If there’re folks who sit down and listen to a Goblin album from beginning to end, bless ’em. For the most part, the Italian prog ensemble trucks in truncated soundtrack stuffs best suited to murder scenes and creeping ghouls. Hooking up with the culty Dario Argento for his best-known works, the band earned acclaim in its own country immediately, seeping out slowly into the rest of the world’s consciousness as the director’s “Suspiria” became requisite viewing for film enthusiasts. Thing is, when listening to the soundtrack as a whole, quick transitions meant to signal something visual are left flailing on their own—“Black Forest” and its jazz-cum-rock guitar jam included. No doubt, these dudes shred, but if shredding is all it took for a performer to be enticing, we’d all be psyched for some new Yngwie Malmsteen (Sorry, Yngwie.). Read the rest of this entry »
By Dave Cantor
Maybe there are better known and better respected heavy psych bands out there, but none with as persistent a vision as Britain’s Hawkwind.
The ensemble has counted dozens of participants, with guitarist and songwriter Dave Brock being the most constant stimulus to recording and touring since 1969. Despite the frequent turnover, Hawkwind has attached itself to a sound equal parts komische and UK psychedelia. Other bands continue to mine the troupe’s approach for inspiration, but Brock and company remain a singular entity among festival freaks and would-be psychedelic cultists.
Hawkwind’s 1975 “Warrior on the Edge of Time” is ready for re-release after spending nearly a decade out of print. While the band’s only chart success came several years earlier, on a track helmed by future Motörhead frontman Lemmy Kilmister, “Warrior” exudes sci-fi weirdness and wild riffing tantamount to anything Sabbath was capable of. Maybe all the supplemental electronics were a bit much at the time of its release, but the up-and-down sprint of “Opa-Loka” should be heavy enough for anyone with a reserved appreciation for synthesizers. Read the rest of this entry »
When the Beatles, the Stones and The Beach Boys started to spread the seeds of drug-addled psychedelics in the music scene in the late sixties, their influence reached musicians in South America, who reshaped and repurposed the music they heard to make it their own. One of the best-known examples of this is “Tropicalia,” a 1968 album that featured Caetano Veloso, Gal Costa, Gilberto Gil, Os Mutantes, Tom Ze and Nara Leao. That disc launched a groundbreaking multimedia movement that resonates to this day. Sadly, there are no tracks from that album on this interesting compilation that brings together both well-known and obscure Brazilian musicians who took on the genre and mixed it with various other sounds. Many of the tracks are rare, like “Sorriso Selvagem,” a 1966 track from The Gentlemen, a northeastern Brazilian band that disappeared without a trace but that included Ze Ramalho, a highly respected artist from that country. Read the rest of this entry »
Successes in a vast array of the new millennium’s bigger garage groups only emboldened drummer-turned-frontwoman Frankie Rose. Her 2010 solo outing skirted around the periphery of the genre she’s most associated with, as tunes like “Must Be Nice” sound like it should be decaying on the b-side of a late-sixties single in your parent’s basement. Working with the same music on so many different projects, though, must have become tiresome. Rose’s new disc, “Interstellar,” discards her past, leaving sixteenth-note floor tom beats behind. There’s a difference between sounding cool and sounding icy. Read the rest of this entry »
There’s an act—Captured! By Robots—in which a principal player built a few robots to perform musical gestures. Instead of the end result approaching the magnificence of robots playing robotic-sounding rock tunes, it’s just a punk derivation. Battles, a New York City ensemble wheedled down to three members since Tyondai Braxton’s departure, actually sounds like robots composing and enacting those writings. Instead of a cold “2001” feel to the proceedings, the band peppers its mechanical-sounding works with a repetitious smattering of vocals, which in the past were contributed by band members.
While the group’s forthcoming “Gloss Drop” (Warp Records) was recorded with Braxton in tow, he jumped shipped near its completion. Forced to reassess not just the tracks which were laid down, but Battles as a whole, the remaining members opted to rework the songs they’d set to tape and invite a handful of vocalists to fill in any spaces vacated by Braxton’s wide-reaching musicianship. Read the rest of this entry »
Simultaneously garnering props from music industry hotshots and technology aficionados, Moldover’s 2009 debut album was more than an Internet flashpoint, it fostered the growth of a paradigm shift in live electronic stage acts: controllerism. Like a phoenix rising from the ashes of a dysfunctional MacBook, Moldover’s work catapults the stoic, laptop-based events of years past into a new era of rockstar idolatry, with the software controller in the driver’s seat. An unmistakable rock influence pervades his musical efforts, which deftly run the gamut from rapid, techno-fused breakbeats to glitch-inspired funk. Moldover will be supported by the DJ skills of Chicago favorites Striz, Magpie and Duke Shin. (John Alex Colón)
March 11 at Darkroom, 2210 West Chicago, 9pm, free before 10pm, $6 after.
While the title of Deerhoof’s latest album, “Deerhoof Vs. Evil,” seems a little bombastic, even overreaching, after more than fifteen years of making a living selling a skewed songbook that would challenge even the coolest of cool dads to sit still for a listen, maybe they’re worthy of it. The San Francisco quartet, which combines toy-pop and prog-rock with an ear for the psychedelic, is probably most easily recognized by the affect-less trilling of Tokyo native Satomi Matsuzaki. The record definitely marks the gradual mellowing of the group’s oeuvre, and yet, for that, a more rich complexion of musical style’s at play. In the track “Secret Mobilization” alone, a beefy roadhouse-rock guitar line pairs off against a kind of motorik, cool-jazz cowbell and featherweight electric organ before running into a clean guitar chik-a-chik suggesting disco. The group gets major credit for deliberately leaking the entire album, a track at a time, via various online outlets in the run-up to its release, a gesture of confidence in an era of transparent music marketing. And while the album won’t topple any dictatorial regimes (unless we’ve greatly misjudged the sources of revolution in Egypt), there is a certain kind of evil in the blandness of mainstream indie fare which Deerhoof’s intransigent songwriting valiantly defies. (David Wicik)
February 15 at Bottom Lounge, 1375 West Lake, (312)666-6775, 8pm. $15. 17+.
When a band finds itself stumped, frustrated and unable to reached its desired artistic apex, there’s only one reasonable solution: call Rick Rubin. The legendary bearded guru of meditation and nap-taking was ready to go when asked to produce Ours’ fourth full-length, “Mercy (Dancing for the Death of an Imaginary Enemy).” This time around, the New Jersey prog-rockers delivered an album destined to convince a lot of people they’re from British Isles. Melodrama and layers of strings are heaped on like a U2 ballad (not to mention the Edge’s signature delay-filled guitar timbre), while frontman Jimmy Gnecco quite blatantly channels “Bends”-era Thom Yorke when singing lines like, “Life doesn’t have any meaning, everything’s a joke.” Rubin usually either brings out the best or the worst in a band, but “Mercy …,” sonically unblemished but disappointingly derivative, defies that trend. (Andy Seifert)
Monday, June 9 at Martyrs
Back in the day, if Minus the Bear put out an album entitled “Planet of Ice,” most of us would’ve simply passed it off as a “Star Wars” Hoth system reference. Minus the Bear’s goofball reputation of songs based on “Starship Troopers” quotes and titles like “Monkey!!! Knife!!! Fight!!!” may have died with “Planet of Ice,” a sobering, solemn effort that still sounds sonically like their usual math-rock album. Its newest effort represents the most prog-rock Minus the Bear has ever sounded; the jaded riffs and obscure scales have always been there, but now some of the harmonies almost seem borrowed from the Alan Parsons Project catalogue and the song themes deal with religion hypocrisy, jealousy and unfaithfulness. It’s almost as if the band was yelled at by their collective dads to “stop goofing off” before recording. (Andy Seifert)
Wednesday, April 16 at House of Blues
Aloha’s “Some Echoes,” from 2006, was brilliant—the band’s progressive and math-rock tendencies, coupled with leader Tony Cavallario’s laidback vocal delivery, found a perfect unison that was just out of reach from earlier efforts. The recent “Light Works” mini-record sees the band taking another route, a toned down approach that inevitably puts the focus more on the lyrics than anything else, and an ever-present acoustic guitar. The results are… nice, not nearly as effective as when the band’s at full blast and drummer Cale Parks’ work is a tumbling free-for-all. The unexpected sweetness of it all makes the offering a gentle afterthought and, ultimately, a reminder of how good the band actually is despite the geographic distance between its members (they’re spread out all over the country, making unity, one would imagine, quite difficult). The group’s staggering live, however, and while the calmer material may subdue the overall impact, don’t expect the musical precision to take a hit. (Tom Lynch)
Friday, March 28 at Subterranean