CDs, posters, 'zines and whatever else gets the music lover in you going.
It's March 15, also known as the Ides of March, made famous by Julius Caesar's murder in 44BC at the hands of Brutus. Several hundred years later Caesar's dying words: "Et tu Brute" were made famous by Shakespeare. But more importantly, the Ides of March are also a Berwyn band who gave us the song "Vehicle" in 1970 and I, for one, have to listen to this song at least four times today.
Sometimes it's a little surprising how little press electronic music gets in Chicago, given the city's long and rich history with the genre. That seems to have been changing as of late, and this weekend, you don't have to be in Ibiza to get satisfy that international superstar DJ jones you've been harboring, as The Mid hosts Paul Oakenfold.
Oakenfold has been DJing, remixing and producing since before electronic music was really a blip on the radar, throw in his stewardship of influential label Perfecto Records and you've got a more than convincing argument that he was central in fostering it into the mainstream. These days, the kids are going nuts for Skrillex, but for those of us old enough to remember the good-old days, but still young enough to stay up late listening to trance DJs, this weekend promises to be enjoyable.
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)
Another overnight (possibly probably sleep-deprived) update from Billy Bungeroth of JC Brooks & The Uptown Sound from down in Austin at SXSW. Photos and video are courtesy of the band.
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JC Brooks & The Uptown Sound perform at the Ginger Man at SXSW 2012 (Photo courtesy the band)
Day 3
Big Things Happening
"Here's the thing about SXSW," Andy tells me, "As you walk through the streets, everyone starts to feel like the walk-on's in your life." You see guys from other bands you've toured with, new fans, old friends you haven't seen in years. And don't forget celebrities: Jim DeRogatis (Sound Opinions), Jack White (Third Man Records), and Carson Daley (who was sitting in on drums with TheeOhSees!!!). It doesn't feel like Texas, it's as if someone turned Williamsburg into an amusement park and all your friends are there. And whether it's the lack of sleep, or 312in a can, it feels like something is happening.
Gearing up for their next show in Austin tonight, Carlos checks in with what's been occupying Jip Jop's time in Texas. Do we have some new SXSW converts? Yes, yes we do.
— Day 3
SXSW has not failed to disappoint! Every street is full, every bar packed, and every show is live. We started the day by heading to the Greenbelt to take a break from the crowds and experience a different side of Austin.
[This preview comes to us from reader Sarah Brooks.]
Dastardly, Americana/folk/country hybrid band hailing from Chicago, has a sound that is bold and enjoyable. Described as "experimental enough to feel fresh but traditional enough to feel familiar even to first timers" and frequently appearing on lists of bands to watch in 2012, Dastardly is quickly permeating the music scene. They released their second album, Bury Me in the Country, on January 31, which showcases their eclectic country sound and was recorded in a studio with just a handle of whiskey to keep them company. With a combination of their unique sound and their candidly fun atmosphere, Dastardly shows are easily some of the most enjoyable around.
Dastardly shows are unpredictable, lively, and anything but boring. Back in October, Dastardly staged their first variety show at the Hideout, which included comedy sketches interspersed amongst their music set. Due to its success, they're doing it again folks, and you won't want to miss it this time around.
Below, enjoy the music video for "Fever," a song off of Bury Me in the Country, which showcases their unique sound and style.
Dastardly's "Megachurch" variety show is at the Hideout on Tuesday, March 20, 2012. In addition to Dastardly, the show features several Chicago comedians. Tickets are $10 in advance or at the door and the show is 21+. Doors open at 8:30pm and the music starts at 9pm. The Hideout is located at 1354 W. Wabansia Ave., (773) 227-4433.
The latest update from Billy Bungeroth of JC Brooks & The Uptown Sound from down in Austin at SXSW. Photos and video from the band create a lively multimedia montage.
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Day 2
SXSW is a madhouse and it hasn't even started yet. We have two shows to play tonight before official heck in begins tomorrow — one for a Google Party the other for an Innovate Chicago party. We wind up setting up at the first gig and the schlepping our equipment six blocks through a sort of Wrigleyville meets Mardi Gras with Mumford and Sons lookalikes standing on every corner atmosphere to the next. The sets are and the good band continues to play well. In all honesty though we got upstaged by an awesome quartet of thousand year old Japanese punks superheroes called Peelander Z. Basically the Peelanders dress like power rangers or giant squids and bowl themselves across the stage — literally bowl while playing Shonen Knife meets the Ramones dlacored punk.
Our second gig goes great, no squids no problem. Lots of folks dancing. I'm not sure what I expected but this is a scene like no other. In a week I'll be better equipped to say. It's crowded, which stinks, but it's with music, which rules.
Well never fear, Jip Jop is making some new friends down in Austin, and fitting in just fine. Here's the latest from Carlos and Jip Jop.
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Day 2
We played at Baby Blue Studios on E. 12th St. and witnessed a dusty garage party turn into a wall-shaking dance party before our eyes. Bikes chained to gates, keg lines, red cups, and a crowd ready to party late into the night gave us that authentic Austin vibe we came for.
The energy was amazing! Our boys at Good Luck Sir put together a great line-up of music that we were happy to headline.
The second of the two bands we're following on their tour from Chicago to Austin, Texas is the neo-soul outfit JC Brooks & The Uptown Sound. They've got an exhaustive schedule lined up for the week, often with two shows per day, just minutes apart, and we're so glad they decided to burn some of that sweet sweet downtime with some tour diary posts for Gapersblock. Below is the first report in from guitarist/vocalist Billy Bungeroth.
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Woke up to the sun in the backseat of the van this morning, somewhere on the outskirts of Austin. Our first time trekking down for SXSW. Back in January, we were waking up in Minneapolis to -11 degrees, so 82 degrees and sunny is a good look.
Its been six weeks off the road in Chicago and the nerves we had that we'd be rusty for SXSW were calmed by duo of 90 minute sets in Davenport and St. Louis which went off great.
Today we woke up at our buddy Phil's, some of us inside on bunk beds, some of us outside in the van. The lines for coffee were too long so a spread of fish tacos and Lone Stars got us going. We dug for soul 45s at Friends of Sound. I was able to find Laura Lee's "Dirty Man" on Chess. And now BT's in the bathroom of our hotel mowing JC's hair with clippers, Kevin's online, and Andy's meditating in the lotus position.
Anyway you figure it, we're preparing for the week ahead.
Ladies and Gentleman, welcome to Austin.
- Billy
See JC Brooks & The Uptown Sound's full SXSW schedule after the jump:
Once again we're following some awesome Chicago bands down to Austin for SXSW. Carlos from Jip Jop is the first of our friends to check in, with a quick recap of their drive down to Texas. Jip Jop's blend of hip hop and jazz presented with some killer horns, keys, drums and rhymes is sure to entertain the crowds down south. Check out their album Important (and download it) at Bandcamp.
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Coming fresh off a performance at Chicago's Double Door (above), with no sleep and a van that fits about 12 uncomfortably, eight (8) of us packed in (equipment included) and started on the 1,164 mile road-trip to SXSW.
Even with no rest, the van was still rowdy. Rest stops for coffee runs, band members creating music in the backseat, lots of laughs and one goal, don't stop until we get there. The all encompassing sentiment in the air was unbridled and pure excitement.
Astronautalis is coming through town on tour, which is a solid show alone, since the Minneapolis based rapper doses out thoughtful lyrics over a blend of electronic infused hip hop beats. His delivery is smooth, and ladies, he's pretty easy on the eyes as well. But I'm more excited about the artist he picked to head out on the road with; Busdriver. If you catch the show Sunday night at Schubas, I implore you to get there early to catch his opening set.
Busdriver has been making music since an early age, releasing his first album when he was 13. His music has grown into a funky chopped up hybrid of everything from classical piano samples to thick and heavy wall shaking bass beats. And his lyrics flow from intellectual touchstones to pop culture shout outs to over-the-top sexualized wordplay. All of this is delivered with perfect (possibly over the top) pronunciation, while at breakneck speed. His latest album, Beaus$Eros, shows a more melodic side, but live you'll still get to witness the frenzied style of his work. Even in the underground and experimental world of hip hop, he still stands out as someone clearly focused on pushing his own work out of a comfort zone and manipulating what many perceive as hip hop.
Busdriver opens for Astronautalis, Sunday March 11th at Schubas. The show starts at 8:00pm, is 18+ and tickets are $14. You can purchase them here.
Just in time to usher in days of sunshine and warmer weather, local trio Unicycle Loves You conjures a collection of tracks worthy of a season of beer-soaked house parties. Their third and latest album, Failure, finds the group (singer/guitarist Jim Carroll, singer/bassist Nicole Vitale, and drummer J.T. Baker) furthering their already-established sound: dreamy boy/girl vocals buried under a blanket of jangly guitar and loopy keyboard flourishes, typically with a earworm-catchy '90s feel reminiscent of everything from Guided by Voices and Dinosaur Jr. to My Bloody Valentine. (Even their video for "Piranha" smacks of a 120 Minutes vibe.)
Whereas their second album, 2010's Mirror, Mirror, was decidedly more relaxed, tapping a space pop-meets-Belle and Sebastian vibe, new songs like the opener "Garbage Dump" and "Wow Wave Cinema" are revved up and angular. The first half of Failure focuses on the party-party, while the second half winds down into something a bit more calm bordering on dawdling. But with a track like the breathy, make-out sleepy "Brand New Pillow," it turns out that the lull is just fine.
The WHOevers; Dotkom (left) and J.Arthur (right) by Stephen Klapko
To the casual listener, Chicago hip-hop is heavily defined by the works of Kanye, Common, Lupe Fiasco, and maybe Twista, if they know a thing or two. Beneath the surface, however, sounds from artists on the up-and-up like King Louie, Chief Keef, Chandler London, and The WHOevers, stay reserved for those savvy to the young and dynamic scene. From local stage shows to web videos, these artists have succeeded in developing a following based on each of their own unique styles; creating sub-genres within the culture.
The problem is, while diversity in style and content can be a good thing, a segregation has developed between the artists and the groups of people particular to their sound. This complicates the concept of hip-hop as a unifying movement in the city.
[This review comes to us from reader Sarah Brooks.]
An avid fan for years, I bought my ticket to see Punch Brothers months ago, though they're not just loved by me, but clearly Chicago, too. I make this statement based on the sold out crowd that packed Park West Thursday night, eager to see the Brothers perform. Having recently released their third studio album, Who's Feeling Young Now? in February, Punch Brothers have gained steady momentum since the release of their debut album, Punch, in 2008. It's easy to see why — Chris Thile, lead vocalist and talented instrumentalist, has been a notable figure within the music world for years, from his time in inventive country-bluegrass-folk hybrid outfit Nickel Creek, to numerous solo releases, and even an instrumental collaborative side project with Yo-Yo Ma titled The Goat Rodeo Sessions. With five different instruments comprising the group and a stellar lineup of talent, it's not surprising that the Punch Brothers attracted such a crowd.
Punch Brothers at Park West (photos by Sarah Brooks)
Radiohead is coming to Chicago this summer, playing June 10 at First Midwest Bank Amphitheatre in Tinley Park, as part of the newly added leg of the band's ongoing world tour in support of The King of Limbs. Caribou will open. This is Radiohead's first concert in Chicago since Lollapalooza in 2008.
Tickets go on sale on the band's website March 8, or via Ticketmaster or the First Midwest Bank Amphitheatre box office on March 10 at 10am. Prices range from $33.50 to $63.50 -- or $51.85 to $84 once you add in Ticketmaster fees.
It's been a hell of a year for Alabama Shakes. In the last 10 months, they've gone from not even being named Alabama Shakes to having a praised EP to opening for Drive-By Truckers to being featured in a television commercial that was practically inescapable. On the verge of their debut album's release (Boys & Girls is out April 10), they're touring to show everyone a glimpse of what's to come. The Athens, Alabama quartet pumps out an olio of southern rock, R&B, blues and soul that's infectious and makes you wonder if you're really listening to music made in 2012. Singer Brittany Howard wails in a way reminiscent of classic southern soul vocalists and provides the cornerstone of the band's sound. This Friday's show at Lincoln Hall is sold out, but Gapers Block is giving away a pair of tickets. Write into contests@gapersblock.com with "I Found You" in the subject line for a chance to win. [Update: Whoa, hold your horses. We have a winner. Congratulations, Sarah. Thanks for writing in, everyone!]
Alabama Shakes headline a sold-out Lincoln Hall on Friday, March 9. Jennifer Castle opens at 10pm. Chicago's Canasta, who are fresh off of a tour of Mongolia that you may have read about, will play too. Alabama Shakes are also playing a free show sponsored by XRT at Reggie's at 12pm (yes, noon) on Saturday, the 10th. Lincoln Hall's at 2424 N. Lincoln Ave. Reggie's is at 2109 S. State St.
I always knew that "Mystery Science Theater 3000" couldn't be the only effective and entertaining way of recycling those awful 1960s-era sci-fi horror b-movies. Enter Chicago-based Terrible Spaceship's new show "Zontar, the Thing from Venus." Orchestrated by the band's dancey, electronic grooves, "Zontar" puts the bands in front of a video montage created by campy clips and animations from oldschool sci-fi flicks including the 1966 not-so-classic film with the same title.
Terrible Spaceship brings "Zontar" to Martys (3855 N. Lincoln Ave.) this Friday, March 9. This is also the first time that Chicago fans can hear the band's recently added brass section. Tickets to the show are $8 and it's 21+. The openers--Bambi Raptor, RON., and Longtital--start playing at 9pm.
You can stream Terrible Spaceship's debut album "Invaders 1938"--an homage to Orson Welles' famed "War of the Worlds broadcast--here.
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.
Romantic and doomed, brainy but really strung out fans of acoustic-based, stonesy prog music with deep-buried dark poetry accompaniment take note Dan Bejar and his sunny band of ambient-prog-disco-yacht rock Destroyer is returning to Chicago. The upcoming show on Sunday June 24 at The Metro will mark Destroyer's third trip to Chicago within 12 months including a set at last summers Pitchfork Fest. Tickets for the show go on sale Satuday March 3 at noon.
The literature publishing house with the greatest ratio of edutainment blog posts vs difficult web 3.0 page design, Melville House is turning 10. As a reflection of their genre pushing publishing schedule the birthday publisher booked The-Drum and Supreme Cuts, two of Chicago's most adept blenders of musical tropes and added an unknown quantity of author readings. The whole literary/dance shebang will be going down at the Stop Smiling storefront on Friday March 2.
This month, music comes from such far-flung places as Antarctica, South America, and outer space in performances that will be full of visual and sonic surprises. Women composers, long neglected, also get the spotlight, and a Japanese virtuoso will play the best Mozart piano music of the year. So venture out into the misery of March in Chicago; besides, when was the last time you went to the Planetarium?
Hear a great concert recently? Have a tip on an upcoming show? Talk about it in the comments.
The lineup for this year's 
Final thoughts on SXSW 2012 from none other than lead singer JC Brooks (naturally of 
Just in time to usher in days of sunshine and warmer weather, local trio 
