Our biannual behind-the-scenes look at Chicago’s thriving music community gets a little more complex every year. Performers are easy enough to pin down; they’re front and center, by definition. But it can take some digging to excavate the driving forces behind the city’s rich tapestry of orchestras, festivals, music venues and record labels. On the other hand, a certain kind of celebrity has attached itself to bloggers, promoters, radio announcers, artistic directors and journalists, that puts them almost on an equal footing to the artists they’re here to support. So we find ourselves, in this year’s Music 45, ranging wide across the city’s musical landscape, reacquainting you with names and faces you may know almost as well as your own, while introducing you to several newcomers who have labored, if not quite in obscurity, then without the recognition their endeavors have earned them. What they all have in common, is that your life—yes, yours—is a little bit richer because of them. (Robert Rodi)
Music 45 was written by Robert Rodi and Dennis Polkow
With additional contributions by Keidra Chaney, Corey Hall, Robert Loerzel, Dylan Peterson and John Wilmes
Cover and interior photos by Joe Mazza/Brave Lux on location at Metro Chicago Read the rest of this entry »
By Keidra Chaney
As of this writing, tickets for the Tomorrow Never Knows Festival (January 14-18) are still available. You can get a five-day pass for $100, and most individual shows run from $15 to $30. TNK added a comedy lineup to the festival a few years ago, but since I’m the last person you should be asking about comedy recs, I’ll stick to my picks for the music shows you should consider leaving the house for in the next few days.
TNK kicks off on January 14, and while Aimee Mann and Ted Leo’s fun folk-rock collaboration, The Both, is likely to draw a crowd, I recommend checking out the synth-pop project from Wolf Parade’s Dan Boeckner, called Operators, at Schubas (3159 North Southport). Indie rockers doing dance pop appears to be a thing now (not that I’m complaining, as a rock fan with a jones for synth) and Operators sound about as you’d expect: very eighties-tinged and chock full of hooks. It’s pop music the way indie rockers seem to be embracing it unabashedly now, and I think it’s worth checking out. The $15 show is 18+ and starts at 8pm, with Mister Suit, Lowell and Lia Ices opening. Read the rest of this entry »
Blues, Chicago Artists, Classical, Country, Electronic/Dance, Experimental, Folk, Hip-Hop, Jazz, Music 45, R&B, Rock, Soul
Photo: Joe Mazza of BraveLux
Chicago, you are a big, bold, beautiful city of infinite complexity. Your historical heritage, your social and political upheaval, your segregation, violence and corruption have birthed an incredible wealth of musical expression. It’s by virtue of these artists that our community confronts and escapes the mistakes of our metropolis. And so our publication listens intently, offering a nuanced dialogue with the musicians who craft our culture. Yet, once a year, we redirect our approach to the opposing swing of the pendulum. We zoom-out where we would normally zoom-in. This list offers a broad-stroke survey of those Chicago musicians whose current cultural currency is readily represented to the city and to the rest of the world, living artists whose quantifiable influence echoes their effect. Some big names are missing, some rankings seem arbitrary, but it’s toward these acts, firmly Chicagoan, that we look when we seek out the spirit of home. Where our words might fail, the music will not. (Kenneth Preski)
Music 45 was written by Kenneth Preski, Dennis Polkow, John Wilmes, Jessica Burg, Robert Szypko, Eric Lutz, Keidra Chaney, Reilly Gill, Corey Hall and Dave Cantor
All photos taken on location at The Hideout by Joe Mazza of BraveLux. Read the rest of this entry »
Wax Trax! Records was the center of the universe for a generation of punk and industrial kids in Chicago and beyond, so this is pretty thrilling news: on June 15, Chicago will have an opportunity to relive the glory days of the early 1980s to mid-nineties at the Wax Trax! Records pop-up retail shop at the Metro. For one day only, Wax Trax! will open up its archive of original releases, posters, t-shirts and other rare treats, with a roster of DJs and a full-service bar. Read the rest of this entry »
Conor Oberst has miraculously survived the era of Bright Eyes despite the morose songs he wrote during his stint as the King of Emo. Oberst’s groups since the project have adopted a more western-folk influence, beginning with the aptly titled Monsters of Folk. He has also toured and recorded with the Mystic Valley Band, embracing the influence of an angrier Neil Young, and producing a full, clean, Americana sound. Read the rest of this entry »
The rap music being manufactured today is more often than not stripped of its storytelling origins and injected with monstrous bass-rattling beats in place of substance. Talib Kweli, unlike some of his more mainstream peers, has never exchanged narrative for glitzy instrumentals. And even if he did, he’d still kill the mic. In the course of his twenty-year career, he has proved himself of two things: that he can rap over any beat, and that his rhymes are valid. Dubbed as a “conscious hip-hop artist,” Kweli’s raps have always been weighted in truth—shared experiences of community and history. Even when the story is not his own, it is told with a strong pretense bidding you to see things from a different perspective and always set to music that carries a proper head-bopping groove. Read the rest of this entry »
Photo: Bart Lazar
Don’t call Television a punk band, OK?
It is true that forty years and about a month ago, Television played the first show at a newly reopened country, bluegrass and blues club on New York’s Bowery and changed the course of music history. CBGB’s became the spring that spat out punk rock, and Richard Hell—the band’s bassist, and co-founder with Tom Verlaine—the prototype punk emulated by the Brits.
Originally, Verlaine and Hell were angst-ridden best friends with an “us against the world” contemptuous attitude who wrote and published poetry as one entity. But Verlaine’s interest in control and perfection prevailed over Hell’s chaos, and the chiming, precise, intertwining of Verlaine’s compositions ultimately became the dominant fabric of the band, leading (perhaps aided in part by Verlaine’s relationship with Patti Smith, who encouraged him to take charge) to Hell’s departure in 1975. 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 road is an elegant, shimmering place—always free and steady and pretty—in the hands of The War on Drugs. Gloss is a good sound for lead man Adam Granduciel, whose evocations of Springsteen offer a yearning that’s often absent in his previous work behind Kurt Vile, the zen-master of indie rock, as one of his backing band, the Violators. We are drifting and capable of pain throughout “Lost in the Dream,” the outfit’s latest LP. It is an assurance that a certain type of barn-burner still exists; that the Rust Belt is still packed border-to-border full of romantics who can’t aim their heart the right way; who smolder away against the weight of dead hopes. The album chugs along with the urge to blaze through the threshers of time and humanity, insistent in its sincere attention to the perfectly emotional guitar solo—the antidote to any moment. An insane optimism; my favorite kind of schmaltz. Read the rest of this entry »
What exactly is “post-metal?” Some fans swear by the term, others loathe it. It tends to be used in reference to bands that appeal to people who don’t have much use for heavy music in any other context. You can decide for yourself whether or not the description quite fits for Chicago’s Russian Circles, but anyone with an appreciation for the layered instrumentals of Explosions in the Sky, or the heavier riffing of Pelican will appreciate this band. Without a singer to tell stories through lyrics, the trio—guitarist Mike Sullivan, bassist Brian Cook, and drummer Dave Turncrantz—create musical narratives through finely crafted arrangements. Read the rest of this entry »