Soul songstress Sharon Jones’ latest tour is also a victory lap. After a tough battle with bile duct cancer sidelined an album release and tour plans in 2013, Jones returns this year with a clean bill of health and the release of “Give The People What They Want.” This is her first full tour with the Dap-Kings in two years. With more than thirty dates for the North American tour alone, Jones and the Dap-Kings are clearly making up for lost time after releasing a solid, unrepentant traditionalist R&B/funk album—and I mean that as a total compliment. “Give The People What They Want” features Daptone Records’ usual bold, wall-of-sound production fleshed out with groove-drenched songs like “Retreat!” and “People Don’t Get What They Deserve.” Read the rest of this entry »
Chicago welcomes back pop and R&B’s newest blue-eyed recruit, Daley. Born and raised in Manchester, England, the twenty-four-year-old has come up in the industry little by little in the past four years thanks to an unrelenting DIY philosophy. Donning one ridiculously top-heavy, modern-day pomp, perfectly pruned geometric facial hair, and thick-rimmed glasses, Daley looks especially eager for an audience. With this tour being the first to follow the release of his first-ever studio album (“Days & Nights”) who can blame him?
For Daley, a pursuit toward music came naturally and the recurring dream of signing with a major label began back in his teens. Locked away in his bedroom he’d write songs and lyrics channeling such predecessors as Prince, D’Angelo, Sade and Radiohead. When he was old enough, he left Manchester for London and began working his way into the underground urban music scene. Read the rest of this entry »
The Dillinger Escape Plan is not every metal fan’s musical cup of tea. Some are put off by the frenzied, tempo-hopping riffage of guitarist/founding member Ben Weinman. The “no clean vocals” purist crowd doesn’t care much for vocalist Greg Puciato’s smoother vocal stylings. Even so, the mathcore quintet’s fan base seems to grow with each new release, despite an ever-changing lineup and a commitment to creating persistently alienating music. Their most recent album, “One of Us Is the Killer,” shows the band at their most artistically confident, marrying the incomprehensible technicality of Weinman’s guitar playing and Billy Rymer’s drums with melodic , dare I say, pop-influenced choruses. It’s all topped off with Puciato’s impressive vocal range, jumping from high-pitched shrieks to guttural bellows to R&B-tinged crooning, sometimes in one song. It’s a trip. Read the rest of this entry »
The best music criticism has no author. It resides in the soul of the listener, enveloped in sound, sitting centered on a couch, fixed between two body-sized speakers. Instinctive insights from tweeter to woofer, spirit basking in full frequency warmth; the type of hypnosis that makes you forget you’re hearing a recording at all. It isn’t spoken or explained, analyzed or dissected. It’s in the sway of your hips, and the way your head bobs; whatever makes your fist pump, or gives you goosebumps. Electrical impulses recorded and reanimated, melding minds distanced by time.
The truth about music comes from the singer of the song connecting to the listener at home. Though digital technology is the overwhelming favored medium for consumers of recorded sound, CDs fail as a physical product because what is contained therein is so easily procured elsewhere. The internet ended the era of the compact disc. Vinyl remains lucrative because it cannot be replaced by anything other than another record. So begins the collector’s choice: do you store your music inside of a computer, or inside of a crate? Analog enthusiasts answer the question on the basis of liveliness. Here are five Chicagoans who have dedicated their lives to collecting records. Read the rest of this entry »
Son of tabla virtuoso Ustad Alla Rakha Khan, Zakir Hussain began life as a tabla prodigy in his native India, becoming a disciple of his legendary father before embarking on his own career at the age of twelve. His American debut saw him performing with Ravi Shankar.
In addition to his contributions to Indian classical music where he also vocalizes in the traditional manner, Hussain has long enjoyed cross-fertilizing Indian music with other genres, including Western classical music, jazz, rock, blues, Bollywood, et al. He co-founded the fusion group Shakti with guitarist John McLaughlin, the Grammy Award-winning “Planet Drum” and “Global Drum Project” with Mickey Hart of the Grateful Dead and has performed and recorded with a wide diversity of artists across genres including George Harrison, Yo-Yo Ma, Van Morrison, Mark Morris, Christoph Eschenbach, Rennie Harris, the Kodo Drummers and Bela Fleck and Edgar Meyer, among others. Read the rest of this entry »
If the buy local movement has any bearing on the music industry, then it’s fair for Chicagoans to substitute the Black Keys and Jack White with North by North. The local trio’s Ray Bradbury-referencing debut is a double album; two mint-green records split between individual sleeves, in contrast to the gatefold packaging customary for a pair of LPs. Bonus points are awarded for the beautiful artwork, courtesy of guitarist/vocalist Nate Girard, despite the missing detail on the spine. The music itself owes much to the garage rock revival of the early aughts, rarely bending too far out of shape from a pop-songwriting sensibility. It may be garage rock, but this garage is clean. Read the rest of this entry »
On a Thursday evening in March, the green room at the Bowery Ballroom in New York is stuffed with people, but The Orwells, the band of teenage hellraisers from the suburbs of Chicago, stick out like a sore thumb. In one corner, a photographer announces to the bearded or salt-and-pepper-haired managers around him that he needs to step out to meet up with his ex-wife and son, who happen to live right down the street. In the other corner, members of The Orwells discuss Chapstick addiction, and then lead singer Mario Cuomo, aged twenty, shares pictures of longboard baby strollers on his smartphone.
There they are, the young guys. But the five members of The Orwells carry a sense of urgency that belies the number of years they have ahead of them. “Once you’re past twenty-five or something, your time in rock ‘n’ roll, if you haven’t made it then, is kind of up,” guitarist Matt O’Keefe, aged nineteen, says. “If I were twenty-five and I were living off of Wendy’s or McDonald’s, I would be very depressed with my life. But as a nineteen-year-old I couldn’t be more excited about it.” Read the rest of this entry »
Tom Krell, aka How to Dress Well, isn’t just another sensitive guy making sensitive-guy music. He’s an ambassador for the human experience, not just for big touchstones like love and loss, but for the surprise emotions that come with accidentally discovering an unforeseen understanding of life’s events. Labeled by most as an R&B singer, his nontraditional sounds and lyricisms set him apart from his contemporaries such as Frank Ocean and the Weeknd, who typically orbit the time-honored realm of drugs, sex and shapes of the female anatomy.
Having never really had a formal musical background, Krell’s popularity grew from songs he recorded and uploaded on his blog. Then in 2010, Portland’s Lefse Records approached him to put together an album. He offered them “Love Remains,” a constellation of his spirit made from the very best of the EPs posted on his blog. Symphonic, sentimental and sorrowful throughout, “Love Remains” established Krell as an original and meaningful artist and led him to collaborate with like-minded artists such as Jacques Greene, Active Child, Shlohmo and Forest Swords. Read the rest of this entry »
When Black Sabbath abandoned the name Earth, it was left for Dylan Carlson’s crew to assume two decades later. Earth’s mythology and music from the early nineties have proven to be equally formidable forces. Their seminal “Earth 2” is regarded as the first drone metal album, though their stint on Sub Pop is considered the beneficial byproduct of a close friendship with Kurt Cobain. Carlson and Cobain were former roommates, confidants and co-dependent drug users; their camaraderie culminating in Cobain’s suicide via a shotgun purchased in Carlson’s name. Two more albums were issued on Sub Pop, the epic distortion excursions of their genre-defining masterpiece tapered to shorter outbursts edging toward standard song length, replete with a Hendrix cover. And then, radio silence. In recent interviews, Carlson has credited this lost time to a continued struggle with drug addiction and depression, but by the mid-aughts, Earth had begun playing out again, revitalized by the inclusion of Carlson’s wife Adrienne Davies on drums, and supported by the successes of bands like Sunn O))) who owe much to the genre’s forebears. Read the rest of this entry »
Though Texan Scott H. Biram has released a number of well-received albums and has been performing for more than a decade (amassing a considerable following in that time period) his latest release from Bloodshot Records (“Nothin’ But Blood”) is bringing new fans out of the woodwork. Biram calls his music “the bastard child of punk, blues, country, hillbilly, bluegrass, chain gang, metal and classic rock,” and for once this is not an example of an artist over-selling himself. Despite the first track on his latest album implying that he’s taking it “Slow & Easy,” Biram still preaches as much hellfire as he does redemption with both his lyrics and musical style, following loud, fighting-angry metal tunes like “Church Point Girls” with easy listening bluegrass ballads like “I’m Troubled.” Seeing Biram take the stage alone with his signature trucker hat, the uninitiated may expect a fairly typical country singer-songwriter—but once he gets going, it becomes clear why he’s also known as “The Dirty Old One Man Band.” Read the rest of this entry »