Photo: Vanessa Hein
Toronto punks PUP crashed the rock scene in 2014 with their raucous self-titled debut, and won over critics and music lovers with their old-school punk ethos. Before their performance this month at Chicago’s Subterranean comes the release of their harder, more destructive and angrier second album, “The Dream Is Over.” Right out the gate, the songs “Familiar Patterns,” “Doubts,” and “Old Wounds” are more chaotic and abrasive than what came before. Things may be louder and newly aggressive, but the album is more focused and fine-tuned without losing its raw appeal. It shows the band’s growth as musicians and songwriters. Read the rest of this entry »
Alt-Rock, Chicago Artists, Folk-rock, Indie Rock, New Wave, News and Dish, Pop Punk, Post-punk, Post-Rock, Prog-rock, Protopunk, Psychedelic, Punk, Rock, Rockabilly, Shoegaze
I didn’t have high expectations for “The Empty Bottle: 21+ Years of Music / Friendly / Dancing” (especially with that grammatically awkward subtitle; yes, those are the famous call-outs emblazoned on the club’s awning, but in print they look like something translated into Mandarin and then back again). Histories of entertainment venues tend to skew either toward brain-numbing listicles or institutional hagiography. But in fact “The Empty Bottle,” edited by John Dugan, is pure delight; it’s a compendium of short tributes and memoirs by close to two dozen people who have worked, played or hung out at the club, and whose voices are wonderfully varied and engaging. Yes, there are the obligatory recollections of early dates by Nirvana and Arcade Fire, but the cumulative result is something much greater—in fact, a genuine and consistently beguiling social history. Like, if Studs Terkel had been born in 1980. Read the rest of this entry »
Davey Havok and Jade Puget are better known for their work in punk-rock outfit AFI. In 2007, the duo moved away from gang vocals and blazing guitars to explore their synthpop side. They took a break after 2012’s “Bright Black Heaven,” but are back with an album that further dives into their electronic and dance impulses.
The duo keep things simple on this long-awaited third release. They stick with the electro/synth format they’ve established on their previous efforts almost to a fault; the album doesn’t get exciting until the second or third listen. Songs like the New Orderesque title track and the eerie “To Be Alone” initially sound too familiar. “Ceremonial” and “You Will Hate Me” are generic dance music better suited for a Rihanna song. The album follows their standard format of dark, brooding songs and one unfitting sugary synthpop tune (“Graphic Violence”). Read the rest of this entry »
Moor Mother Goddess
Back in 2013 I first wrote about the Black and Brown Punk Show; sadly my comments about Chicago’s diverse but largely segregated rock music scene pretty much still stand two years later. But I want to call attention to this year’s festival as it’s an overlooked gem of an event that our city has the honor of hosting annually.
Over two days, twenty-plus punk acts come to the city in an all-ages celebration of Chicago’s multiracial, DIY punk scene that is also a safe space for queer and trans folks of color. Read the rest of this entry »
Mick Jenkins/Photo: Brian Hieggelke
By Craig Bechtel
One of the few hip-hop acts on the Lollapalooza bill this year, and the only one from Chicago, Mick Jenkins led the audience in a repeated chant to “drink more water,” dovetailing off the musical project he released last year entitled “The Water[s]”—which he told the rapt crowd (who mostly seemed to know the words) is a metaphor for truth. His verbal flow was just as fluid as water, and to Jenkins’ credit, his four-piece ensemble included a live, jazz-influenced drummer, along with the de rigueur backing man and DJ. But the proof was in the performance—as Jenkins put it at the end of one number, “all of this shit is perception.” Perception being what it is, he concluded his set with a reference to N.W.A.’s “Fuck Tha Police,” a pointed reference to the ongoing national controversies prompted by allegations of police brutality against African-Americans. The point was not lost on anyone. (A few hours later rapper Travis Scott would attempt to make a similar point at the beginning of his set on the Perry’s stage by telling the crowd to climb over the security barriers and rush the stage, shouting “We want rage!” According to published reports, the plug was pulled on his performance only five minutes in, and he was arrested and charged with disorderly conduct.) Read the rest of this entry »
Alt-Rock, Chicago Artists, Festivals, Hip-Hop, Indie Rock, Jam Band, Metal, Prog-rock, Punk, Rap, Rock
By Keidra Chaney
Pitchfork Music Fest Weekend is upon us once again. It’s traditionally been the “tastemaker’s festival” of the summer, where this year’s Pitchfork buzz acts become next year’s Lolla lineup. This year’s crop offers a decidedly local flavor, in a way hearkening back to the festival’s roots in Chicago, starting with the Pitchfork-curated Intonation Festival back in 2005. The city’s own Wilco and Chance The Rapper bookend as headliners on Friday and Sunday (with a reunited Sleater-Kinney closing Saturday), but there’s a whole lot to check out in between, from the fest itself to a whole slew of aftershows all weekend long. I had every intention of going to P4K this year, but I’m ninety percent sure I’ll be out of town, so I’ll share with you the schedule I have planned. If any of you take my suggestions, let me know how it all worked out.
I’d get out of work early and ease into my weekend with Chicago’s own guitar wunderkind Ryley Walker on the Blue Stage at 3:20pm, then run over to check out Drake acolyte/rival ILoveMakonnen on the Green Stage at 4:35pm. Friday at Pitchfork Fest tends to not be hugely eventful because the heavier rock bands that I prefer tend to show up on Saturday and Sunday, so I’d take a long break and check out the vendor booths to kill time before seeing a bit of Panda Bear on the Green Stage at 6:25pm, then leave early to jet over to the Red Stage for Chvrches at 7:20pm. This is a group that took time to win me over, because I found a lot of their synth covers of classic rock and R&B hits nearly intolerable, but their latest album has grown on me; it’s dance music that sounds BIG, like a rock band, and it’s likely to sound pretty good on the Red Stage. Wilco plays on the Green Stage at 8:30pm, and while I probably wouldn’t stick around, I am sure everyone else will. Read the rest of this entry »
Wire / Photo: Marylene Mey
Whether or not you believe Wire to be a seminal punk and post-punk band, you have to admire its insistence on evolution—from its minimalist beginnings in 1976 through its various genre-defying iterations. Which brings us to the new format for the band’s ongoing DRILL festivals: small, curated events built on artistic kinship across divergent musical styles, influences and generations. This version of the festival (with different supporting/collaborating artists) hit London earlier this year, and we have the privilege of being the only other host city on the agenda. Read the rest of this entry »
William and Jim Reid
For thirty years (with the exception of a nearly nine-year hiatus because of a brothers’ spat), The Jesus and Mary Chain have produced an extremely beautiful and powerful mess. It’s hard to hot-tub back to 1985, when dance music was defined by Wham! and classic rock by Foreigner; but that’s when the Jesus and Mary Chain showed up, with a punk ethos, black leather jackets and sunglasses. On top of the image, brothers Jim and William Reid from East Kilbride, Scotland, came fully equipped with a new sound they’d developed—a haystack of feedback, Velvet Underground haze and Phil Spectoresque wall-of-noise, shrouding a pulsing beat and shiny melodies. It’s the sound that launched a thousand shoegaze bands. Read the rest of this entry »
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 »