It was another tryingly cool night in Chicago, but inside the Empty Bottle temperatures sweltered as Big Freedia and her bootylicious dancers got things hot, sweaty and a little bothered. Before all the p-poppin’ madness, our own Chances Dances DJ troupe and Salonathon, a weekly queer-friendly showcase featuring emerging artists at Beauty Bar and beyond, entertained the crowd and got the dance floor loose.
Around 11:30pm, Big Freedia’s DJ traded places with DJ CQQCHIFRUIT and kicked things off with DJ Snake and Lil Jon’s “Turn Down For What.” Wearing white jeans, a dark denim vest and a white shirt with a print of herself (as any diva would) bearing a Cheshire grin and shades, Big Freedia took the stage, setting her designer purse on an amp. 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 »
Relative unknowns and underground royalty: this is the balance that people have come to expect from the HoZac Blackout Fest, and 2014 delivers. Running from May 15th through the 17th at the Empty Bottle, the weekend showcases some up-and-coming acts like Shocked Minds, Toupee, First Base, and 999999999, while also boasting punk icons The Boys and The Dictators. The festivities open with the third art show that HoZac has included in their proceedings, with seventies punk photographers Paul Zone and Brian Shanley showcasing snapshots spanning decades.
Blackout Fest, especially this year, exists at a remarkable point on the timeline of punk. The parallels between 2014’s headliners and the other acts featured are undeniable in a way that should be embraced. HoZac co-founder Todd Novak explains, “These ideas of music and art aren’t new, but they’re timeless. They’re always going to be good ideas and it’s mind-blowing to see them be carried on.” Read the rest of this entry »
By Kenneth Preski
The marriage of movies and music is the twentieth century’s greatest gift to culture. With sight and sound no longer separate, the essence of two distinct art forms united to birth more cultural touchstones of artistic significance than any other technological advancement in the modern age. Films with an unmistakable soundtrack, or musicians with a strong visual presence—the list of seismic successes is too long and too obvious to print. The pairing is so crucial to culture that “audiovisual” has entered our lexicon. So listen up and picture this: when the Chicago International Movies and Music Festival (CIMMfest) inevitably succeeds at their quest to become the Midwest answer to South by Southwest, will the organizers be able to maintain the integrity accompanying independence, or will corporate sponsors weigh too heavily on the proceedings? CIMMfest isn’t big enough to have to bear that burden yet, but make no mistake: between all the films, concerts and panels to choose from, the festival’s sixth year may be the start of something much bigger. There are enough events happening to make creating a schedule for the long weekend a serious challenge. You might be here for work, or just committed to pleasure; whether you’re a tourist or a local, sticking to Milwaukee Avenue or exploring Chicago at large, CIMMfest has you covered. A festival pass will set you back $75, and guarantees you access to one headliner, three other CIMMfest sponsored events, and more than a hundred others on a first-come first-serve basis. There are endless possibilities. Here’s a suggested schedule to get you started: Read the rest of this entry »
With plenty of nods to Pavement and other nineties alt-rock greats, the Massachusetts four-piece Speedy Ortiz stakes out its own territory on the merit of its whip-smart lyrics and eschewing of self-seriousness. The band self-identifies as part of the “snack rock” genre, and the quartet’s LiveJournal (the very existence of which is a bit offbeat) documents their life on the road with each post featuring a “pup of the day.” Put together, this might be the perfect setup for an eye-roll, if not for Sadie Dupuis’ knack for poetic songwriting and Speedy Ortiz’s gleefully wandering arrangements heavy on distortion but anchored by catchy, knotty hooks. Read the rest of this entry »
By Kenneth Preski
Photo: Sarah Hess
Maintaining a sense of journalistic objectivity about Basic Cable is impossible. Beyond band duties, bassist Luca Cimarusti is the music listings coordinator at the Chicago Reader, and drummer Ryan Duggan is a prolific designer whose work includes last fall’s “Art 50″ cover for Newcity. The group’s reward for being so intimately involved in Chicago’s music scene has been a local press vacuum for their latest project. Highfalutin ideals are fine fodder for fools and philosophers, and being a bit of both presented the perfect opportunity for me to defy all proper notions of my profession. In short: if local publications must ignore their own for fear of impropriety, then it’s the fool’s duty to challenge the philosophical framework preventing profoundly relevant artists from being properly covered. No problem playing the fool here, I have much experience in this regard with the men of Basic Cable. Two members and me share a hometown. I’ve known Luca as Luke since I was fourteen and bummed rides off of him to local punk shows. I’ve know Michael John Grant, guitarist and primary vocalist, as MJ since around the same time. Knowing what I know, I made sure to eat an early dinner before sitting down for an interview with the group. These guys can drink. 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 »
Photo: Whitney Ross
By Jessica Burg
The universal truth that music is best when shared remains unequivocal. For the last forty years, folks have traveled distances far and wide in pursuit of one of America’s original treasures, 1960s soul music. Over weekend-long parties they celebrate camaraderie, record trading, drinking (for some, not all) and most importantly, dancing till the wee hours of the morning. There are two standout characteristics to this little-known tradition, which has come to be known as a Northern Soul weekender. The first is that the songs they play aren’t the familiar standbys most often affiliated with the era—the Temptations or Otis Redding. The second is that you’d be hard-pressed to find anything like it going down on American soil. In fact, you’d have to make the stretch across the pond to England or another part of Europe. That was until Pilsen residents Kevin Jones and Brenda Hernandez held the first ever Soul Togetherness USA event in 2013. This year’s weekender incorporates four nights of free (that’s right, free!) local, national and international DJs, a record swap and Soul Serenade bus tour, making it the only bash of its kind in the States with the exception of Soul Trip USA, a European export. Read the rest of this entry »
Photo: Flint Chaney
By Dave Cantor
ONO’s singer says he doesn’t listen to its recordings. It’d make him too nervous. Sometimes, travis says, it’s hard enough just to record. It could be because what travis has written clearly comes from contemplation of his military experience; a track called “Army” finds inclusion on the band’s “Diegesis,” set to be released by Moniker Records. And while he says performance was a part of his childhood, taking the stage in church and at school, the whole thing’s still a trial.
“There’re all of these people doing sound and noise that are there, and that’s been the case ever since I started playing in Cleveland,” he says of performing music, as opposed to the poetry he started on in that Midwestern city during the late 1960s. “I think there are a lot of facets to my personality—in Mississippi that’s called character…There is some self-hatred that I have and when I’m on stage; there are all these other facets I can overlay.” Read the rest of this entry »
Easy tunes at an easy tempo for Chicago’s Clearance draws clear comparisons to Sebadoh and Pavement, a carefree joy spread over the four (and a half) tracks that comprise their debut seven-inch. Equal parts melodic and nostalgic, “Dixie Motel Two-Step” announces the arrival of a band with little regard for overt rockism, guitar solos kept at a minimum, chunky chords slathered atop rumbling rhythms, an effortless effort if there ever was one. Which isn’t to deny the craft of these young men; it takes a certain cool calm demeanor for Mike Bellis to deliver lines like “I heard you been hung up on the wrong advice / but if it don’t work once, make sure you do it twice,” and not cop to the wry sense of self cultivated by an entire generation of lo-fi indie loyalists. Read the rest of this entry »