All of us have two families in our lives: the ones we’re born into, and the ones we choose. The strength of each is determined largely by upbringing and instinct, though coming from a loving household doesn’t necessarily mean you’ll always have loving friends, and vice versa. What we’re all ultimately looking for in others is a shared connection, be it through blood, interests, or experiences.
Music often functions as one of life’s great connectors, because it’s easy to bond over a song based on the feelings it evokes when listening to it. Technology has made it easier than ever to not only find and share new music, but interact and make new friends with people from around the globe who share your passion. That wasn’t possible thirty years ago, yet music fans still found one another thanks in large part to places like concert venues and record stores.
One of the things I admire most about Avey Tare (Dave Portner) is his lack of complacency. At no point in his solo work or as a member of Animal Collective has he adhered to expectation or perceived boundaries, and that wild card nature has often resulted in brilliance (with the occasional misstep). You’re never quite sure where he’ll evolve to next, but can rest assured it will never be boring.
We’re quickly approaching the two-year anniversary of The Courtneys’ excellent sophomore album II, and they’re still touring in support of it. Their commitment is admirable, and the reward is hopefully a wealth of new fans eager to hear more from the Canadian trio. A stop at Thalia Hall in Chicago on Friday night actually marked the end of their tour with Cloud Nothings, so they celebrated with a wildly fun performance that perfectly balanced their winning charm and sadder sensibilities.
“I’m learning to like Chicago,” Protomartyr singer Joe Casey said toward the end of the band’s set at Thalia Hall on Thursday night. Protomartyr hail from Detroit, which has a storied Midwestern rivalry with Chicago, so the minor bit of animus is understandable. He also may have been kidding, but his detached demeanor on stage made it difficult to tell. That’s by design of course, befitting a singer and band that crafts songs so relentless and emotionally intense they often seem on the verge of total collapse. You can’t allow your feelings to become too invested when performing songs about the ails of the world, lest they hold you in a masochistic pit of despair.
In what should be (but isn’t) called the “PR Nightmare Tour,” two of the finest post-punk bands in recent years, Protomartyr and Preoccupations, are co-headlining dates around the U.S. from late November to mid-December. They’ll be in Chicago on Thursday, December 6th for a show at Thalia Hall, and it promises to be a night you won’t soon forget.
If you’re not already deeply familiar with Protomartyr, here’s a quick primer. Over the course of four excellent LPs and an EP, Protomartyr have distinguished themselves through densely packed arrangements and inspired yet obtuse wordplay. Their songs pound with noise and aggression, but also maintain a distinct air of humility that fits with their Midwestern (Ohio) roots.
This past summer Protomartyr unleashed the Consolation EP, which featured four beautifully destroyed tracks that focused on death and oppression, with some vocal and arrangement assists from Kelley Deal of The Breeders. Sure, it’s not the most upbeat music in the world, but post-punk as a genre very rarely is. The guitars swell into oceans of distortion as Joe Casey’s guttural vocals evoke powerful and poetic scenes of tragedy. This mixture is even more potent on stage, as the physicality of Protomartyr’s songs rise to the forefront and get spit out in fits and spasms. It’s intense, exciting, and cathartic all at the same time, which is one of the primary reasons Protomartyr remains such a worthwhile band in an ever-shifting climate.
Preoccupations have been riding high on a similarly dark and punishing wavelength since their debut EP Cassette back in 2013. Born from the figurative (indefinite hiatus) and literal (RIP Christopher Reimer) ashes of Calgary experimental band Women, they immediately struck a nerve thanks to a confrontational performance style and a so-controversial-it-was-later-changed name Viet Cong. But it was their songs that deserved and ultimately attracted the most attention. Their approach might best be described as angular, because so many of their tracks veer off in compelling and unexpected directions. You’re never allowed to get too comfortable in the world of Preoccupations, and that’s a big part of the fun. Then again, don’t let my use of the word “fun” give you the wrong impression of a band that has been known to cover goth legends Bauhaus and have an 11-minute kick-to-the-face track appropriately titled “Death” as part of their catalog.
A current of nervous yet ferocious and focused energy runs throughout each of Preoccupations’ three albums so far, as they’ve become more confident and detailed with every new release. You can detect subtle nods toward ’80s post-punk and bands like The Jesus and Mary Chain, Echo & The Bunnymen, and The Psychedelic Furs blended seamlessly into many of their recent material, pulling them away from the heavier drones that marked their earliest pieces and into more melodic visions of darkness. It’s been a fascinating transformation, and one that’s enabled them to remain vital since their auspicious beginnings. Their live show is no less impressive, hitting the gas on their Motorik stomp by using noise and passion for fuel. It’s entirely possible you’ll walk away from a Preoccupations show in a daze, unsure of exactly what you just witnessed, but that it was amazing and profound.
If you’re a fan of post-punk and haven’t already made plans to see Protomartyr and Preoccupations on their current tour, do yourself a favor and buy a ticket to one of their shows. As we sink ever deeper into the holiday season amid the extensive retail crowds, the stress of finding that perfect gift for a friend or loved one, and the forced cheer of non-stop parties and get-togethers, here are some live performances that will allow you to lean into the turmoil and (emotionally) exorcise your darkest impulses. Consider it a bit of a reprieve and a way to treat yourself to some music self-care. In Chicago, Thalia Hall next Thursday night. Be there.
One of the primary purposes of this site is to expose you to new and rising artists from around the globe, which is why I feel just a little bit terrible for not bringing Stella Donnelly to your attention sooner. Donnelly’s debut EP Thrush Metal was released to critical acclaim in the spring of 2017 and even won the inaugural Levis Music Prize, which is awarded to emerging Australian artists poised for success on an international level. Recent winners have included Alex Lahey, Rolling Blackouts Coastal Fever, and Hatchie, all of whom have been featured in some capacity on this site in the past year. But for whatever reason, Donnelly has been a bit of a blind spot here on the site and to a degree in the U.S. Thankfully Secretly Canadian reissued Thrush Metal this past June for American audiences, and she’s now on tour with Natalie Prass that includes a stop at Lincoln Hall on Wednesday, September 19th. More details on that below.
You may be curious as to what Stella Donnelly is all about and why she’s been attracting attention. The short answer is her razor sharp lyrics and ability to craft a memorable hook. Take her EP opener “Mechanical Bull” as an example. From a purely instrumental perspective it’s a gentle, acoustic folk song, but her words tell an entirely different story as she rips into the sexist and overly aggressive guys who have harassed her over the years. “I’ll be your darling, tits, legs, honey, sweet pea,” she says, listing off some of the catcalls men have said to her. “But I’m a fucking arsehole if you ask me,” she immediately cuts back. Even more powerful is the memorable chorus of “I need to be alone / You’ve been at my throat,” where her vocal inflection goes from calm and measured at the start of the song to frustrated and angry by the end. Powerful stuff.
Equally powerful is “Boys Will Be Boys,” which addresses rape culture and how women are often blamed or feel guilty when they are sexually assaulted. “Why was she all alone, wearing her shirt that low? / They said ‘Boys will be boys,’ deaf to the word ‘no’,” Donnelly mourns in the chorus. There’s a personal side to this song as well, as she directly addresses a man responsible for raping one of her friends and vows to “never let you [him] rest.” That line may read like a threat, but the eerily restrained way she sings it, with all the gentleness of an acoustic lullaby, turns it into something truly terrifying.
The remainder of Thrush Metal focuses on the destructive power of toxic relationships, from the spread of negativity and carelessness (“Mean to Me”) to the confusion and stifled growth caused by a lack of communication (“Grey”) to the regret and heartache that results from two strong personalities trying and failing to make things work (“A Poem”). When they’re all put together it might seem sad and depressing on the surface, but the actual listening experience is rich, rewarding, and unforgettable. The dark subject matter is inventively paired with beautiful melodies and addictive hooks that draw you in, make you feel seen, then offer comfort and strength. These songs are worth your time and effort to seek out, and they’re what make Stella Donnelly a force of musical nature worth paying attention to.
So yeah, Donnelly is opening for Natalie Prass at Lincoln Hall, who has her own amazingly great music to play as well. Prass’s 2015 self-titled debut helped establish her as an immensely talented artist with a sound that balanced baroque pop and soul into songs that were as catchy as they were gorgeous. There’s an incredible sweetness and optimism that seeps through her voice as buoyant melodies swell up around it, even as she tackles tough topics about heartbreak and misunderstandings in relationships. Her new record The Future and the Past shifts things in a bit of a different direction, paring back some of the strings from her debut and focusing instead on funky grooves provided by the bass guitar and synth. You can dance to more of these songs, but they’re also a bit darker in their overall subject matter.
In some ways the record is a response to the Trump administration, though it’s more about the issues than the President himself. For example, “Sisters” is all about gender solidarity in the face of a wage gap, bad relationships, and generally being regarded by society as “less than” men. “Ain’t Nobody” goes to bat for reproductive rights, while “Ship Goes Down” addresses the shock of watching your country head down an unexpected and negative path. But there’s some fun stuff on the record too, like the super catchy love song “Short Court Style” and the hopeful “we’re in this together” vibes of “Hot for the Mountain”. Overall it’s been heartening to watch Prass grow as an artist and songwriter, and I can’t recommend her records enough. Wednesday night at Lincoln Hall promises to be something special, so come on out Chicago!
There’s something different about Will Toledo these days. It’s not so much a look as it is a feeling. He seems freer, happier, and more energized on stage than he ever has before – or at least compared to the couple of other times I’ve seen Car Seat Headrest perform. And while there are any number of reasons why this might be the case, my sneaking suspicion has to do with Naked Giants. Specifically, their presence as openers and additional members of Car Seat Headrest has shifted dynamics in a very exciting direction.
What’s most fascinating to me about Damon McMahon’s work as Amen Dunes is how it’s evolved over time. His 2009 record DIA provided an introduction to the project that was a little similar to Bon Iver’s origin story in that he recorded the songs on his own while locked away in a cabin. But the music of Amen Dunes was much more obtuse and experimental in comparison to Bon Iver’s, with a psychedelic and occasionally aggressive edge that pushed it into the territory of bands like Spacemen 3, Robyn Hitchcock, and The Velvet Underground. A couple of years later, he’d pull together an actual band to help fill out and sharpen his sound while further evoking classic influences.
Each new Amen Dunes release has also gotten bigger and more accessible than the one before, and with the expanding palette has come contributions from members of Iceage, Yeah Yeah Yeahs, and Godspeed You! Black Emperor to help add new wrinkles while also cutting into the beating heart of the intimate and familiar. Even the simplest of melodies somehow manage to come across as a dynamic undertaking, and that sense of large-scale drama is at least partly owed to McMahon’s dynamic voice, which stretches and contracts according to the needs of the track. It’s the biggest reason why 2014’s Love was such a critical darling, and plays an essential role in helping to make Freedom one of this year’s best records. His voice is clearer than ever on the new record, and feels oddly familiar yet entirely unique, like a combination of Kurt Vile, Adam Granduciel (The War on Drugs), Bonnie ‘Prince’ Billy, J Spaceman, and Mick Jagger. You can’t always understand every single word he’s singing, but somehow it all makes sense, particularly in an emotional context.
Part of what makes any Amen Dunes record a compelling listening experience is that every song feels like a self-contained journey in service of a larger whole. You can drop in just about anywhere and find fulfillment, despite a minimal number of hooks or an overarching theme. Freedom does this best by crafting a seductive atmosphere of songs that shimmer like sunlight catching a piece of tin foil. The songs are slightly hazy, remarkably smooth, and politely insistent. You can dance to some of them, though they mainly hang out in a sort of mid-tempo range that at the very least leave your toe tapping. There are stories in these songs, packed with minor details to make them feel lived-in and real, but simultaneously withholding enough other bits of information to prevent it from coming across as too autobiographical. These things may have happened to somebody, just likely not McMahon himself. Many of the themes, including grief and family, stem from the struggle and emotional wreckage that resulted from his mother’s terminal cancer diagnosis a couple years ago. Instead of wallowing in sadness however, the record is more propelled by the emotional tension and relief that can be wrung from the instrumentals rather than the words themselves.
Seeing as how we’ve reached a point where Amen Dunes has never sounded better or more confident, now feels like the perfect time to see these songs performed in a live setting. It just so happens that McMahon and his band will be playing a show at Lincoln Hall next Tuesday, August 21st. It will mark his first time in Chicago since Freedom was released back in March, and promises to be a special night. Tickets are still available, so check out the details and come on out for what promises to be a great night of music!
Amen Dunes / Okay Kaya Buy Tickets
Tuesday, August 21st
8PM / $15 (advance) / 18+
So you’ve decided to attend Lollapalooza 2018. Congratulations! You have made a smart investment in your musical future. At four days and 170+ artists however, there’s a whole lot to digest. You can’t see and do everything no matter how hard you try, so choices need to be made. Some choices are easier than others, but if you’re looking for a bit of guidance, allow me to play Pied Piper and point you in the direction of some bands and artists to see over the course of the weekend. Part of the goal here is to point out some lesser known or up-and-coming artists you might not be familiar with yet, but who are worth the effort to try and see (even if they perform early in the day). There are a few veterans sprinkled in for good measure as well, but no headliners because you can presumably figure those out on your own. Five recommendations per day with minimal time conflicts between them, so if you hustle around Grant Park here are 20 performances that will turn your festival experience from good to great. Join me after the jump and we’ll get started!
The weather was top of mind heading into this Pitchfork Music Festival weekend, primarily because the forecast predicted scattered thunderstorms all three days. Prepared to go with the flow whatever that might wind up being, I arrived at Union Park on Friday armed with a poncho, umbrella, and plastic bags for my cell phone, wallet, and camera if needed. It began to rain as I approached the entrance gate, so the poncho became a fashion accessory immediately. Undeterred by the showers, I wandered a short distance to the Red stage, where the ferocity of Melkbelly‘s guitars made for a rather appropriate weather soundtrack. They’re Chicagoans, so they fully understand how everything from temperature to precipitation can turn on a dime in this city. And turn it did, because not only did the rain stop after about 15 minutes, but the sun was shining by the end of Melkbelly’s set. It almost felt like a weird bit of coordination, as the band’s performance only got stronger, louder, and heavier as the weather got better. Did they scare the clouds away? When your show has such a high level of intensity, anything seems possible. They set the bar high right at the start of the day, and woe to whatever artist had to follow them.
The artist that followed them was Lucy Dacus. Even though she was coming in hot off her magnificent new record Historian, pretty much anything she did would be viewed as a slight letdown compared to what Melkbelly had just done. The good news is that Dacus didn’t attempt to be anything other than her truest self on stage. As such, there wasn’t anything particularly flashy or gimmicky in her performance, just some rock-solid songs and some good interplay with her band members. After spotting a few ominous-looking clouds in the distance after her first couple of songs, she quickly called an audible and changed the set list on the fly “out of fear” the weather might force them to end early. “I’m also a little worried about the possibility of getting electrocuted,” Dacus confessed. She needn’t be concerned however, as the rain never came and she finished the set without any problems. It was my first Lucy Dacus live experience, and if I’m being honest it was perfectly lovely.
“I think I’m going to change the set list, out of fear.” – @lucydacus worried the weather may bring her set to an early end. She made it through, rain-free. pic.twitter.com/pGYwF9eW9c
Ah Sunday. If you’ve been attending the Pitchfork Music Festival for two days already, chances are your body will be beaten and tired. Drag yourself out of bed, pour some caffeine down your throat, and gear up for one last day of amazing music. Much like Friday, Sunday is packed with local Chicago performers who are both legends and up-and-comers. It promises to be a great day, and if you’re not sure about who you should be seeing, well, that’s kind of the purpose of this preview guide. So follow me past the jump and we’ll get right into it, yeah?
Back in February, a new program based in the EU called Keychange, which is focused on helping women transform the music industry, announced that they had partnered with 45 different music festivals from around the globe in a pledge to help create fully gender balanced lineups by 2020. Considering how lopsided the current festival landscape is, with major festival lineups like Bonnaroo and Lollapalooza averaging somewhere around 20% female, committing to a 50/50 split will certainly take some work. Unfortunately most large festivals haven’t joined Keychange’s pledge, so the numbers will likely remain skewed for the foreseeable future. The folks behind the Pitchfork Music Festival also didn’t agree to have a gender balanced lineup by 2020. Instead, they’ve done it by 2018. Pitchfork is only one of two festivals (the other is Panorama) to do it this year, and while there’s been very little attention given to this fact, it’s absolutely worth noting and celebrating. Will they choose to continue booking lineups this way in the future? I guess we’ll find out in 2019 and beyond. For now though, it’s heartening to know that Pitchfork is taking the lead in helping to create a more progressive and hospitable festival experience for persons of all genders and types. There’s a whole lot of talented women and men set to perform at Pitchfork on Saturday, and if you’re interested in learning more about them and who you should make an effort to see, read on below.
One of the best things about Friday at Pitchfork Music Festival every year is how relaxed the overall vibe is compared to the rest of the weekend. It’s less a product of the artists on the lineup and more the result of lower attendance (because many people are working), later arrivals (some show up after work), and people wanting to conserve their energy for the days ahead. You spend the day getting your bearings, learning where everything is located, and trying not to over-extend yourself. Yet it’s still a blast and the lineup is certainly nothing to sneeze at either. This year one of the biggest features of Pitchfork Fest is just how LOCAL it is. Yes, it’s very local every year, but that’s mostly reflected in the vendors and fun side attractions rather than the music itself. There are always a handful of Chicago artists and bands on the lineup, which has been nice but felt more like an afterthought than an actual intention. With 13 Chicago acts (out of 42 total) on the 2018 lineup, that’s no longer the case. Not only that, but the artists that were booked are all highly respected and critically acclaimed. If this is something Pitchfork hopes to continue in the future I worry they may run out of good choices, even though the local music scene is pretty massive. But we’ll take what we can get, and this year promises to be one of the best yet. There are five Chicago artists performing on Friday, including two bands that kick off the festival proper. Learn a bit more about all of them, and check out my personal picks for who to see hour-by-hour below.
It’s equal parts astounding and impressive that The Kills have been around for 15 years. For a band formed on the perilous dynamic of Alison Mosshart’s wildly frenetic, outsized vocalist and Jamie Hince’s ultra-cool, blues-indebted guitar work, one can envision a world where they burn out quickly over two or three impressive records then leave behind a beautiful corpse. Thankfully they’re smarter than that, and their longevity can be credited, at least in part, to their commitment to evolution while still maintaining the core tenets of their sound. No two Kills records sound the same, but you also wouldn’t think any of them were made by a different band.
To be honest, I’m not entirely sure what to make of Alex Cameron. The Australian musician is a bit of an oddball, but he’s so carefully skating the line between sincerity and parody (or truth and fiction) that it’s difficult to get an accurate beat on who he is or what he’s trying to accomplish with his music. Which isn’t a bad thing, mind you – that sort of vague template he’s presented over two full length records is dynamic and entertaining.
Alex Cameron’s debut album Jumping the Shark, for example, introduced him as a sort of worn-down sleazeball drunk. It’s a role he played into for live performances as well, applying makeup and fake wrinkles on his face to look older and creepier. Not entirely sure why anyone would voluntarily step into such a lecherous persona, but he managed to make it work by fully committing to the role and crafting smart yet gritty synth-pop songs to go along with it.
For a follow-up, 2017’s Forced Witness pivoted into a style and sound that might best be described as acerbic sheen. The songs sound much cleaner in execution, and he’s gotten rid of the wrinkles, yet the lyrics remain dark and disturbing. Each song paints a portrait of a deeply ugly, chest-thumping man’s man, as well as the sort of guys that might ascribe to a similar mentality. You probably know the type, straight from the coked-up, Wolf of Wall Street and American Psycho universes.
The characters in Cameron’s songs may be total assholes devoid of respect for women, but what makes them so compelling and the reason we listen to them ramble about perverse and disgusting things is that each one reveals deeper layers of insecurity and monstrosity. Underneath the surface of braggadocio are scared boys leaning into their worst impulses mostly because they don’t really ever face any consequences for their twisted actions.
When you combine those themes with slick, ’80s-style cheese pop (the kind that frequently includes jazzy saxophone solos), the whole exercise becomes astounding in its audacity. It’s impressive how many ludicrous things Cameron manages to get away with, all while somehow pulling memorable hook after memorable hook into the fray. Listening to it on record is one unique experience, but watching him sing these songs on stage is a whole other one. So if you’re up for catching a performance that’s weird, wild, and entirely unpredictable, don’t miss Cameron when he drops by Lincoln Hall on Wednesday, March 7th. The fantastic Molly Burch is opening the show too, so that’s an added bonus!
Alex Cameron / Molly Burch / Holiday Sidewinder Buy Tickets
Wednesday, March 7th
8PM / $15 (advance) / 18+
Hello, and welcome to Faronheit! I hope you enjoy your stay. Before you read onwards, let me quickly explain a couple things.
All mp3s hosted on this site are for sampling purposes only. If you are an artist or record label or somebody representing said artists or copyrights, I would appreciate it if you'd send me an email should you need me to remove any content.
If you would like to send me any music, links, press materials, and the like via the web, please email me with any attachments or links to where I can find out more. Please note that if you send me mp3 attachments as well as Bandcamp or YouTube links, I will not be able to post them on my site. I will still listen to the songs and watch the videos, just don't expect them to appear in a post. Soundcloud or direct download mp3 links only please and thank you,