Alt-Rock, Chicago Artists, EDM, Electronic/Dance, Experimental, Festivals, Hip-Hop, Indie Rock, R&B, Rap, Rock
By Keidra Chaney
Now is a decent time to get back into the live-music swing of things this winter, with upcoming album releases, the return of monthly live music events and more.
Definitely bring your earplugs to check out Chicago’s three-piece Lume when they come to Subterranean (2011 West North) on February 19 to celebrate the release of their album, “Perennial Phase.” (You can also preview and purchase the album on Bandcamp.) If you’re into brooding, rough slowcore then you’ll be into Lume; they combine fuzzy riffs, melodic, understated vocals and lush production. The seven-minute opus “Rattleback” is the new album’s centerpiece; it floats from an alternating loud-soft dichotomy to a dark, almost dreamy breakdown that builds up into a chaotic, feedback-laden outro. It’s a song that will definitely translate well live, since Lume has been known to bring an intensity to their stage shows that doesn’t always come through in recordings. Check them out on the heels of their Southern U.S. tour, with fellow feedback slingers Estates, Sough, Droughts as openers. Tickets are $7 and the show starts at 10pm. Read the rest of this entry »
By Craig Bechtel
Kid Cudi disappointed many of his loyal fans when he pulled the plug at the last minute on his December tour dates, citing “production and personal problems.” He posted a lengthy note via Twitter, saying among other things, that things “weren’t together production wise and I need a bit to make some changes,” and “I got a lot im [sic] dealing with at this time in my personal life too and in order for the shows to be the best experience possible as well as keeping my sanity intact, I need to regroup.” The disappointment from his audience most likely began when he released “Speedin’ Bullet 2 Heaven,” a rock album brimming over with distorted guitars and grunge-era angst. Kid Cudi may be a talented rapper and have come by his hip-hop bona fides honestly, but this record was not hip-hop. While Hot New Hip Hop gave it a balanced and nuanced review, they couldn’t award it more than a sixty-eight percent, whereas the website’s Fan Rating merited a lackluster twenty-one percent. (Then again, the fans on a heavy metal website would probably have savaged the latest outing from Jurassic 5.) Taken on its own merits, and disregarding genre, “Speedin’ Bullet 2 Heaven” is an extraordinary record, and it’s not like Cudi doesn’t recognize the rules he’s breaking. He even enlists MTV icons Beavis and Butt-Head to provide occasional commentary throughout the double album. Read the rest of this entry »
By Craig Bechtel
West Side product Roosevelt Sledge, Jr. goes by R.O.E. (pronounced Roe), an acronym for Rising Over Envy, but he’s risen over a lot more. Since his 2011 debut EP, “A Backpacker Named R.O.E.,” he’s toured to tout his intelligent brand of alternative hip-hop, recorded an incredible live album with his band The Soulvillians at Double Door… and his 2014 EP was either a toast “To Happiness” or described his journey there.
That sojourn toward happiness has included recently relocating to New York to better connect with music-industry resources and expand his horizons. R.O.E. says “it’s a mix” of music bringing him to NYC and also wanting “to experience life outside of Chicago.” He says he’ll probably live here again, but plans on developing his career and “building up Chicago” from his new base. Read the rest of this entry »
By Craig Bechtel
Chicago’s nascent hip-hop scene offers myriad rising stars, but it would probably be a bad idea to discount ProbCause. Because he has matured beyond his years since he was voted onto the North Coast Music Fest lineup in 2011, because he has come into his own as a producer, collaborator and rapper, because he has demonstrated lyrical intelligence, rhythmic talent and dope flow, the Evanston native should not be overlooked.
Reached via phone on a recent Monday afternoon, the rapper born Colin Grimm detailed how he got into hip-hop, how his new record “Drifters” differs from his previous output, the novel perspective he brings to the table as a borderline suburbanite, and what’s next in the near and long term. Read the rest of this entry »
Chicago’s Mick Jenkins put on quite a show on a recent Friday night, but he didn’t rap a single verse. Instead, the Music Room at Soho House hosted a listening party with Jenkins and St. Louis painter Hayveyah McGowan, where they described the creative process behind Jenkins’ newest project, “Wave[s]” (release date August 21). With guidance from Fake Shore Drive’s Andrew Barber, Jenkins and McGowan delineated how their collaboration originated.
After spending a year and a half on his previous release,“The Water[s],” Jenkins didn’t feel like the concept project got enough traction from the public—despite its critical acclaim. So he put together this newest project more as a collection of compositions than a record with an “end-to-end” theme, and did so in a matter of months. But he still wanted a consistent artistic through-line, and Jenkins commissioned McGowan to create a large-scale painting inspired by each of the tracks, all of which were on exhibit at Soho House. Read the rest of this entry »
Photo: Brian Hieggelke
By Craig Bechtel
Festivalgoers receive their tickets and passes with the caveat that the shows will go on “rain or shine.” But there’s always the caveat that if high winds and lightning pop up on the radar, all bets are off, and attendees of Lollapalooza Day 3 had to wrestle with the forces of Mother Nature, not once, but twice.
Sunday started hot and humid, and skies were sunny as Australian trio DMA’s treated those in attendance at the Pepsi stage to their jangly, echoey guitar pop. DMA’s are clearly inspired by the mid-nineties Britpop tradition, à la Oasis, Blur, Happy Mondays, etc., who themselves were born of NME C86 influences like The Mighty Lemon Drops, The Shop Assistants and The Wedding Present. Whether this was apparent to the crowds enjoying their set at the Pepsi stage was unclear—they may have been there based on the strength of the band’s “Laced” single, which has garnered some airplay on local AOR radio station WXRT, was a song of the week for KEXP and garnered a review in Entertainment Weekly last fall. 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 »
1999 called, it wants its concert back because this show is going to be THE BOMB.
In case you’ve never listened to rap music, Method Man and Redman have been making head-nodding, gangsta-leaning jams together since 1994 and are still two of the best rappers out there. If you don’t believe in soulmates, at least in a creative sense, these two could change your mind. B-Real is the front man of Cypress Hill and sold more than eighteen million albums. His nasally vocals are legendary, and while he has released countless hits, no one can resist or avoid “Insane in the Membrane.” Read the rest of this entry »
Chilean rapper Ana Tijoux has been quite busy of late—just in 2014 she collaborated with the likes of Julieta Venegas, Oscar-winner Jorge Drexler and many others while embarking on a massive tour that included stops at Millennium Park and the Latin Alternative Music Conference in New York. Her sound blends North and Latin American influences—she has a solid band that includes guitars, percussion, keys and drums. In addition, her backup singers are also skilled MCs who have the chops to share many of the tunes, freestyling whenever there is space to do so. Read the rest of this entry »
Photo: Robert Loerzel
In contrast to the tight, rehearsed set Clipse put together in 2007, Pusha T strolled on stage a leisurely thirty-five minutes late this year. One wonders what he was thinking, standing on the very same stage as before, now without his brother Malice; perhaps the church steeple in the distance serving as a constant reminder of the moral obligations Malice now embraces. Or maybe not. Pusha T’s mid-set medley of “Runaway,” “Mercy” and “I Don’t Like,” absolutely crushed the enthusiastic crowd, at least the parts of it that were still visible through the consistent smoke haze. Hip-hop shows can sometimes suffer when an artist raps over his own tracks, their voice sounding weak in comparison to the studio recording, and Pusha T suffered this routine setback, but not without a fight. The object of his derision? Lil B, who he targeted more than once to a crowd who had fawned over The Based God last year. It didn’t seem to matter, not much did, except a bunch of kids hungry for street raps to blow smoke to. (Kenneth Preski)