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 »
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)
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 »
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 »
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 »
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 »