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 »
Photo: Jesse Lirola
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 »
As much as anything else, this is the story of Bill Stevenson. He’s a drummer. And from all the praise dropped at his feet during this newly released ninety-minute film, it would seem that he’s a pretty good one. If Descendents isn’t a familiar name—and it should be—maybe Black Flag summons some sort of recognition. If not, “Filmage” has all the talking heads one’d need to get informed. Keith Morris crops up. Mike Watt, too. And it would seem that Dave Grohl is becoming the new millennium’s Ian MacKaye, replacing that D.C. stalwart in punk documentaries. Watching those famous faces flit across the screen narrating the development of Descendents doesn’t get tiresome, though. The issue with films like this is that frequently the story winds up being more gripping than the music. No pop punk resurrection is set for the immediate future, yet early cuts from Descendents—with Milo Aukerman on vocals—isn’t surpassed by too much else in the music world. Read the rest of this entry »
Ambient, Chicago Artists, Experimental, Festivals, Indie Rock, Krautrock, Minimalism, New Music, Post-Rock, Rock, Space Pop
By Kenneth Preski
Kranky is the most high-profile, under the radar record label that calls Chicago home. For the past twenty years, founder Joel Leoschke has fostered a stable of uncompromising, unpretentious artists whose work may have gone unreleased were it not for his uncanny knack for curation. The thread drawing together outfits as disparate as Deerhunter and Stars of the Lid has united musicians worldwide under one umbrella: part ambient, part electronic, part black earth rock ‘n’ roll. And “Black Earth” might be the best description available for the abstract sound Leoschke is after. As the title of local quartet Implodes’ full-length debut suggests, there’s an engrossing mysticism at work in much of the Kranky repertoire. The solo recordings of Implodes’ guitarist Ken Camden echoes this boundless energy, but even he is quick to acknowledge the fleeting nature of his alchemy, and his hesitancy to share it.
“I’ve always been making recordings at home and stuff, but I’m kinda bashful and wasn’t about to slip [Leoschke] a tape or anything.”
Cajoling artists of this ilk is an elusive art form, something Leoschke has perfected. Somehow he’s managed to cater to the cagey, artists wise enough to avoid making a deal when they needn’t, musicians hungry for harmony on a cosmic scale rather than the fleeting fame offered by superficial scenesters. Art of this kind often has a unique origin story. Read the rest of this entry »
There’s a lotta club music out there capable of summoning images of greasy-tan women and broheims doin’ rails in the bathroom or folks in shiny shirts grinding on the dancefloor. However we arrived at a point in the music’s history when that’s pretty much the norm is regrettable. But UK producer Nightmares on Wax has nothing to do with that–and in fact, has cultivated a recorded legacy that’s so far removed from those stereotypes, it’s difficult to understand how a lesser strain of the genre exists. Beginning in a time when DJ culture was coming into its own in England allowed for NoW to draw from a blinding kaleidoscope of source material, including soul, Jamaican styles and, of course, now-classic D.A.I.S.Y. Age hip-hop. Since releasing his first disc in 1991 and the pair of quintessential albums following that (“Smokers Delight” and “Carboot Soul”), he’s swung focus from genre to genre, synthesizing it all for the recently released “Feelin’ Good,” which was recorded at his farmhouse on Ibiza. Read the rest of this entry »
It’s all been vaguely pervy over the last four decades for Ron and Russell Mael, the brothers behind whatever Sparks has become. Beginning around 1971 as Halfnelson, the pair, backed by an occasionally muscular, glammish rock troupe, issued a disc that no one particularly cared for at the time. Luckily, having Todd Rundgren’s name attached as producer gave ‘em a second shot, and the album was reissued the following year as the self-titled “Sparks” disc. Tracks like “Roger” work through a Bowie-esque pop sensibility while engaging enough obtuse experimentation to warrant the bizarrely timed reissue. The same year as Sparks’ second go-round at a first album, “A Woofer in Tweeter’s Clothing” saw release; without Rundgren’s patronage. The disc continued along with similar musical and lyrical motifs, including album-closer “Whippings and Apologies.” Some stringed accompaniment crops up on “Here Comes Bob,” which perfectly matches Russell’s high-pitched crooning, but Sparks remains revered for its 1974 “Kimono My House”—an admittedly ingenious title. Read the rest of this entry »
Cover by Colin Denney
Music is alive and well and living in Chicago.
While that once might have meant records and radio and bands being signed to major labels, it’s a much more complex score these days, with artists and venues more entrepreneurial than ever. But at the core is the shift in emphasis from recorded to live music, and it’s a change that’s made Chicago a town of festivals, from the city’s bedrock blues, jazz, gospel and world music festivals, to Lollapalooza and Pitchfork, to the new electronic dance music festivals—Spring Awakening, Wavefront and North Coast—as well as the explosive growth of an old one, the Chosen Few DJs Picnic. With these shifts, the players are changing too; since we last made this list of the behind-the-scenesters, the power list if you will, most of the list has changed. This year’s forty-five include twenty-six folks who were not on the list that last time in 2009. (Brian Hieggelke)
Music 45 was written by Brian Hieggelke, Dennis Polkow and Kenneth Preski, with additional contributions by Dave Cantor, Keidra Chaney, Dylan Peterson, John Wilmes and B. David Zarley. See previous years here. Read the rest of this entry »
Photo: Janette Beckman
Singer-songwriter Jose James has a lot of jazz in his sound thanks to the longtime influence he has had from the genre and also the experience with performing with giants like Wynton Marsalis, McCoy Tyner and others. When he first started out, he was more of a jazz vocalist with urban tendencies than anything else. As the years passed, however, he has finally found his sound, which can be described as a blend of hip-hop and R&B with strong jazz undertones.
This is evidenced by two songs from his fourth disc, “No Beginning No End” (Blue Note). “It’s All Over Your Body” opens mostly with drums and percussion, and a soft bass line joins in shortly before James’ almost whispered baritone comes in. The instrumentation is subtle (with some brass added for good measure) so the listener focuses on his voice and the message he wants to deliver, while the blues-inflected “Trouble” feels like a classic Motown-era track without sounding dated. James’ delivery is straightforward, honest and refreshingly Auto tune-free. (Ernest Barteldes)
January 30 at Lincoln Hall, 2424 North Lincoln, (773)525-2501, 9pm. $15.
Who says busking on the New York City subway (or any mass transit platform where you can be heard) has no future? It was there that Queens-based Freelance Whales honed their skills playing folksy electronic music with unusual instruments (glockenspiel, banjos, xylophone) until they became indie-music darlings after the release of their debut “Weathervanes” back in 2009.
The band’s name comes from the band members’ perception that everyone in New York is a freelancer in one way or another (not sure if the folks down on Wall Street would agree with that). Their releases have been well received both by critics and fans, and some of their tunes have appeared in TV shows like “Grey’s Anatomy,” “Chuck” and “Skins.” Their music seems a bit minimalist—drums are played with brushes, and their arrangements are both creative and subtle, which allows vocalist (and main songwriter) Judah Dadone to comfortably convey his message without having to scream over the sound. Read the rest of this entry »
Photo: Abram Sanders
With their flimsy drum machine loops, strumming guitar chords and ambient keyboard melodies reminiscent of New Order, Future Islands is the perfect music to play while crying your eyes out and knocking shit over in your apartment. Their music is pro-human; confessional songs that detail breakups and loss with an organic-sounding composition, which somehow makes it all better. And it seems to be working for them. Their last album, “On the Water” (2011) earned Future Islands word-of-mouth notoriety and recognition on Billboard’s Heatseekers chart. Read the rest of this entry »