Tickets for Chicago’s best summer music festival go on sale today at noon CST at pitchforkmusicfestival.com. Three-day passes go for $90; single-day tickets for $40. Artists announced to perform so far include Modest Mouse, LCD Soundsystem and St. Vincent, but the most exciting is Sunday night’s headliner….PAVEMENT! Read the rest of this entry »
By Tom Lynch
Everybody knows somebody who knows somebody in the Wilmette-born emo-pop band, as the four-piece was so immersed in the various “scenes” of Chicago and its suburbs before it got famous and its mouthpiece married one of the Simpsons. When Newcity did this cover story on FOB back in May of 2005, I met Pete Wentz at the Pick Me Up Cafe in Lakeview; he seemed as normal as can be, humble even. We talked about the newest “Star Wars” and how fans—teenagers—sometimes recognized him at places like movie theaters. He came off as genuinely mystified by his band’s growing popularity, and grateful to the dedicated fans. Just an excited kid.
Who’s to say if Wentz’s personality changed once he became rich and famous; the band’s music didn’t—not really, anyway—but as it turns out, according to a blog post by Wentz himself that went live yesterday, FOB may be no more. Or Wentz might be out of the band. Or something.
Read Wentz’s address to his fans after the jump. Read the rest of this entry »
International party animal Seth Troxler is hoping the authorities are unaware of his impending visit to Chicago. The acclaimed DJ/producer is celebrated for his notorious on- and off-deck antics and crowd-moving skills in nearly equal measure. Troxler holds residencies at Berlin’s Club der Visionäre and Week End Club, and Zurich’s Alte Börse, and has releases spread across several well-known labels, but this weekend he begins touring in support of Boogybytes Vol. 5, a mix CD for Ellen Allien’s revered BPitch Control imprint. He’s the only non-label alum to take the reins, a nod that swiftly followed his addition to the top DJs of 2009 list on Resident Advisor.
Troxler acts more as a composer than DJ, both on the CD and in the club, deftly wedding the jack-friendly Chicago house aesthetic with the minimal roots of his native Detroit. DJs have been combining the two genres for more than a decade, but Troxler adds an unapologetic and youthful perspective to dance-floor tradition. Slow, sexy grooves, aptly placed vocals, techno patches and acid loops—you’ve heard these sounds before, but Troxler still revels in the raw fun of their union and translates as much through his endeavors. Read the rest of this entry »
RECOMMENDED
The prog-jazz trio formed by bassist Reid Anderson, pianist Ethan Iverson and drummer David King joined forces with singer Wendy Lewis and emerged with “For All I Care,” which is a masterpiece of a disc. The program opens with a cover of Nirvana’s “Lithium” that takes its creator’s quiet desperation to a completely different level. The same happens with Pink Floyd’s “Comfortably Numb,” which makes us feel like we are actually inside the drug-induced haze narrated by the chorus—while Lewis sings the words, Iverson plays a manic piano riff that has little connection to the melody that goes against Anderson and King’s more straightforward approach. There are several incursions into classical music, that showcase both the trio’s dexterity and chemistry together, but it is their incursions into pop that surprise the most, like the brilliant take on Jon Anderson’s “Long Distance Runaround,” which reinterprets Yes’ very electric classic in an acoustic setting without losing any of its energy. Listen also to their haunting rendition of The Bee Gees’ “How Deep Is Your Love,” which plays from the jaded, tired point of view of someone who no longer believes in romance—an extremely scary place to be in. NOTE: However, Lewis is not performing with the trio on this night. (Ernest Barteldes)
February 5 at Mandel Hall at University of Chicago, 1131 E. 57th, at 7:30pm.
RECOMMENDED
Dawn Landes’ indie-folk, breezy and sweetly assembled, has found its way on various films, television shows and commercials, and for good reason—the middle-of-the-road pop elements keep the songwriter quietly pleasing, and the down-home sitting-on-the-porch personality, which comes through more often than you’d expect, lends Landes some realism. Her new record, “Sweet Heart Rodeo,” bounces between slow-rolling acoustic folk to alt-rock to even harmonica-trickled country and blues, and Landes’ influences remain apparent. (Willie Nelson? Check.) Landes’ husband, songwriter Josh Ritter, enjoys a similar sort of folksy blandness, but with “Sweet Heart Rodeo” she’s able to keep the listener at least remotely interested in what lies just a little further down the road, so to speak. Live, she performs with her backing band, The Hounds, and fans should be grateful, as a major part of Landes’ success is the involvement of the other bits besides her guitar and voice. (Tom Lynch)
February 9 at Beat Kitchen, 2100 W. Belmont, (773)281-4444, at 9pm. $10.
RECOMMENDED
One of the more premature band break-ups in recent times was the dissolving of punk four-piece Be Your Own Pet. With only two full-lengths released—2006’s self-titled, awesome debut and the 2008 follow-up, “Get Awkward”—the group was gone in haste. The firestarter of a lead singer, Jemina Pearl, has ventured out on her own with solo record “Break It Up,” which features contributions from Iggy Pop and Thurston Moore (who was a huge champion of BYOP). The record lacks the visceral overkill that made Be Your Own Pet so enjoyable, as Pearl’s popped it up more than slightly with radio-seeking hooks and dance grooves. (Songs like “I Hate People” and “Ecstatic Appeal” would make Moore gag, one would think.) While the “American Idol,” pop-star image and sound may not fit Pearl especially well, her charm lies in the verve of her performance, as every song is infused with a little extra punk-rock oomph. Most likely, this will be a fun show. (Tom Lynch)
February 6 at Beat Kitchen, 2100 W. Belmont, (773)281-4444, at 9:30pm. $10.
RECOMMENDED
Blackshaw’s intensely focused twelve-string-guitar work has the distinction of impressing on record and in a live setting equally. In both cases, his exceptional finger-picking skill seems unfathomable—taking cues from Leo Kottke and Bert Jansch, his fingers blaze a trail of instrumental wonder. With 2009’s “The Glass Bead Game,” he involved more piano work, but Blackwell’s hypnotist act works best when he’s adventuring on an acoustic. One of his compositions, an older song of his called “River of Heaven,” I caught live once, and it left me in a state of unexpected euphoria. The work could get a little repetitive, if you’re unwilling to be overwhelmed—and I can’t imagine the pain of trying to take this in while standing—but an hour of your undivided attention to Blackshaw’s gift will prove rewarding. Also, he’s still under 30, which leaves years and years for him to expand and improve, if that’s even possible. (Tom Lynch)
February 6 at Empty Bottle, 1035 N. Western, (773)276-3600, at 10pm. $5-$8.
What’s in a name, really? Too many commercial bands have made it with obscure names based off cartoons, books or movies. So what can you make of a band whose name is Jet W. Lee? It sounds like a mode of travel for Civil War generals.
The band’s sound? Nineties alternative rock like Superchunk or Local H mixed with a bit of eighties punk a la Minutemen. “We can’t stand only liking a certain type of music, although I would say we are solidly classified as loud alt rock,” says guitarist and vocalist Jesse Johnson.
Jet W. Lee calls Champaign/Urbana its home, but adds Chicago as its home away from home. The band began as a two-piece—with Johnson pulling guitar duty and Patrick Mangan behind the drum kit—and formed after a few drinks at a local bar. ” I was actually gonna ask him to play drums with me, but before I could ask he told me that we should start a band,” Johnson says. Read the rest of this entry »
RECOMMENDED
Toronto techno favorite Jake Fairley makes his long-awaited return to Chicago this week. Releasing music since 2000 on labels like Traum, Sender, Border Community and Kompakt Extra, among others, Fairley’s melodic productions are informed by a wide range of musical sensibilities. His catalogue contains everything from funky machine-oriented rhythms, to dubby melodies, to fuzzy electro-inspired synths, to fat bass lines and rock-oriented electronic samples. Fairley will perform his critically acclaimed, energetic live set under his “Fairmont” moniker, which showcases the deeper, sultrier side of his repertoire. Chicago has local promoter Migrashun to thank for this night of many firsts—namely, the first Fairmont live P.A. in Chicago and Migrashun’s first showcase at Smart Bar. Supporting sets from the Migrashun residents will keep the sexy tech-house going all night long, with Mathias Matthew performing solo and Ariel Frank tag-teaming with former Detroiter Derek Fox. For added ambiance, local producer/DJ David Powers will be providing live visuals. (Elly Rifkin)
January 29 at Smart Bar, 3730 N. Clark, (773)549-0203, at 10pm.
With a hefty dose of coquettish charm and bossa nova kisses, Nouvelle Vague was the feel-good crossover hit of 2004. The release of the French band’s self-titled debut album delighted newfound fans with their penchant for turning seminal punk and new wave tunes into stripped-down acoustic jams, with a parade of international chanteuses adding their worldly flavors to each respective tune. Coupled with their beguiling live show, the band’s playfully refined concept spawned two successful follow-up albums with 2006’s “Bande à Part” and the aptly named “3,” released last June.
The juxtaposition of Nouvelle Vague’s jazzy, bossa nova style and subversive source material, like the Sex Pistols or Violent Femmes (both covered on “3”), might seem central to their appeal, but the actual concept was much simpler.
“I think [Nouvelle Vague is] kind of a tribute to these people, just to reveal their songwriting,” Marc Collin explains from the phone in his Paris studio. “I can always do covers of the Beatles or Prince, but you’ve got to do something about these bands who aren’t that well known for their songwriting—we’re going to try to prove that!” Read the rest of this entry »
