By Robert Rodi
In the last twenty-five years, women in music have made tremendous strides, building bodies of work that showcase the kind of empowerment, control and sexual bravado that would’ve been unimaginable just a few decades earlier. But for all their power and strength, they rarely manage to project intellect—the quality of being aware of themselves in context; of understanding not just who they are, but what they mean.
Thankfully, we’re beginning to see some cracks in that particular glass ceiling. And one Chicago-native, female-fronted alt-rock band is most definitely doing its part. Honey & the 45s’ new EP, “Mad,” features seven songs that all turn standard love-and-longing narratives on their heads—starting with the title cut, which is a razor-sharp dissection of a woman’s attraction-repulsion complex, in the form of a long screed directed at the guy in the equation. “I hate that you know me, you know me so well,” sings front woman Kristina Cottone, “I hate that you caught me before I fell.” With lyrics like that, you know you’re in fairly literary hands. Read the rest of this entry »
By Keidra Chaney
As of this writing, tickets for the Tomorrow Never Knows Festival (January 14-18) are still available. You can get a five-day pass for $100, and most individual shows run from $15 to $30. TNK added a comedy lineup to the festival a few years ago, but since I’m the last person you should be asking about comedy recs, I’ll stick to my picks for the music shows you should consider leaving the house for in the next few days.
TNK kicks off on January 14, and while Aimee Mann and Ted Leo’s fun folk-rock collaboration, The Both, is likely to draw a crowd, I recommend checking out the synth-pop project from Wolf Parade’s Dan Boeckner, called Operators, at Schubas (3159 North Southport). Indie rockers doing dance pop appears to be a thing now (not that I’m complaining, as a rock fan with a jones for synth) and Operators sound about as you’d expect: very eighties-tinged and chock full of hooks. It’s pop music the way indie rockers seem to be embracing it unabashedly now, and I think it’s worth checking out. The $15 show is 18+ and starts at 8pm, with Mister Suit, Lowell and Lia Ices opening. Read the rest of this entry »
Alt-Rock, Chicago Artists, Holiday Music, Indie Rock, Interviews, Live Reviews, Metal, Prog-rock, R&B, Rock, Shoegaze, Soul, Space Pop
By Keidra Chaney
Here we are at the end of the year, and while most music journalists will inflict their top-ten bands/albums/live shows of 2014 lists on their readers, I’ve decided to spare you. There’s still enough time, after all, to catch the best show of the year, or even check out a new band or album that might be your favorite. There have been two or three times that my favorite concert of a given year took place during the last six weeks on the calendar (I’m looking at you, St Vincent!). This is especially true with the holidays approaching; Chicago is fond of its Christmas and pre-New Year’s live music showcases and events. Either way, there’s still a lot going on in the city when it comes to live music. Here are a few standouts.
The Empty Bottle (1035 North Western) is all up in Christmas this month, with a whole slew of Christmas and Christmas-ish events to celebrate the holiday. On December 12, they’re throwing their second annual Bottle Hop to raise money for the Greater Chicago Food Depository. It’s an old-school rock ‘n’ roll/soul/R&B shindig, which makes it a perfect opportunity to dress kinda fancy. The lineup includes badass throwback soul band The Congregation (on the verge of very big things, I predict), fifties rockers The Tenders and western swing outfit The Chandelier Swingers. The show is $10 and starts at 9pm.
A week later, on December 19, space-y collaboration Quarter Mile Thunder throws a “Xmas psych party” (which also doubles as an album release party) with the Record Low. The following night features holiday-themed Chicago supergroup Snow Angels (comprising members of Mannequin Men, Johnny and The Limelites, Vee Dee and Automatic Stinging Machines), who reconvene for their annual holiday performance; they say it’s been twelve years since they started.
If that’s too much live music for you, the Bottle also hosts a pair of lunch-hour events in time for Christmas shopping: a poster sale on December 14 and a pop-up holiday market on December 20. Read the rest of this entry »
Photo: Victoria Davis
Ought’s debut LP, “More Than Any Other Day,” begins with a track called “Pleasant Heart” that’s led by an instrumental which inspires anything but its title. Its shaggy, stabby guitar and mathematically puzzling drumming take us to singer/guitarist Tim Beeler’s Kinsella-esque howling as the track unravels into a dissonant string-led soundscape.
But Ought manages to feel warm and familiar—endearing; cute, even—in their angst. A clarion of believable hope always emerges from its darkness. The band’s plainly existential lyrics and daring style have drawn easy comparisons to The Velvet Underground and Talking Heads, but it’s their charm which makes these similes most possible. Their character is big enough to mention them as carriers of a long, great, lively pop lineage.
It’s Ought’s humanity that stands tallest at the Empty Bottle on a Saturday night in September. As Beeler somehow balances the dual personalities of his voice and guitar, the crowd shuffles closer to the stage with air-hugs and smiles, like they’d just really like to have a beer with these fellows who anthemically shout about being “excited for the milk of human kindness.” Read the rest of this entry »
This Roanoke, Virginia trio provides a powerful combination of alternative, indie and jagged punky hooks—everything you could ever want to dance, drive or listen to. There is lush guitar foundations reminiscent sometimes of Radiohead, but the pulse of early Cure and the bounce of Pylon comes through in many of their songs. The Eternal Summers provide a great recipe of one chiming guitar, ironic, high-powered but not screaming, firm female vocals, and a tight pummeling backbeat duo that never lets things get out of control.
Their new album, “The Drop Beneath”—produced by Doug Gillard of Guided by Voices and Nada Surf—on Kanine records is excellent, but live, they let it all hang out and some of their earlier work, such as “Wonder” from “Correct Behavior,” are some of the best pop anthems of the last couple of years. They open for We Are Scientists and Surfer Blood at Lincoln Hall—but don’t be late or you might miss the best band on the bill. (Bart Lazar)
October 8 at Lincoln Hall, 2424 North Lincoln, (773)525-2508, 8pm, $20, 18+
Sounding a bit like their name, the Raveonettes channel a variety of influences from fifties groups the Shangri-Las and the Everly Brothers to hazy feedback noise like the Jesus and Mary Chain. This is not surprising in that the band is produced and managed by Richard Gottehrer—a seventy-four-year-old writer/producer/impresario who, among other things wrote “My Boyfriend’s Back” and produced Blondie, The Go-Go’s and The Dum Dum Girls. Read the rest of this entry »
Photo: Eric White
“Lose,” the latest LP from Cymbals Eat Guitars—a band name culled from a Lou Reed quote describing the Velvet Underground’s blaring sound—begins with a carnivalesque run of keyboard notes and a reference to Klonopin taken to deal with relationship angst.
Singer Joseph D’Agostino carries a classic emo croon into territory more textural and measured than the genre his lilt suggests. The juxtaposition between CEG’s teensy energy and their adult knack for a barn-burning, shape-shifting, category-blurring number is what makes them compelling. D’Agostino screams primal things from each nook of the pristine, thoughtfully produced landscapes his band creates. Read the rest of this entry »
When Jessica Larrabee and Andy LaPlant formed She Keeps Bees in 2006, LaPlant was banging a borrowed drum kit perched atop a stepladder to back Larrabee’s vocals. In those bedroom recording sessions, LaPlant also served as sound engineer on the pair’s sparse but powerful blues-tinted rock. So when they chose to work with a producer on their most recent record, “Eight Houses,” She Keeps Bees found themselves with a lot more input. Producer Nicolas Vernhes’ outside opinion “allowed us to really break down songs,” said Larrabee. “I think it stretched us.” Read the rest of this entry »
The Clean has been a highly influential band since the beginning.
They more or less personified the Dunedin Sound, a jangly, loose, lo-fi rock genre specific to their native New Zealand, on Flying Nun Records in the early eighties. This sound, propelled by university radio stations, eventually spread all over the world. Alt-indie staples like Sonic Youth, Pavement and Guided by Voices all cite The Clean in their influences. Moving forward, these bands that draw from The Clean serve as sources for countless other musicians. If you were to make a “Law and Order: SVU”-style string-web of where Pitchfork-centric bands come from, The Clean would be at or very near the middle. Read the rest of this entry »
Moonrise Nation is one of those rare acts that is coming from a place of total honesty, presenting music that means a lot to them during the most important part of their development as artists. There is a certain misty wisdom in Moonrise Nation’s overall sound due to the songwriting itself as well as the general combination of piano, cello, guitar and woven harmonies. The group sounds like Regina Spektor collaborating with Atlas Sound, bringing together a darkened pop quirkiness and a mellow but fierce underlying force. Also, they’re all in their late teens, but this is not evident in their sound. Read the rest of this entry »