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 »
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 »
By Keidra Chaney
What are you doing New Year’s Eve? Or the day before? Honestly, I have no clue if I myself am leaving the house yet, thanks to Lyft surge charges and the fact that it tends to bring out the binge drinkers in full force. Even so, there’s a ton of A-list choices, music-wise, for anyone who does actually want to venture out—more so than usual, so make your plans early.
If you love EDM and/or hip-hop, there’s really only one logical choice for you for New Year’s Eve, and that’s Reaction NYE, taking place on December 30 and 31 at the Donald E. Stephens Convention Center in Rosemont (5555 North River Road). The event is headlined by EDM faves deadmau5 and Skrillex, as well as Run the Jewels and Chvrches. There’s a pretty impressive Chicago showing as well, including Chance The Rapper (returning to the city after his headlining stint at Pitchfork over the summer), legendary house producer Green Velvet, hip-hop artist ProbCause and local remix artists Autograf. Tickets start at $89, and can be purchased at the Reaction NYE website. Read the rest of this entry »
Chicago Artists, Folk-rock, Holiday Music, In Memoriam, Interviews, News and Dish, Pop, Prog-rock, Record Reviews, Rock, Singer-Songwriter
By Dennis Polkow
“There is something lacking in a lot of current Christmas music,” admits legendary Chicago singer-songwriter-guitarist Jim Peterik. “A simple thing called spirituality. When it’s only about mistletoe and eggnog, it kind of misses the point. I don’t mind fun Christmas songs, believe me, but there also has to be some substance.”
Peterik’s longtime band, the Ides of March, has released two Christmas albums over the years, and this year, is releasing its third, “The Meaning of Christmas.” “Are we forgetting the meaning of Christmas in all the hoopla? That’s the whole idea: where did Christmas start? Why do we celebrate it? That’s my goal, really. And they’re not all religious or spiritual songs but there’s a thread that’s running through them: let’s not forget the meaning of Christmas.” Read the rest of this entry »
By Robert Rodi
The new album by local soul outfit The Congregation is called “Record Collection,” which is exactly perfect, because every single cut sounds like something you had teetering in a waist-high stack of forty-fives in your bedroom circa 1972. (At least, if you’re as old as I am, you did.) The first, eponymous cut lays it all out: “You only love me for my record collection / You say you never felt a deeper connection / Nothing gets you goin’ like my Motown and Stax / Without the record spinnin’ would you like it like that?” I found myself actually picturing the Motown and Stax platter labels while I was listening—Atlantic, Epic and Mercury too.
This is about the point in a review where I usually say something about how the band in question brings a twenty-first century sensibility to an antique genre by a strategic infusion of self-aware blah blah blah. None of that here. The fact is, early seventies soul, funk and R&B form, collectively, such a staggering body of work that when people say they’re approaching it from a post-something-or-other perspective, it usually means they just can’t goddamn play as well as those old cats. But The Congregation is completely unafraid to meet the legends on level ground, without the protective cover of ironic distance—and even if they didn’t get points for sheer swagger, they’d get it for delivering the goods. This is a great album. Read the rest of this entry »
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 »