Purity Ring/Photo: Kate Garner
Rap votaries who have not found themselves yet adequately sated by the glut of performances which comprise Chicago’s festival season need only look to the Green Line to fill their needs. The North Coast Music Festival features a healthy dose of hip-hop, with acts spanning the breadth of the gloriously fracturing rap spectrum. The traditionalists can find comfort and nourishment in New York City stalwarts Nas, producer Just Blaze and The Wu-Tang Clan, who will be performing “36 Chambers.” Younger cats are represented by the vastly improved Mac Miller and the druggy, raw stylings of Detroit emcee Danny Brown and Brooklyn’s Flatbush Zombies, both of which etch tracks like acid with sybaritic bars, and K. Flay and Psalm One provide a taste of the non-drill side of the Chicago scene.
Beyond rap, North Coast boasts a rather multifarious lineup, including electropop acts Passion Pit, AlunaGeorge and Purity Ring, the last of which laces the paroxysmal clicks, lumbering low ends, and funeral-shroud aesthetic of trap music with ethereal poetry. Fans of the other kind of trap music, the accusations-of-cultural-tourism-engendering dance-focused kind, can tick and stomp with A-Trak and label mate RL Grime, while Datsik and Afrojack add dubstep and house to the dance card, respectively. Read the rest of this entry »
photo: John von Pamer
Although originally hailing from San Francisco, Lemonade bears little more than a passing resemblance to fellow Bay Area act The Limousines, avoiding the blood and glitter dirty electropop for a sound that is more indolent. Much ado is made about the band’s eclectic sound, a picking and choosing of numerous subgenres and sub-sub genres that leads to Billy Ocean drums and chillwave vocal lines meshing seamlessly with shoegaze misty drones and luxe synthesizer lines on one track, while another can boast Caribbean rhythms and manic percussion; Lemonade is more chimera than chameleon. The overarching vibe that holds most of the pieces together is that somnambulistic sensibility, the relaxed timbre that even their most manic tracks seem to carry. Read the rest of this entry »
On their new album, the Persian-inspired trio formed by lead singer Azam Ali, multi-instrumentalist Loga Ramin Torkian and electronic musician Carmen Rizzo sought inspiration from the current turmoil in the Middle East. Their third album, “Sumud” translates from the Arabic as “Steadfastness.”
The music carries their signature sound—a blend of traditional Middle Eastern instruments with Rizzo’s electronic textures that serve as a canvas for Ali’s heartfelt, often mournful vocals. The music is accessible even to those who have no clue of what the words are saying. Read the rest of this entry »
Photo: Lucy Hewett
By Ruthie Kott
Absinthe & the Dirty Floors is kind of on a break. Just from performing live, though—the four-person electro-rock band, headed by Chicago singer-songwriter Jessica Risker, spent an intensive two months last fall recording and mixing an LP they pressed on vinyl. They recorded and mixed the album at Chicago’s Earhole Studios, the family business of Absinthe drummer Adam Wiebe, a studio producer—his “pops,” as Wiebe calls him, founded Earhole about eighteen years ago. It’s a nice capstone on the band’s almost two years together: The studio played an important part in the band’s origin story. In addition to Wiebe, guitarist and bassist Matt Harting works at Earhole as an engineer, and Risker spends several hours a week there as an engineering intern. Absinthe’s fourth member, keyboardist Joshua Wentz, knew Risker (who also performs solo under the name Deadbeat) from doing the RPM Challenge, an annual contest that invites musicians to create an entire album in one month.
Absinthe has inspired a contest of its own as well. A song from their first EP, “Black Ice,” was the inspiration for a contest organized by iPhone photo app Hipstamatic, where people could upload their retro-looking photographs. The band judged the contest winners and used the winning photo as art for their LP’s liner notes. Read the rest of this entry »
By Arvo Zylo
The first thing to know about lead musician Genesis Breyer P-Orridge is that s/he (the preferred non-gender identification) is a combination of two people who address themselves as “we.” Breyer P-Orridge had a longstanding, fruitful and intimate relationship with a woman named Lady Jaye. In search of a way to consummate their love for each other and unsatisfied with simply saying “till death do us part,” they wanted to actually consume one another. And, in essence, they did. They went to plastic surgeons and exchanged each other’s skin, made each other’s cheekbones look alike, got breast implants for the same size cup, and so forth. Since Lady Jaye passed on from stomach cancer in 2007, Breyer P-Orridge considers h/erself an embodiment of both people, and to some extent, a connection to Lady Jaye’s place on the other side. Breyer P-Orridge and Lady Jaye called their project “Pandrogyne,” and part of the intent was to transcend the trappings of the body and to nullify the concept of gender. Some people consider themselves to be a man stuck inside of a woman’s body, or a woman stuck inside of a man’s body, but to Genesis, s/he is simply “stuck in a body.” It’s not transgender as much as it is post-gender. Read the rest of this entry »
The Rapture is coming your way, and you better be ready to dance. The New York indie rockers pioneered dance-punk in the early 2000s under the producer’s eye of a pre-LCD Soundsystem James Murphy, with songs like 2002’s “House of Jealous Lovers.” They were at the forefront of experimenters that melded house and disco influences into rock songs, interspersing vocal hooks and guitar riffs with synth, cowbell and saxophone, looping and mixing them together with a hefty dose of funk. When they sing “People don’t dance no more” on their 2006 single “Whoo! Alright, Yeah… Uh Huh,” they’re throwing down a challenge. Read the rest of this entry »
The “Mayhem at The Mid” event series presents its “Windy City All Stars” edition on Friday night, during which both of the venue’s rooms will be overwhelmed by the sounds of Chicago house music. The artist lineup ranges from classic to cutting-edge, from Mark Farina and Specter, to Justin Long and Tyrel Williams. Farina, the force behind Mushroom Jazz, is celebrating a birthday, which would make for a sold-out show on its own. Audio Soul Project, the brainchild of Fresh Meat Records honcho, Mazi, will deliver a live performance that, following the praise of last year’s “Hip Shake Heartache” album, just might be the event’s defining moment. Farina and Mazi both specialize in the swinging rhythms and chunky beats derived from the collision of funk, deep house and jazz. Justin Long and Tyrel Williams exert some left-field influence on the affair, bringing the tech-inspired sound of their .dotbleep residency (Smart Bar) to the decks. Tetrode co-founder and loft-party veteran, Specter, adds his ambient-fused house style to the lineup, which also includes All About founder Luis Baro and Mid residents Just Joey and John Curley. (John Alex Colón)
March 25 at The Mid, 306 North Halsted, (312)265-3990. 9pm. $10 advance, $20 door.
Chicago Artists, DJ, Electro, Electronic/Dance, Experimental, House, Industrial, Metal, Noise, Prog-rock, Punk, Techno
Simultaneously garnering props from music industry hotshots and technology aficionados, Moldover’s 2009 debut album was more than an Internet flashpoint, it fostered the growth of a paradigm shift in live electronic stage acts: controllerism. Like a phoenix rising from the ashes of a dysfunctional MacBook, Moldover’s work catapults the stoic, laptop-based events of years past into a new era of rockstar idolatry, with the software controller in the driver’s seat. An unmistakable rock influence pervades his musical efforts, which deftly run the gamut from rapid, techno-fused breakbeats to glitch-inspired funk. Moldover will be supported by the DJ skills of Chicago favorites Striz, Magpie and Duke Shin. (John Alex Colón)
March 11 at Darkroom, 2210 West Chicago, 9pm, free before 10pm, $6 after.
Techno hyphenate Matthew Dear has been a regular visitor to Chicago over the years, most recently back in October with his full live band at the Metro in support of 2010′s excellent “Black City,” Dear’s third full-length album. While some fans might be less engaged with his recent pompadoured, crooning Morrissey act, and maybe wish he’d just show up with a bag of records and DJ, you have to give Dear credit for constantly evolving his performances. This time around, Dear revisits the Big Hands project he debuted back in 2007 at the Empty Bottle. Opening for Dear is local electro-psyche-rock outfit Loyal Divide, who recently remixed Dear’s “Slowdance.” Following the live performances, DJs will take over, with local favorites Orchard Lounge and former Chicagoan Lee Foss commandeering the decks. Foss has made plenty of waves since leaving Chicago for LA, debuting on Resident Advisor’s vaunted Top DJ poll for 2010 at #38—the highest debut this year. His avalanche of recent productions—both solo and with Jamie Jones as Hot Natured—reflect the same formula he’s been using to construct his sets for years: combining deep house and techno influences with the playfulness of disco and nineties R&B. Foss doesn’t appear to be slowing down anytime soon, with his latest collaborative project, Pteradactil Disco (Jones, Foss, Robert James and FB Julian) dropping the “Big Ass Biscuit/Clive’s Alright” EP next week on Hot Creations (Foss & Jones’ label, natch) and his anticipated “Your Turn Girl” EP dropping later in February. A cool customer behind the decks, we wouldn’t expect too many hands-in-the-air freakouts. Set phasers for: tastefully restrained and boogie-tested for a more discerning dance floor. (Duke Shin)
January 28 at The Mid, 306 North Halsted, (312)265-3990. 10pm-4am. $12 presales.
Canceled due to illness
Chicago’s latest splash in clubville might occupy the same space as Rive Gauche/Mannequin, but you have to hand it to The Mid for garnering a fair amount of excitement for its lineups. House, techno and electro-rocked bookings from high-profile guests are sure to shake up dance-floor denizens’ night-move destinations, but landing hip-hop pioneer and godfather of electro-funk Afrika Bambaataa behind the tables just might be the DJ equivalent of having the Dalai Lama bless a new temple. His history is one of legend, turning street gangs to his famed Zulu Nation, and pushing the b-boy elements of hip-hop culture with boy and girl dance crews, DJs and graffiti artists. But by the time Bambaataa started making global waves in 1982 with the electro-funk party starter “Planet Rock,” Bambaataa was now backed by the Soulsonic Force and would follow up his Kraftwerk-sampled smash with “Renegades of Funk” (which enjoyed a later rebirth thanks to Rage Against the Machine) and “World Destruction” featuring John Lydon’s caterwauling vocals. Bambaataa would enjoy continued success and club relevance in the nineties working with Westbam and in 2000 with the release of “Afrika Shox,” his collaboration with Leftfield. Tonight, the legendary producer, DJ and musical innovator will be joined behind the decks by local support from Intel, Maker and Trew, along with San Francisco’s Shred One. “Party people, can y’all get funky?” (Duke Shin)
January 26 at The Mid, 306 North Halsted, (312)265-3990. 10pm-4am. $12 presales.