The desire for relevancy beckons the artist. The present moment continually challenges consciousness to work with care for contemporary concerns. Musicians whose creative spirit can adapt to the times are afforded the ability to alter perspectives, to change minds. Neil Young cultivates truth in his songs; lyrics sung, then settled by the strum of a guitar. Even when the subject matter is unsettling, Young makes beauty out of understanding. His words and voice are straightforward, and his playing sturdy and confident. He represents a highly relatable, highly skilled simplicity, turning folk music into something timeless instead of old-timey. Young will sing about anything that matters to him, in the present tense, no matter his age or health, plain enough for anyone to understand. Read the rest of this entry »
Record Store Day 2014: The Good, The Bad, and The Huh? How the hoopla plays out for a record store regularNews and Dish, Record Store Day No Comments »
By Kenneth Preski
Outkast “Southernplayalisticadillacmuzik” (Legacy)
Only issued once on vinyl, back when it was first released in 1994, the duo’s debut effort is worthy of re-evaluation in the wake of Andre 3000 and Big Boi’s first touring stint in six years. Outkast is headlining Lollapalooza, and one suspects Andre’s got the itch to rap given his numerous guest verse appearances since 2007. He raps all over “Southernplayalisticadillacmuzik,” so it’s likely some deep cuts will make their way to a wider audience this summer, reminding the festival circuit just where and who and what Outkast represents—right there in the album title.
Gil Scott-Heron “Nothing New” (XL Recordings)
Taken from the same sessions that produced “I’m New Here,” this posthumous collection, limited to three-thousand copies, presents Gil Scott-Heron as singer-songwriter, performing fresh takes on two decades worth of compositions, now rendered immediate through the same throaty vocal that made his swan song LP such a painful and rewarding listen. When contrasted with the original versions of his tunes from the eighties, “Nothing New” provides a welcome facelift for the material, settling the legendary poet’s spirit by surrounding it with minimal frill. Voice paired with a piano yields a candid document of a life well-spent in pursuit of truth. Read the rest of this entry »
Every list of John Cale’s achievements begins by cementing Cale’s role as a founding member of the Velvet Underground. At the onset of the group, Cale’s avant-garde and contemporary classical credentials lent a grounding circuit to the proceedings, with songwriting credits second only to Lou Reed. The spark in a song like “Venus in Furs” was summoned forth via his viola flourishes, or by his piano playing in “I’m Waiting for the Man.” Cale has continued to be a ceaseless experimenter, ever curious, always listening, and dead set on playing his own version of what’s next. The method has yielded a storied collection of recordings, with some unforgettable songs, including “Fear Is a Man’s Best Friend,” an anxiety twitch of a tune that sounds good no matter who sings it. Read the rest of this entry »
By Dave Cantor
This is how much noise two dudes can make.
In an improvising group consisting of just drummer Chad Taylor and cornetist Rob Mazurek, it’d be assumed that intent listening plays a significant role in how the Chicago Underground Duo put together its works. But the truth, each player says, is somewhere between thought and expression.
“One of the first things Cooper-Moore said to me when I started playing with him is that I’m a really good listener,” Taylor writes in an email from Europe, where he’s touring as part of the Eric Revis Quartet. “I took it as a compliment, but he meant it to be an insult. What I have learned over the years is that it is important to listen, but if you listen too much, everything you play is a reaction to something you’ve heard.” Read the rest of this entry »
Is “Blank Project” a jazz, soul, art or pop album? Listening to the disc attentively one could easily say all of the above, as the Swedish-born singer Neneh Cherry (known by mainstream music fans for her collaboration with Senegalese star Youssou N’ Dour) does her thing on her first solo release since 1996. Backed solely by Four Tet’s mix of percussion and electronic sounds, the music grabs you from the beginning with the Afro-inspired “Across The Water” and doesn’t let go until the very last track. Read the rest of this entry »
There was no better gauge of Frankie Knuckles’ influence on the global electronic music community than when word of the DJ/producer’s passing hit social media on the evening of March 31st. Within a half hour after the news of his death was first posted online–even before it was officially confirmed by journalists–Twitter and Facebook were flooded with condolences, memories and musical tributes. He was born in 1955 in The Bronx as Francis Nicholls, but in so many ways Frankie Knuckles belonged to Chicago. He made his mark on the city’s underground dance scene by spinning at The Warehouse in the late 1970s (where house music got its name) and became one of the first marquee names in the electronic music scene. Frankie Knuckles was widely known as the “Godfather of House.” It was an esteemed title he accepted with great responsibility during his career, as he served as an ambassador for house music in clubs across the world, but even that title understates the enduring imprint of his work on contemporary EDM and club culture.
Knuckles once referred to house as “disco’s revenge.” As a genre, the birth of house music was somewhat of a happy accident, a response to disco’s waning mainstream popularity in the late seventies and early eighties. In a 2011 radio interview on BBC 6, Knuckles attributes the invention of house as, quite simply, a career move. “It all came from me… trying to keep my dance floor interested and coming to the club every week after disco was declared ‘dead.’” Knuckles said. “I was already playing R&B, it was just a matter of me refashioning so that it could fit the dance floor.” Inspired by Philly Soul, the Europop and Italian disco scenes in Europe, and his own experimentation with reel-to-reel track editing and drum machines, Knuckles created a gloriously pulsating patchwork of genres that became its own original, influential style. You can hear his masterwork in the hypnotic synth of his seminal 1987 track “Your Love,” or the driving hi-hat of 1989’s eternal dance floor anthem, “Move Your Body.” Read the rest of this entry »
With plenty of nods to Pavement and other nineties alt-rock greats, the Massachusetts four-piece Speedy Ortiz stakes out its own territory on the merit of its whip-smart lyrics and eschewing of self-seriousness. The band self-identifies as part of the “snack rock” genre, and the quartet’s LiveJournal (the very existence of which is a bit offbeat) documents their life on the road with each post featuring a “pup of the day.” Put together, this might be the perfect setup for an eye-roll, if not for Sadie Dupuis’ knack for poetic songwriting and Speedy Ortiz’s gleefully wandering arrangements heavy on distortion but anchored by catchy, knotty hooks. Read the rest of this entry »
By Kenneth Preski
Maintaining a sense of journalistic objectivity about Basic Cable is impossible. Beyond band duties, bassist Luca Cimarusti is the music listings coordinator at the Chicago Reader, and drummer Ryan Duggan is a prolific designer whose work includes last fall’s “Art 50″ cover for Newcity. The group’s reward for being so intimately involved in Chicago’s music scene has been a local press vacuum for their latest project. Highfalutin ideals are fine fodder for fools and philosophers, and being a bit of both presented the perfect opportunity for me to defy all proper notions of my profession. In short: if local publications must ignore their own for fear of impropriety, then it’s the fool’s duty to challenge the philosophical framework preventing profoundly relevant artists from being properly covered. No problem playing the fool here, I have much experience in this regard with the men of Basic Cable. Two members and me share a hometown. I’ve known Luca as Luke since I was fourteen and bummed rides off of him to local punk shows. I’ve know Michael John Grant, guitarist and primary vocalist, as MJ since around the same time. Knowing what I know, I made sure to eat an early dinner before sitting down for an interview with the group. These guys can drink. Read the rest of this entry »
Soul songstress Sharon Jones’ latest tour is also a victory lap. After a tough battle with bile duct cancer sidelined an album release and tour plans in 2013, Jones returns this year with a clean bill of health and the release of “Give The People What They Want.” This is her first full tour with the Dap-Kings in two years. With more than thirty dates for the North American tour alone, Jones and the Dap-Kings are clearly making up for lost time after releasing a solid, unrepentant traditionalist R&B/funk album—and I mean that as a total compliment. “Give The People What They Want” features Daptone Records’ usual bold, wall-of-sound production fleshed out with groove-drenched songs like “Retreat!” and “People Don’t Get What They Deserve.” Read the rest of this entry »
Chicago welcomes back pop and R&B’s newest blue-eyed recruit, Daley. Born and raised in Manchester, England, the twenty-four-year-old has come up in the industry little by little in the past four years thanks to an unrelenting DIY philosophy. Donning one ridiculously top-heavy, modern-day pomp, perfectly pruned geometric facial hair, and thick-rimmed glasses, Daley looks especially eager for an audience. With this tour being the first to follow the release of his first-ever studio album (“Days & Nights”) who can blame him?
For Daley, a pursuit toward music came naturally and the recurring dream of signing with a major label began back in his teens. Locked away in his bedroom he’d write songs and lyrics channeling such predecessors as Prince, D’Angelo, Sade and Radiohead. When he was old enough, he left Manchester for London and began working his way into the underground urban music scene. Read the rest of this entry »