Celebrating the demise of something seems counterintuitive and anti-climatic, but Plastic Crimewave Sound isn’t just some buncha Chicago jerks; it’s these Chicago jerks, fronted by the ever-mustachioed Plastic Crimewave. Sure, the ridiculous heights of recording with Ya Ho Wah 13’s Djin Aquarian likely aren’t forthcoming, but there are scant dudes who can say they’ve even had the opportunity to perform with that sub-terra legend. Whatever counted as the troupe’s regular lineup apparently disintegrated sometime last spring, the travails of everyday life being cited as the main reason. You know, babies and marriage? All this PCS hoopla, though, surrounds the group’s (probable) final recording, a tape-only affair being issued through an imprint helmed by Running’s bassist. Read the rest of this entry »
Is there a steadier formation in rock music than the power trio? History has proven that the primal pull of bass, drums and a guitar is unquestionably preferred above any other lineup. Even Led Zeppelin added Robert Plant as an afterthought. Make it a four-piece and the results will bristle. On local boys Fake Limbs’ sophomore effort, the forthcoming “The Power of Patrician Upbringing,” it’s hard to discern the lead vocalist. Is it Stephen Sowley, the guy actually tasked with singing, or Bryan Gleason, the guitarist who refuses to be outshone? The two are at each other’s throats for the duration of the record, trading screams for solos and barks for feedback. The rhythm section, Mat Biscan on bass and Nick Smalkowski on drums, pummel their instruments to keep up, but to no avail. The effect is irrepressible, wild, unkempt—something like a 5am drunken walk home alone, which is incidentally the subject matter for lead track “Green Chartreuse.” Read the rest of this entry »
Photo: Rikkard Häggbom
By Kenneth Preski
At the forefront of Herculean horn playing stands a sweaty Mats Gustafsson, eternally finishing up his latest saxophone symphony. The prolific Swede performs with enough muscularity to rival Schwarzenegger. He plays with the force of a jet engine, and given his recording schedule, he’s busier than most airports. Just shy of age fifty, this year alone Gustafsson has contributed to fourteen different releases, ranging from playful free jazz collaborations with Chicagoan Ken Vandermark on “Verses,” to noise experiments with Merzbow on “Cuts,” to duo work with Sonic Youth’s Thurston Moore on “Vi Är Alla Guds Slavar.” His unceasing care for the craft has yielded two outfits in particular, Fire!, and The Thing, which have both garnered worldwide acclaim.
Fresh off remarkable recordings with experimental stalwarts Jim O’Rourke and Oren Ambarchi, Fire! released two full-length records in 2013—one as a thirty-piece orchestra, and another as a slimmed-down trio—both efforts among the finest free jazz releases this year. An upcoming album from The Thing, appropriately titled “BOOT!” sounds like jazz and punk got into a street fight. It’s a surprising set from a band whose last outing was a collaboration with vocalist Neneh Cherry (yes, that Neneh Cherry, of “Buffalo Stance” fame), a collection of unpredictable avant-garde jazz covers from source material as desperate as The Stooges and Madvillain. The Thing, after all, formed to explore the work of Neneh Cherry’s stepfather, legendary trumpeter Don Cherry, whose methodology was firmly embedded in experimental expression. Read the rest of this entry »
Per Jethro Tull’s Ian Anderson, some are too old to rock ‘n’ roll, but too young to die. At seventy-one, Paul McCartney seems to defy the odds by relentlessly touring and consistently releasing new music. On his aptly titled “New,” he briefly looks into the past but has his eyes firmly locked on the future by working with young producers like Giles Martin (son of George Martin) and Mark Ronson, who all collaborated to give McCartney a more contemporary sound.
The disc opens with “Save Us,” a track reminiscent of Queen guitarist Brian May’s solo work via its multi-tracked vocals and layered guitars. The title track (also the lead single) has a retro seventies feel thanks to its prominent use of synthesizers, its vocal structure, and its general mood. The song has an immediately captivating groove, especially the harmonies at the end of each verse. Read the rest of this entry »
It’s easy to be lulled into some sense of expectation on “Back to Land,” Wooden Shjips’ fourth full-length album, due out in November. And while Ripley Johnson and company have reeled in some of their long-winded rambling, there’s still not a wealth of focus here. That’s the point, though. Recorded in Portland, not the band’s Bay-area birthplace, “Land” brims with a rough-hewn pop sensibility, deterred only by Johnson’s fuzzy guitar lines. But even those have been opened up, giving listeners the opportunity to, you know, kinda hear what’s going on, instead of encountering an indecipherable wall of scuzz. Still, he doesn’t grant easy access—the solo on “Ghouls” being sheathed in noise, any sense of its melodic intentions disappeared behind wah-wah blurs. What enables the band to continue shoving the same formula into disc after disc, though, are Johnson’s leads remaining mysterious and shiftless, even if some songs strive for structure. Read the rest of this entry »
Clockwise from left: Andy Cohen, Tim Midyett, Brian Orchard, and Chris Manfrin.
By Kenneth Preski
“The only reason Bottomless Pit exists is because Michael died.”
From the impetus for creativity in the face of insularity, to the soft underbelly of Steve Albini’s legacy, a conversation with Tim Midyett eight years since his hiatus from interviews offers a remarkable entry point for insight into contemporary American artistic expression; though it is clear that the discussion about his post-Silkworm work with Bottomless Pit can only begin one way, and that’s by confronting the death of former bandmate Michael Dahlquist. A few months shy of his fortieth birthday, Silkworm drummer Dahlquist was one of three musicians killed while idling at an intersection in Skokie. Their vehicle was struck by a Ford Mustang traveling 90mph down West Dempster around noon on a Thursday, the wheel helmed by a suicidal twenty-three-year-old woman. Her only injury was a broken ankle. She was charged with three counts of first-degree murder, later reduced to reckless homicide by reason of insanity. She spent four years in prison for the crime.
“It wasn’t that I didn’t have anything to say about that, but I had a lot to say about it, and I wanted it to be real specific, and exactly the way I wanted to say it. All that stuff came out in our records.” Read the rest of this entry »
Photo: Nick Helderman
By Dave Cantor
Camped out at the Shadow Shoppe, a recording studio doubling as a residence in an industrial area near Amsterdam, Jacco Gardner’s been burrowing into an insular universe.
It’s a place the multi-instrumentalist has been exploring for almost a third of his life. And it’s been fully realized, in musical terms, as “Cabinet of Curiosities,” which Chicago’s Trouble in Mind issued Stateside earlier this year.
With the album’s release, Gardner’s granted listeners access to a collection of vivid “fairytales,” as he calls them, each recorded on his own at the Shoppe, save for the disc’s more complicated drumming. The work’s been cobbled together over the last eight years, drawing from the more baroque moments of sixties pop music. There aren’t any distinct hints of contemporary Europe in Gardner’s songs, and an unknowing listener could easily mistake just about anything “Cabinet” offers as a selection from the first psychedelic era. It’s more than mere retread, though—it’s a twenty-four-year old’s imagination splayed out over twelve tracks. But “Cabinet” would warrant notoriety even if Gardner hadn’t played guitar, bass, keys and a variety of synthesizers.
Despite his ostensible squatting, his homeland Holland has embraced “Cabinet,” sending Gardner on a series of TV appearances and performances at venues that would overwhelm U.S. musicians of comparable popularity over here. Read the rest of this entry »
Photo: Matías Corral
Tireless San Francisco rockers Thee Oh Sees took a leisurely approach to touring on their latest album. Released back in April, “Floating Coffin” marks visionary John Dwyer’s twelfth album in ten years. Full of ambition but not hinged on direction, OCS (as the group was originally billed) began as Dwyer’s extracurricular project way back when. Several releases, some name changes, and a few band members later—the current count is five—Thee Oh Sees’ fertility has endured.
Just like on past albums, concept and cadence on “Floating Coffin” have been thrown into the woodchipper and expectorated. Or, imagine a game-show wheel with narrow pegs jutting out along the circumference of its pizza-sliced face, and the labels fuzz rock, psych-folk, psych-pop, garage, punk, noise, children’s songs and Krautrock tapering into the center. The wheel is spun and an excitement of the outcome builds, only there’s no stopping device. The wheel remains perpetually unpredictable. This is how Thee Oh Sees have proven that time, not concept, is all they need to be a truly great band. Read the rest of this entry »
Photo: Sarah Creighton
Seattle garage-rock duo Pony Time first popped up on my radar about a year ago when singer/guitarist Luke Beetham was featured in The Stranger’s tongue-in-cheek “Men Who Rock” feature skewering gender stereotypes in music writing. Beetham’s willingness to poke fun at both himself and rock-bro sexism impressed me, and I was equally impressed with Pony Time’s bouncy, buzzy single “Lori + Judy.” As a two-piece, Pony Time manages to use the minimalism to their advantage with short songs that play up Stacy Peck’s pulsing drum work and Beetham’s nasal, sneering vocals, like a Fred Schneider who can actually sing. Read the rest of this entry »
Chicago’s doom-metal titans Bongripper have been laying low over the past few months writing music for an upcoming full-length release. That’s not to say they’ve been completely MIA: this spring they sent forth into the world the molasses-thick, hellishly low-tuned opus “Zero Talent” on a split with Liverpool’s Conan, and then joined the fellow doom peddlers on tour in the United Kingdom. In addition, the group has recently released a newly minted vinyl pressing of their accurately billed 2010 full-length “Satan Worshipping Doom.” Fans eager to hear what Bongripper’s got brewing now should definitely check out their upcoming show at Township, as the band recently promised on their Facebook page a set of unheard material from the new release. Read the rest of this entry »