Jimi Hendrix once famously said,”You’ll never hear surf music again,” presumably meaning that his brand of blisteringly complex guitar-god rock would put an end to twangy California valentines forever. You have to wonder what he would’ve made of the mongrel genius of the twenty-first century, and of the nascent genre known as dark surf. If that’s a new term to you, all the more reason to check out the collaboration by garage-punk guru John Reis and the Minneapolis trio The Blind Shake, who are coming to town to support their new album, “Modern Surf Classics.” This is dense, muscular, high-velocity stuff, with multiple guitars crashing through rolling, nasal-inflected hooks—like the surf music you grew up with, after washing down steroids with a twelve-pack of Red Bull. Read the rest of this entry »
By Keidra Chaney
While recapping the musical highlights of the past year is satisfying, looking forward to the new year is even more fun. Speculation always runs rampant, but the great thing is never knowing what to expect from new bands, new shows, new trends. Sometimes the next big thing in Chicago music comes out of nowhere, or an older favorite manages to surprise. And of course, in Chicago, we approach the upcoming summer concert festival season like it’s a basketball draft. So yes, there’s a lot to look forward to in 2015. Here are a few January shows to start off the year right, along with a few unscientific predictions about what to expect in Chicago music for the new year. Or maybe it’s just a wish list. You decide.
Apparently January is a good month for anniversaries, and there are two pretty significant ones coming up at Metro (3730 North Clark). Chicago’s pride, Bloodshot Records, is celebrating its twentieth anniversary on January 10 with an impressive lineup: folk-rocker Ben Kweller, Lydia Loveless (wasn’t she just in town?), alt-country local Jon Langford, Bobby Bare Jr., and Nashville six-piece Banditos. The 18+ show is $21 and starts at 7pm. On January 30, post-metal trio Russian Circles comes home for their tenth-anniversary tour. I’ve been a huge fan of the band since their 2008 full-length release “Station,” and their acclaim seems to increase with each passing year. I never thought I’d see the band (or any heavy local band, honestly) play Millennium Park, and yet last summer’s show at Pritzker Pavilion was one of my favorites of an already impressive summer. This is a better time than any to check out the band, as they’ve promised a lineup of “special guests” for their hometown. If you haven’t seen them live, you’re running out of excuses. The 18+ show is $18/$20 d.o.s., and starts at 9pm. Prediction: We may finally see Chicago heavy music get its due in more mainstream circles.
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Every year from late October to early November I suffer from a condition I call “CMJ Envy.” I spend all my time reading blogs and articles about the burgeoning bands and rising artists taking the stage at New York’s annual CMJ Music Marathon, and I wonder why Chicago can’t have similar events headlining new music. But in fact we do have something as cool; it happens every week in bars and small venues all across the city. But our regular music showcases don’t get nearly the attendance and press attention that big sexy events like CMJ get year after year. Part of that is on us, as live-music fans; we need to make the effort to show up and support local and touring bands before the critical buzz starts. With that in mind, here are some upcoming music events that are not only a good excuse to leave the house in the coming weeks, but also way more interesting than reading other people’s blog posts about the “next big thing.” Read the rest of this entry »
Burger Records has shaped the face of today’s growing garage and punk scenes while not overcapitalizing the bands it represents or cheapening the image it has largely created. The label was founded in Orange County in 2007 by Sean Bohrman and Lee Rickard of Thee Makeout Party. The label has had an insane seven years as a huge contributor of the increased popularity of cassette tapes and the epicenter of the garage sound that uses these tapes. At this point, though, they seem to be more of a driving force for the bands they represent to keep doing what they want than a controlling, stifling authority. “We’re just trying to nurture them [the bands], cater to all of them, and bring them together in one collective cooperative world where we can live happily and funnily,” Rickard told Vice magazine. Read the rest of this entry »
I don’t know if you’re into garage, punk, psych or chasing whiskey with Schlitz (or not chasing it at all), but if you are into any of these, go to this show. Mannequin Men, Radar Eyes and Le Tour are some of the most compelling bands in Chicago right now and a show combining all of these forces should not be missed.
Mannequin Men have been playing together for about eleven years and consequently present an air of experience as well as general bliss on stage. Their sound is rough and upbeat; they kind of sound like the Black Lips’ tougher dads. Radar Eyes are lower key than Mannequin Men, mixing the beach vibes with grungy basement sounds. Le Tour is a furious force of pedals, screeches and ballsy guitar solos that, if you listen closely, are neatly constructed by somebody who really knows what they’re doing. Read the rest of this entry »
Photo: Robert Loerzel
Cadien Lake James, singer-guitarist with the young Chicago garage rock band Twin Peaks, wasn’t joking last week when he tweeted: “Does anyone have a wheelchair I can adopt for pitchfork? Holla atcha boy.” Playing the first set of Pitchfork’s second day under glaring sunlight on the Green Stage, James rolled out onto the stage in a wheelchair, with one of his legs in a cast. But his apparent injury didn’t hamper Twin Peaks from rocking with its usual rambunctious energy. James’ bandmates hopped around, layering riffs on top of riffs as they played a couple of songs from their debut EP, “Sunken,” and a bunch from their forthcoming LP, “Wild Onion.” The fans gathered in front of the barricade, shook their arms in the air, ready to mosh despite the early hour. (Robert Loerzel)
By Kenneth Preski
The album opens with its own thing, like if Britpop could boogie. Coming from Josh Chicoine, current artistic director and co-founder of CIMMfest, the music is a natural extension of all his previous work. Sabers play pop-rock with an adventurous edge. Sure, it’s pretty and pop-tinged, but so were The M’s, Chicoine’s previous outlet, a group with harmonies so sweet that they won over a whole new audience via an appearance on the big-budget video game MLB2K7, right alongside The Stooges, Nirvana and 311. But “Sic Semper Sabers” is its own thing. The track “Money Eddie” cloaks its charming verses in a sinister swirl of synth and bombastic beats, somewhere between The Beta Band and The Flaming Lips. On “Remedy,” all the flourishes of orchestral instrumentation shine bright courtesy of Max Crawford’s wonderful horn section lifting a wilting refrain to a summer simmer. “Ever Eyeing” has a beautiful build-up where Chicoine’s falsetto meets a handclap crescendo; while “Puppet” has the type of mocking melody that a taunting toddler would issue. Take your pick, Sabers’ debut is full of playful, impactful, well… hits! Okay, maybe not if measured by units sold, but in some alternate version of America (maybe even the one in your own backyard) Josh Chicoine is making compelling music to widespread acclaim. Read the rest of this entry »
If the buy local movement has any bearing on the music industry, then it’s fair for Chicagoans to substitute the Black Keys and Jack White with North by North. The local trio’s Ray Bradbury-referencing debut is a double album; two mint-green records split between individual sleeves, in contrast to the gatefold packaging customary for a pair of LPs. Bonus points are awarded for the beautiful artwork, courtesy of guitarist/vocalist Nate Girard, despite the missing detail on the spine. The music itself owes much to the garage rock revival of the early aughts, rarely bending too far out of shape from a pop-songwriting sensibility. It may be garage rock, but this garage is clean. Read the rest of this entry »
By Rob Szypko
On a Thursday evening in March, the green room at the Bowery Ballroom in New York is stuffed with people, but The Orwells, the band of teenage hellraisers from the suburbs of Chicago, stick out like a sore thumb. In one corner, a photographer announces to the bearded or salt-and-pepper-haired managers around him that he needs to step out to meet up with his ex-wife and son, who happen to live right down the street. In the other corner, members of The Orwells discuss Chapstick addiction, and then lead singer Mario Cuomo, aged twenty, shares pictures of longboard baby strollers on his smartphone.
There they are, the young guys. But the five members of The Orwells carry a sense of urgency that belies the number of years they have ahead of them. “Once you’re past twenty-five or something, your time in rock ‘n’ roll, if you haven’t made it then, is kind of up,” guitarist Matt O’Keefe, aged nineteen, says. “If I were twenty-five and I were living off of Wendy’s or McDonald’s, I would be very depressed with my life. But as a nineteen-year-old I couldn’t be more excited about it.” 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 »