Photo: Fredrik Etoall
Electronic DJ duo Icona Pop make tracks that sound exactly the way pop music of today should. Run, leap and tumble beats soar through starry, energetic electro-synth melodies, and land on their feet in the foggy midst of a humid, glitter-coated dance floor. When Caroline Hjelt and Aino Jawo met at a party in the suburbs of Stockholm in 2009, a connection surged almost instantly as the two discovered they shared nearly identical tastes in music. Within a few days they were writing songs and booking gigs, and in that same year the two moved to London to cut their first studio record with TEN Music Group. There, they met London’s Charli XCX who shared a song written for her by another Swede, Patrik Berger. The three women collaborated and came up with the international hit, “I Love It.” The song was released as the second single from their self-titled album in May 2012 and again as the first single off of their second album, “This Is…Icona Pop” in September 2013. As for the time in-between, the song’s commercial success flourished. Read the rest of this entry »
The year 2010 marked when Chicago’s own footwork dance music was dubbed by the media as the music of the future. Competitive and super frenetic at 160 bpm, this juke derivative has evolved to cater specifically to the dance style itself, aiming to ignite a chemical reaction within the foot, faster than a tap dancer with a gun to his head. At the forefront, Chicago’s TEKLIFE crew has forged the way for footwork music to flourish outside the hometown and take hold of the EDM scenes in LA, London and Paris just to name a few. Among the crew them is Deejay Earl, younger in age but with the tenacity and work output of someone you’d expect to be older than twenty-three. Last year he grasped a handful of milestones: headlining LA’s Boiler Room, countless internet releases and TEKLIFE colabs including a thirty-one track album on SoundCloud, two EP releases on an American and European indie label, as well as a hike in demand from nightclubs across Europe. Read the rest of this entry »
From pilotless killing machines to the surveillance state realized, there is no shortage of topical political source material for artists engaging with technology, making the biggest electronic music trend of 2013 all the more puzzling. With greater possibilities for the radicalization of computer software and synthesizers than ever before, the most successful electronic acts chose instead to retreat into the mundane. Daft Punk released “Random Access Memories” to widespread commercial acclaim, a feel-good disco retread blessed by a resurgent Nile Rodgers; leaving the remaining widespread critical acclaim for Darkside, featuring much-hyped wunderkind Nicolas Jaar’s production and Dave Harrington’s noodling guitar. The duo did their best to invert the trend by altering the mood, but since the yesteryear-leaning technique remained consistent across their complete album remix of “Random Access Memories,” expectations for their debut full-length were tempered. Read the rest of this entry »
Ambient, Chicago Artists, Experimental, Festivals, Indie Rock, Krautrock, Minimalism, New Music, Post-Rock, Rock, Space Pop
By Kenneth Preski
Kranky is the most high-profile, under the radar record label that calls Chicago home. For the past twenty years, founder Joel Leoschke has fostered a stable of uncompromising, unpretentious artists whose work may have gone unreleased were it not for his uncanny knack for curation. The thread drawing together outfits as disparate as Deerhunter and Stars of the Lid has united musicians worldwide under one umbrella: part ambient, part electronic, part black earth rock ‘n’ roll. And “Black Earth” might be the best description available for the abstract sound Leoschke is after. As the title of local quartet Implodes’ full-length debut suggests, there’s an engrossing mysticism at work in much of the Kranky repertoire. The solo recordings of Implodes’ guitarist Ken Camden echoes this boundless energy, but even he is quick to acknowledge the fleeting nature of his alchemy, and his hesitancy to share it.
“I’ve always been making recordings at home and stuff, but I’m kinda bashful and wasn’t about to slip [Leoschke] a tape or anything.”
Cajoling artists of this ilk is an elusive art form, something Leoschke has perfected. Somehow he’s managed to cater to the cagey, artists wise enough to avoid making a deal when they needn’t, musicians hungry for harmony on a cosmic scale rather than the fleeting fame offered by superficial scenesters. Art of this kind often has a unique origin story. Read the rest of this entry »
The night before Thanksgiving is the biggest bar night of the year. Beyond the omnipresent college students with a semester of binge-drinking under their ever-expanding belts relishing the opportunity to flaunt their newly minted fake IDs, the night offers a chance to catch up with old friends before spending the following day filling up on food to the brink of discomfort. Spent wisely, the evening is a free-form homecoming for adults in mental preparation for the familiar apprehension that only Thanksgiving with the family can offer. Looking to celebrate a return to sweet home Chicago? There is no better bet than boogieing down with the beat-maestro himself, a man so Chicago he has a street named after him, The Godfather of House Music, Mr. Frankie Knuckles. Smart Bar promises to be packed with Chicagoans of every stripe, as this event is part of the Queen! series, events that openly cater to the LGBT community. Fresh off the legalization of same-sex marriage, the celebration will be a culmination of the jubilation that has been bubbling around the LGBT family since the House vote on November 5. Read the rest of this entry »
By Kenneth Preski
No genre of music has done more to exploit technology than dance. Practitioners have so radically altered the sonic landscape as to render mid-range frequencies obsolete. This is the region of space traditionally reserved for a guitar. Now the sound is maximized at each end of the spectrum, producers opting for punishing squeals of noises that ratchet and reel, high-end frequencies capable of piercing through devastating low-end bass deep enough to rattle your chest. Even vocal samples are subjected to pitch shifting, as much to match tempo as to fit the mix. The music is meant to be physical, hence the overwhelming emphasis on sounds that manipulate movement. From exciting your eardrums to throbbing your torso, if you ever wanted to feel like a vibrating cell phone, you should head to a DJ Rashad show.
Rashad knows much about the impulse to dance. As a member of the House-o-Matics crew, Rashad spent his youth as a dancer immersed in Chicago’s ghetto-house scene—a faster, more aggressive, often explicit take on the post-disco rhythms preferred by the genre’s forefathers. It wouldn’t take long until he became dissatisfied with his role, “I kinda accomplished everything I wanted to do as far as dancing goes, and people wouldn’t take me seriously for doing both, me doing DJing and dancing, so I kinda just like put the shoes down and picked up the needles and took it from there.” Read the rest of this entry »
There’s a lotta club music out there capable of summoning images of greasy-tan women and broheims doin’ rails in the bathroom or folks in shiny shirts grinding on the dancefloor. However we arrived at a point in the music’s history when that’s pretty much the norm is regrettable. But UK producer Nightmares on Wax has nothing to do with that–and in fact, has cultivated a recorded legacy that’s so far removed from those stereotypes, it’s difficult to understand how a lesser strain of the genre exists. Beginning in a time when DJ culture was coming into its own in England allowed for NoW to draw from a blinding kaleidoscope of source material, including soul, Jamaican styles and, of course, now-classic D.A.I.S.Y. Age hip-hop. Since releasing his first disc in 1991 and the pair of quintessential albums following that (“Smokers Delight” and “Carboot Soul”), he’s swung focus from genre to genre, synthesizing it all for the recently released “Feelin’ Good,” which was recorded at his farmhouse on Ibiza. Read the rest of this entry »
Trippy visuals broadcast upon an electronic musician pushing buttons to trigger recorded sounds is about as appealing to the average concertgoer as staying home to stare at a screensaver. Given that experimental linchpin Daniel Lopatin’s Oneohtrix Point Never project is carefully conceptualized to forgo the robotic rhythms of dance, it’s alarming that he would continue to arm his android impulse with the same performance tropes as his EDM counterparts. To be sure, Lopatin is after something different, elusive, abstract—he’s trying to get your brain to dance, not your body. Read the rest of this entry »
On their sixth musical foray, the duo formed by Garry Hughes and Andrew T. Mackay emerge with their trademark mix of electronica, orchestra and Indian sounds. During their career they have collaborated with luminaries like percussionist/composer Karsh Kale (who co-produced one of their earlier efforts) and sitarist Anoushka Shankar, all the while maintaining a tendency to focus on a dance-floor-friendly format.
This time around, they lean toward a more diverse direction by incorporating Asian-centric grooves. For instance, “Blue Mosaic” features wordless vocals and the koto, a traditional Japanese instrument, while “City of Amber” contains a fierce drum ‘n’ bass groove, much to the delight of DJs and remixers. Read the rest of this entry »
There’s a fine line between the perfection of chill-out music and the type of cheeseball production often heard accompanying nature documentaries. Bonobo, an English beatsmith named Simon Green, has appeared on both sides of the divide. His latest disc, “The North Borders,” doesn’t stray far from the tuneful electronics of his efforts dating back a decade, but with each successive long-player, Green insinuates more and more guest vocalists into the mix. Snagging Erykah Badu for a guest spot isn’t gonna do much else other than engorge record sales, and the effort’s a neosoul deal not necessarily sonically cogent given the album’s remaining instrumentals. When including crooners on his tracks, Green tends to pull back, allowing the performer to mark each song with his or her own style. It’s a thoughtful musician’s move, but results in some ambient moments easily overshadowed by largely instrumental tracks like “Jets” and its accompanying wooden drum sound. Read the rest of this entry »