Alt-Rock, Chicago Artists, EDM, Electronic/Dance, Experimental, Festivals, Hip-Hop, Indie Rock, R&B, Rap, Rock
By Keidra Chaney
Now is a decent time to get back into the live-music swing of things this winter, with upcoming album releases, the return of monthly live music events and more.
Definitely bring your earplugs to check out Chicago’s three-piece Lume when they come to Subterranean (2011 West North) on February 19 to celebrate the release of their album, “Perennial Phase.” (You can also preview and purchase the album on Bandcamp.) If you’re into brooding, rough slowcore then you’ll be into Lume; they combine fuzzy riffs, melodic, understated vocals and lush production. The seven-minute opus “Rattleback” is the new album’s centerpiece; it floats from an alternating loud-soft dichotomy to a dark, almost dreamy breakdown that builds up into a chaotic, feedback-laden outro. It’s a song that will definitely translate well live, since Lume has been known to bring an intensity to their stage shows that doesn’t always come through in recordings. Check them out on the heels of their Southern U.S. tour, with fellow feedback slingers Estates, Sough, Droughts as openers. Tickets are $7 and the show starts at 10pm. Read the rest of this entry »
Chamber Music, Chicago Artists, Classical, Indian Classical, Interviews, Minimalism, New Music, News and Dish, Orchestral, Rock, World Music
Philip Glass (left) and David Bowie, 1992
By Dennis Polkow
Composer Philip Glass is coming home. Well, sort of. The high priest of Minimalism, a term Glass has always loathed, will be in residence at the University of Chicago this month. Although it is not the first time Glass has been back to his Hyde Park alma mater, where he was once a mathematics and philosophy major, this is his first official residency there as a Presidential Arts Fellow.
Glass’ residency will include a University of Chicago Presents concert where he and others will perform his Piano Etudes, a screening of the film “Mishima” which Glass scored and will discuss, a free public talk on artistic collaboration and various conversations with students and faculty from across the university.
Chicago was where Glass originally realized—while practicing piano pieces of Charles Ives and Anton Webern—that he wanted to become a composer, although he would head to Juilliard to begin to accomplish that goal. Read the rest of this entry »
Goran Ivanovic is a multiculti wunderkind. A Croatian-born Chicagoan, he plays nylon-string classical guitar, with which he not only unleashes great stampeding Balkan rhythms, but intricate Middle Eastern and Asian-inspired cadences as well. On his trio’s newly released eponymous disc, he’s accompanied by Matt Ulery on electric bass and Pete Tashjian on drums and percussion, with a special guest appearance by Ian Maksin on cello. Read the rest of this entry »
By Robert Rodi
I miss the glory days of the protest song. Thanks to corporate ownership, these days the major labels are more interested in moving units than in moving society forward. But the fracturing of the market into a dizzying kaleidoscope has at least made it possible for possible heirs to Woody Guthrie to come up through the cracks. Chicago’s Andy Metz isn’t overtly political on his new album, “Delusions,” but he’s definitely the first artist I’ve come across, outside of hip-hop, to tackle the recent epidemic of gun violence. “Guns,” the tune in question, lashes into the macho pretensions of weapons owners with scalding ridicule: “Little Kyle thinks he needs a gun…Despite a sick pickup truck, he ain’t picking up much / Ladies don’t get him, no he’s just tough / So he strokes it every night, ’cause it’s all he’s got now / The only way he’s getting brain is click, click, pow.” Metz’s timing couldn’t be better; the so-called Oregon militia are basically acting out the music video for this tune. Read the rest of this entry »
Stephen Williamson/Photo: Todd Rosenberg
By Dennis Polkow
“Honestly, I felt like I was being shot out of a cannon,” says Chicago Symphony Orchestra principal clarinetist Stephen Williamson of the day he unexpectedly landed the job. “There had been four years of auditions and the position was still vacant. I was at the Metropolitan Opera Orchestra and was being asked every time, ‘Please, will you come?’ My wife and I struggled with it and I told her, ‘They’re not finding anybody. I feel I need to go out there and to at least say that I tried, that I represented myself.’
“When I finally came to Chicago, I wasn’t expecting anything. All I was hoping was that I would have an opportunity to be invited to play a week with the orchestra and then, whatever happens, happens. And I could say that at least I got to play with the Chicago Symphony and that it was a great experience.”
What Williamson never expected was for music director Riccardo Muti and the audition committee to offer him the position on the spot immediately after he had concluded his audition. “I really was shocked. They did it so early in the morning because I had to fly back to do a ‘Die Walküre’ performance with Maestro [James] Levine. I was elated, but in shock, because I had to go back to my music director at the Met, play that same night and say, ‘By the way, something just happened.’ The news was already at the Met before I even showed up off the plane. Maestro Levine had requested to see me at intermission.” Read the rest of this entry »
By Craig Bechtel
Kid Cudi disappointed many of his loyal fans when he pulled the plug at the last minute on his December tour dates, citing “production and personal problems.” He posted a lengthy note via Twitter, saying among other things, that things “weren’t together production wise and I need a bit to make some changes,” and “I got a lot im [sic] dealing with at this time in my personal life too and in order for the shows to be the best experience possible as well as keeping my sanity intact, I need to regroup.” The disappointment from his audience most likely began when he released “Speedin’ Bullet 2 Heaven,” a rock album brimming over with distorted guitars and grunge-era angst. Kid Cudi may be a talented rapper and have come by his hip-hop bona fides honestly, but this record was not hip-hop. While Hot New Hip Hop gave it a balanced and nuanced review, they couldn’t award it more than a sixty-eight percent, whereas the website’s Fan Rating merited a lackluster twenty-one percent. (Then again, the fans on a heavy metal website would probably have savaged the latest outing from Jurassic 5.) Taken on its own merits, and disregarding genre, “Speedin’ Bullet 2 Heaven” is an extraordinary record, and it’s not like Cudi doesn’t recognize the rules he’s breaking. He even enlists MTV icons Beavis and Butt-Head to provide occasional commentary throughout the double album. Read the rest of this entry »
By Robert Rodi
There isn’t much you can say definitively about The 3.5.7 Ensemble. Depending on the material it’s tackling, it ranges from a trio to a quintet to a septet (hence the name). And though it’s based in Chicago, it’s not entirely a Chicago band; a number of its members hail from farther afield. One thing you can say with reasonable confidence is that these guys are hella ambitious ambitious. This isn’t just a comment on their material, which covers a dizzying spectrum of styles and voices; it’s also a reflection of the fact that some years into the era of downloads and streaming, they’ve gone all 1990s and released not just a CD, but a double CD. When was the last time you set eyes on that brand o’ critter?
Fortunately, the program well supports the extra disc. All the pieces on “Amongst the Smokestacks and Steeples” are original (with the exception of the opener, “Dangurangu,” a Zimbabwean folk tune). Most are written by bassist Chris Dammann and tenor sax man Nick Anaya, but there are credits as well for guitarist Tim Stine and pianist Jim Baker, with improvised works credited to the entire ensemble (rounded out by James Davis on trumpet, Richard Zili on clarinet, and Dylan Andrews on drums). There’s also a credit for Fred Anderson, whose Velvet Lounge was the setting at which at least some of these pieces evolved into their current form. Read the rest of this entry »
By Craig Bechtel
West Side product Roosevelt Sledge, Jr. goes by R.O.E. (pronounced Roe), an acronym for Rising Over Envy, but he’s risen over a lot more. Since his 2011 debut EP, “A Backpacker Named R.O.E.,” he’s toured to tout his intelligent brand of alternative hip-hop, recorded an incredible live album with his band The Soulvillians at Double Door… and his 2014 EP was either a toast “To Happiness” or described his journey there.
That sojourn toward happiness has included recently relocating to New York to better connect with music-industry resources and expand his horizons. R.O.E. says “it’s a mix” of music bringing him to NYC and also wanting “to experience life outside of Chicago.” He says he’ll probably live here again, but plans on developing his career and “building up Chicago” from his new base. Read the rest of this entry »
Orbert Davis/Photo: Darron Jones
By Corey Hall
Chicago’s origins and present, along with a festival’s rebirth, are celebrated by the South Side Jazz Coalition on January 16. That’s when Orbert Davis’ Chicago Jazz Philharmonic (CJP) performs the score to “DuSable to Obama: Chicago’s Black Metropolis,” a documentary that first aired on WTTW in 2010 and won an Emmy Award. The Coalition’s second fundraising event is designed to raise funds for revitalizing the annual South Shore Jazz Festival, a thirty-one-year ritual that ended in 2012.
Now that the Coalition’s nonprofit status has been secured, it is attracting sponsors, determining a date, securing a lakefront location and selecting musicians for the revived festival, according to Coalition board member Margaret Murphy-Webb. This effort, she added, has been endorsed by Geraldine de Haas—the festival’s founder who, in 2013, relocated to the East Coast with her husband for health reasons—and surrounding communities.
“We expected 150 people at our first fundraiser, held last summer at the Quarry [in South Shore],” Murphy-Webb says. “We seated 180, and a total of 240 people showed up. This event on the sixteenth will seat 500, and we are urging people to get tickets early, because we don’t want to turn anybody away.” Read the rest of this entry »
JMSN/Photo: Cameron McCool
By Keidra Chaney
It’s that time of year again: the annual winter celebration of indie rock (and occasionally other genres) Tomorrow Never Knows, which takes place at Schubas, Lincoln Hall, Hideout and Metro on January 13-17. If you’re into indie, this is the event to tide you over into the summer festival season, and it’s a great opportunity to check out bands that are on the rise before they hit bigger stages. Here are my picks for bands to check out at TNK 2016. Read the rest of this entry »