If you’re looking to blow off some steam on a Friday night, catch Tweak Bird, Fake Limbs, and Nones at the Beat Kitchen. This mixed bag of psych, hardcore and art rock should do the trick.
Tweak Bird is an LA-based pair of brothers who just released their first full-length LP on Bloomington, Indiana’s Let’s Pretend Records. Their psych vocals can get so high they’re almost delicate, but are balanced out with waves of thick, rolling guitar riffs and heavy drums. The go-to psych influences are obvious, but there are also whispers of the Melvins and The Jesus and Mary Chain to keep things unpredictable. Read the rest of this entry »
Ex-Cult is headlining the Empty Bottle for the first time after opening for Ty Segall and Mac DeMarco respectively at the Bottle last year. Their first full-length album, “Ex-Cult,” was recorded and produced by Segall in San Francisco in 2012. After extensive touring, they recorded “Midnight Passenger,” their second full-length album, which was released on April 29 on Goner Records. The effort is a powerful step forward in their raw mix of Memphis punk rock and gritty psychedelia. Read the rest of this entry »
Alt-Rock, Bossa Nova, Dance Pop, Indie Pop, Latin, Pop, Psychedelic, Record Reviews, Reggae, Rock, World Music
On their third release, the Vancouver-based trio formed by vocalist Silvana Kane, guitarist/producer Adam Popowitz and bassist Toby Peter seem to be taking the music into a deeper, more psychedelic direction without completely losing touch with their Latin, Middle Eastern and electronic roots. The songs are still framed by near-whispered vocals and nylon-guitar-framed textures alongside multi-tracked instruments and vocals sung mostly in Spanish, but the trio seems to have found a more organic approach to their sound. Read the rest of this entry »
It’s a nice treat that Loop has reunited to tour for the first time in twenty-three years. That the British band is making an appearance in Chicago is the cherry on top. The crew were contemporaries of Spacemen 3 in the late eighties, both bands played an unruly mix of psychedelic-punk-krautrock. These groups are the reason come-down music as beautiful as Slowdive exists, and why a shoegaze scene became a reality. Loop is known for being an incredibly loud and intense live act, which is easy to assume the moment any of their recordings are played; the urge to turn it up is overwhelming. Distorted electricity cascades down the back of a perfectly synced rhythm section, vocals blurring in and out of lushly layered guitars—“Heaven’s End” is right, this is the perfect blend of sacred and profane. Read the rest of this entry »
Steve Krakow is an impossible figure to miss in the Chicago psych scene. Operating under the alias Plastic Crimewave, Krakow has served as writer, illustrator and radio personality for his explorations into the “Secret History of Chicago Music,” while juggling his time as a prolific musician and booking agent for the Million Tongues Festival and the Chicago Psych Fest. The latter is now in its fifth year, with the three-day affair offering a Friday feature in Moonrises, a group of moonlighting musicians that includes Krakow’s manic guitar playing laid atop the formidable free-jazz drumming of Tiger Hatchery’s Ben Billington, and nuzzled against the throb of Libby Ramer’s organ. Read the rest of this entry »
The transition from static structure to impulsive improvisation is a tricky leap. Most musicians obey either one method or the other, lacking the immense skill and range required to jump back and forth. Given that Sweden’s Dungen is a band with a knack for executing careful compositions, psychedelic without being aimless, structured without being suffocating, it comes as a surprise that their bassist Mattias Gustavsson would opt to create a ten-piece ensemble to explore the outer limits of his craft. Though he insists the group is leaderless—they all don white cloaks on the cover and on the gatefold photo to underscore their uniformity—the rhythm section is the pivotal force anchoring the impromptu sets. The vinyl-only release is split between two recording sessions featuring different players that somehow manage to achieve the same effect: orchestral rock with ethereal aspirations. The effort succeeds in large part despite the confusing cosmology (the asteroid belt is awarded an astrological symbol, there is a Hebrew astrology chart backed by verse from a Persian poet on the record sleeve) and one must credit the achievement to a group of talented musicians intent on subsuming their egoism in favor of collective expression. Read the rest of this entry »
Celebrating the demise of something seems counterintuitive and anti-climatic, but Plastic Crimewave Sound isn’t just some buncha Chicago jerks; it’s these Chicago jerks, fronted by the ever-mustachioed Plastic Crimewave. Sure, the ridiculous heights of recording with Ya Ho Wah 13’s Djin Aquarian likely aren’t forthcoming, but there are scant dudes who can say they’ve even had the opportunity to perform with that sub-terra legend. Whatever counted as the troupe’s regular lineup apparently disintegrated sometime last spring, the travails of everyday life being cited as the main reason. You know, babies and marriage? All this PCS hoopla, though, surrounds the group’s (probable) final recording, a tape-only affair being issued through an imprint helmed by Running’s bassist. Read the rest of this entry »
It’s easy to be lulled into some sense of expectation on “Back to Land,” Wooden Shjips’ fourth full-length album, due out in November. And while Ripley Johnson and company have reeled in some of their long-winded rambling, there’s still not a wealth of focus here. That’s the point, though. Recorded in Portland, not the band’s Bay-area birthplace, “Land” brims with a rough-hewn pop sensibility, deterred only by Johnson’s fuzzy guitar lines. But even those have been opened up, giving listeners the opportunity to, you know, kinda hear what’s going on, instead of encountering an indecipherable wall of scuzz. Still, he doesn’t grant easy access—the solo on “Ghouls” being sheathed in noise, any sense of its melodic intentions disappeared behind wah-wah blurs. What enables the band to continue shoving the same formula into disc after disc, though, are Johnson’s leads remaining mysterious and shiftless, even if some songs strive for structure. Read the rest of this entry »
Photo: Nick Helderman
By Dave Cantor
Camped out at the Shadow Shoppe, a recording studio doubling as a residence in an industrial area near Amsterdam, Jacco Gardner’s been burrowing into an insular universe.
It’s a place the multi-instrumentalist has been exploring for almost a third of his life. And it’s been fully realized, in musical terms, as “Cabinet of Curiosities,” which Chicago’s Trouble in Mind issued Stateside earlier this year.
With the album’s release, Gardner’s granted listeners access to a collection of vivid “fairytales,” as he calls them, each recorded on his own at the Shoppe, save for the disc’s more complicated drumming. The work’s been cobbled together over the last eight years, drawing from the more baroque moments of sixties pop music. There aren’t any distinct hints of contemporary Europe in Gardner’s songs, and an unknowing listener could easily mistake just about anything “Cabinet” offers as a selection from the first psychedelic era. It’s more than mere retread, though—it’s a twenty-four-year old’s imagination splayed out over twelve tracks. But “Cabinet” would warrant notoriety even if Gardner hadn’t played guitar, bass, keys and a variety of synthesizers.
Despite his ostensible squatting, his homeland Holland has embraced “Cabinet,” sending Gardner on a series of TV appearances and performances at venues that would overwhelm U.S. musicians of comparable popularity over here. 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 »