By Robert Rodi
I’m just a hair late to the party when it comes to “No Hotel,” the new album by Chicago’s own neo-vaudeville barnstormers, The Claudettes; but the album (which came out in September) is definitely one you should be spinning, streaming or otherwise ingesting whole. It’s the work of just three players—pianist Johnny Iguana, drummer Michael Caskey and (intermittently) vocalist Yana—but there’s enough energy going on to power your average Third World airport.
The opener, “Big Easy Women,” is full of a barreling, hyper-saloon piano banging, with a bridge that playfully evokes silent-movie peril. But it’s the second cut—“California, Here I Come”—that really makes you sit up and take notice. The Claudettes knock the hoary old Al Jolson tune into a minor key, transforming it into a wittily downbeat comment on the cruelty that so often accompanies the go-west-young-man dream. Read the rest of this entry »
It’s always a bit of a challenge scoping out shows around Thanksgiving because it’s a time period that seems to be overlooked for live music. The presumption is that everyone is out of town and/or spending time with family for the weekend. For those “Thanksgiving orphans” that stick around, or plan to head home early, there’s some good live music to look forward to in the coming weeks, as well as a few unusual and non-performance-based music events that are worth checking out.
Metro offshoot Smart Bar (3730 North Clark), early home of Frankie Knuckles and launching pad for Ministry, is approaching middle age. To celebrate, on Friday, November 20, Smart Bar cleverly celebrates its “33 1/3 Anniversary” with an A-list lineup of DJs and taking up both the Smart Bar and Metro spaces. The show includes Mark Farina, Colette, DJ Heather, Justin Long, Michael Serafini and Garrett David. Tickets are $24 in advance, $30 at the door. The 21+ show starts at 10pm at Smart Bar, 11pm at Metro. Read the rest of this entry »
Once a chill gets in the air and many of us recover from our Halloween activities, there’s a bit of a lull in live music until the December holidays and New Year’s Eve. That’s OK, though; I think it’s a wonderful time to check out some of the bands, artists and venues that may not have gotten the love they deserved during the busy summer festival season, and there’s always plenty going on. When it comes to this month’s Raw Material, be sure to catch up with the art-pop ensemble Roommate at Burlington Bar (3425 West Fullerton) on Friday, November 6. The Kent Lambert-led project has endured for well over a decade with an evolving lineup, and released a full-length album, “Make Like,” in June of this year. This may or may not be the group’s last recording, but nonetheless Roommate has had a busy summer of performance, including a residency at the Hideout that culminated in a multimedia collaboration with Chicago Film Archives. Roommate’s Burlington set will be opened by Strange Weather Records labelmate Thomas Comerford and Minnesota-based singer-songwriter Luke Redfield. The free, twenty-one-plus show starts at 9pm. Read the rest of this entry »
I call it “needle-drop bliss”—that moment when you lower the tone arm onto an LP, and after the first few burps of vinyl, you hear something that induces immediate euphoria. That isn’t quite the case with Here We Go Magic’s new album, “Be Small”—the first cut is a thirty-second squall of feedback that sounds like a jet engine with a head cold—but when it snaps into “Stella,” you might as well sit down, wherever you are, because you’re not going anywhere soon. This is pure pop magic: a breezy, bouncing groove that churns happily away beneath a languorous melody line. And what lovely, evocative lyrics: “But if you trip on every fashion / Fall into every pile of bull / You’ll only smell of empty mansions / Once, maybe once you were full.” It’s a rare thing, to find a band that’s both lyrically and harmonically adventurous; and HWGM manages to sustain it throughout the length of the album. Read the rest of this entry »
Kurt Vile takes his time. His last two Chicago concerts were Pitchfork’s rain-shortened fifteen-minute endeavor, and Riot Fest’s insane thirty-minute time slot. But KV still locked into his lazy, shimmery, stoner groove for seven minutes; if it was going to be a three- or four-song set, at least each song would have the chance to fully inhale, hold and exhale. Kurt Vile also likes to repeat himself, lyrically, harmonically and thematically. For his new album “b’lieve i’m Goin’ down,” Kurt turns on his own language; phrases like, “I woke up this morning (and) didn’t recognize the man in the mirror,” “give it some time” and (on the pre-release single) “believe I’m going down” are drawled repetitively, but—like stories told by disoriented people—as if being communicated for the first time. Each repetition is altered, as if the words or riffs are being played entirely anew, or for a new purpose. Read the rest of this entry »
Alt-Country, Alt-Rock, Bluegrass, Chicago Artists, Country, Country folk, Indie Pop, Indie Rock, New Wave, Pop, Pop Punk, Rock
By Robert Rodi
Marrow calls its new album “The Gold Standard,” which for sheer chutzpah just about jumps the shark; maybe it’s a surly old music-critic thing, but my knee-jerk reaction was, “I’ll be the judge of that, children.” But in fact I was won over; I wouldn’t quite call “The Gold Standard” the gold standard, but given the way the band seems intent on synthesizing the various genres of their callow youth into something entirely distinctive, they’re probably inventing some new kind of currency anyway. Singer-songwriters Macie Stewart (who plays keys) and Liam Kazar (guitar) are ably abetted by bassist Lane Beckstrom and drummer Matt Carroll. The album’s opener, “She Chose You,” is a pretty sweet introduction to the quartet; it’s jangly and infectious, one of those gorgeously up-tempo tunes about misery and heartache that are the hallmark of postwar pop. “Toll to train underwater / Selfish savage, try to dream her happy,” Kazar sings, with the kind of white-boy-catch-in-the-throat Kurt Cobain added to the rock singer’s repertoire, especially when he follows up by actually groaning, “Without you,” like he’d forgotten he was in the middle of a song or something. Read the rest of this entry »
The screamcore reputation of Jake Dibeler, the gutter drag performance artist, lyricist and lead singer of Bottoms, totally precedes him. If the gritty photos of this unique vocalist—writhing and singing on venue floors in pumps and a red wig like a drugged-up mermaid—don’t entice you, then maybe the dreary dance vibes of this electroclash-inspired trio will. In the short amount of time since their “Goodbye” EP release in January, this rather bent art-punk trio has completely swept the Internet and all of New York off their feet. With JD Samson’s stamp of approval and a quick signing to budding label Atlas Chair, the band seems to have adamantly set their pulsating and playful agit-noise toward global domination. Well, maybe that’s an overstatement, but some form of sub-dom subversions will definitely be aroused if you check out Bottoms for Chances Dances’ ten-year anniversary month of festivities and exhibits. Read the rest of this entry »
Photo: Carly Sioux
One of the problems that comes with being a music critic of a certain age, is that when a young twenty-something artist starts impressing you with similarities to seventies-era acts like The Beatles, David Bowie and T. Rex, you can’t be sure whether it’s because those acts are still that influential, or whether they’re just still influencing you. But after getting deeper into Slim Twig’s new album, “Thank You For Stickin’ With Twig,” it’s pretty clear that the former is the case. Hell, one of his tunes, “A Woman’s Touch,” is actually about The Beatles—or rather, about the role (decisive yet disrespected) of the mop-tops’ women in their success. “The wives became the enemies,” Twig sings, “Of screaming fans who never ceased / While holed up down at Abbey Road / The boys were baring rubber souls / So who wrote the songs? / Who dressed the men? / How did they know what to do then? / It’s the only story told.” The sound recalls the deliberately low-fi, analogue sonics of the Fab Four’s later years, but that feminist angle turns the tune straight-up postmillennial. Read the rest of this entry »
After the devastating 7.8 magnitude earthquake that brought Nepal to its knees this April, the world witnessed an outpouring of humanity’s generosity; and now Chicago will see even more of it, up close. Albatross, one of the top alt-rock bands from hard-hit Kathmandu (they won both Best Performance by a Group or a Duo with Vocals and Best Rock Vocal Performance at the Hits FM Awards in Nepal last year), is now on a tour of ten U.S. cities to raise funds for earthquake relief programs. Read the rest of this entry »
By Keidra Chaney
Lollapalooza is the juggernaut and Pitchfork the tastemaker’s favorite, but for me Riot Fest is the best music festival in town. As a rocker at heart, I’ll cop to a strong bias: the festival started as a multi-venue underground punk and metal showcase, and it’s currently one of the few festivals to stay (for the most part) true to its rock roots over the years. But there’s a lot more live music to check out in the next couple of weeks outside of Riot Fest, including North Coast Festival, if hip-hop, EDM and jam bands are more your speed, and an eclectic group of DJs and musicians paying tribute to Kate Bush.
Before the festival season wraps in Chicago, on September 3 at Beat Kitchen (2100 West Belmont) there’s a sucker punch of peppy garage punk with the city’s own Swimsuit Addition opening for St. Louis duo Bruiser Queen. Their 2014 full-length “Wretched Pinups” is like listening to nineties riot grrrl bands, surf-punk, eighties new wave and a little sixties girl group mixed in a sonic blender. (You can also check out a new remix of their single “Talk is Cheap” on their Bandcamp page.) Show starts at 9pm and is 17+; tickets are $8. Read the rest of this entry »