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Show Preview: Moderat at Concord Music Hall [5/21]

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On 05/17/2016

In chicago, live music, music, show preview


For those who know a thing or two about the indie electronica scene, the trio known as Moderat have every right to be called a supergroup. Their name is a combination of the two projects from which they’ve sprung, specifically Modeselektor (Gernot Bronsert and Sebastian Szary) and Apparat (Sascha Ring). Separately, they’ve released some of the most dynamic minimalist electronic music of the last decade. Together as Moderat, they’ve crafted three full lengths and an EP, a majority of which was spent testing out new and experimental directions with varying results. It seemed to be a product of them trying to feel each other out rather than a lack of competence or care. Just because three people can make really great music on their own doesn’t mean they’ll immediately work well together. On their new record III, it seems they’ve finally reached the next level of their collaboration, resulting in one of the most sonically cohesive and engaging collections of beat-driven tracks this year.

Sonically the songs on III fall somewhere on the ambient electronic soul spectrum between Four Tet, James Blake, Burial, Jamie Woon and Atoms For Peace. That’s a lot of quality references that for the most part feel earned. Beats skitter, vocals soar, synths glide, and a wounded sort of sexiness oozes from just about every note. Fans of The xx will find plenty to love as well. That beautiful darkness also lends itself to dramatic performances. Unlike the candy-coated laser beam dance parties of today’s EDM festival headliners, Moderat use style and substance to channel an epic intimacy that you’ll want to dance to. Powerful visuals projected behind the trio, combined with staccato lighting effects and liberal use of smoke machines create just the right sort of atmosphere to elevate the songs to an otherworldly level. It’s an intoxicating mixture that means their live shows are less performance and more experience.

Moderat will be transforming minds and hearts at Concord Music Hall this Saturday, May 21st. Not to be missed if you can help it! Teflon Tel Aviv and Abstract Science open. Details:

Moderat, Teflon Tel Aviv and Abstract Science
Buy Tickets
Saturday, May 21
9PM / $25 (Advance) / 18+

Show Review: Eleanor Friedberger [Space; Evanston; 4/29/16]

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On 05/02/2016

In live music, music, photos, show review

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In many ways, it feels like Eleanor Friedberger has been on tour for almost all of 2016 so far. Indeed, a check of her schedule reveals a virtually nonstop string of dates from February through mid-June. In the span of just over two months she’s now played two shows in and around the Chicagoland area, the second of which took place this past Friday at SPACE in Evanston. I was lucky enough to be on hand for that SPACE show, and am pleased to share some photos as well as a few thoughts on the evening.

Friedberger recorded her latest album New View at a farm in upstate New York with the band Icewater. They’ve joined her for this tour, not only opening shows with their own material but pulling double duty as her backing band. Naturally then, more than half her set was comprised of New View songs. She performed nearly every track on the album, along with recent one-off single “False Alphabet City”. All of the new material sounded great, and retained the classic early 70s vibes of The Band and Harry Nilsson without ever seeming tired or unoriginal. Friedberger has enough personality and lyrical prowess to pull every song into unexpected directions, and that dexterity is invigorating even when she’s aimlessly sauntering around the stage.

Admittedly it was also great to hear some older material too. There seemed to be a somewhat renewed focus on Friedberger’s first solo effort Last Summer, which featured some of her catchiest and funkiest material courtesy of songs like “Roosevelt Island” and “My Mistakes”. While the latter song felt just a touch off without a saxophone to add spice, it was still great to hear as a personal favorite of mine. Speaking of personal, 2013’s Personal Record was least represented overall in the set, though having “Stare at the Sun” pop up during the encore was a great way to end the night. Those electric and energetic anthems were missed, but considering the 90% seated, more middle-aged crowd at SPACE, might not have set the right tone for the show anyways.

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After the show, Friedberger and Icewater stuck around the merch table to sell and sign things, as good artists do. Among the fans and well-wishers was a man with his young daughter, who couldn’t have been more than 10 or 12 years old. The girl talked about how much she loved the show, and asked for a photo. The two of them stood side-by-side and leaned up against a door, striking cool poses. What caught my eye was how Friedberger never stopped staring at this girl, a huge grin on her face the entire time. This is who she makes music for. Maybe one day that young girl will be inspired enough pick up a guitar and start writing songs of her own. One can only hope.

Buy New View on iTunes

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Show Preview: Cross Record at Schubas [4/30]

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On 04/26/2016

In chicago, live music, music, show preview


Let’s start with the basics. Cross Record is the wife and husband duo of Emily Cross and Dan Duszynski. They are based out of Dripping Springs, Texas (near Austin), where they own and run a ranch and recording studio. It’s where they crafted their latest album Wabi-Sabi, out now on Ba Da Bing! Records. If you’ve not yet heard it, stream “Steady Waves” and “High Rise” to get a better idea of what they’re all about.

The dark-tinged experimental folk that populates the record falls somewhere on the strange spectrum between Cocteau Twins, Sharon Van Etten, Angel Olsen, Mount Eerie, Chelsea Wolfe, PJ Harvey and Here We Go Magic. That may touch on a lot of different sonic markers, but the nebulous nature of their songs defies easy description. Each one is inherently beautiful, yet also raw, obtuse and deeply emotional with a sense of danger or evil lurking just underneath the surface. That’s a large reason why the album’s title is so appropriate, as it’s a Japanese phrase meaning the acceptance of transience and imperfection.

Cross Record’s show at Schubas this Saturday will mark something a homecoming for the duo, as they lived in Chicago until a couple of years ago. Their notoriety has increased considerably since their last visit thanks to the release and critical acclaim of Wabi-Sabi, so it’ll be interesting to see how the new songs shape the overall performance. No matter what, it’s certain to be a special night you’re not going to want to miss.

Cross Record, The Loom and Blind Moon
Buy Tickets
10 PM / $10 ($12 Doors) / 21+

Show Review: Local H [Metro; Chicago; 4/15/16]

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On 04/19/2016

In chicago, live music, music, photos, show review

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Local H is a Chicago rock and roll institution. They’ve been making music steadily for more than two decades now, with eight full lengths and a handful of EPs under the name. And that’s not even counting side projects. It’s the sort of work ethic many would call authentically Midwestern, built on the back of strength and perseverance. I call it aspirational. Most bands would kill to have well-respected careers that last half as long. It seems only right that Local H be celebrated for all of their accomplishments so far, with a continued eye on where they’re headed next.

While 2015 marked the band’s 25th anniversary of existence, 2016 marks yet another important milestone – the 20th anniversary of their big breakout record As Good As Dead. You know, the one with classics like “Bound For The Floor,” “High-Fiving MF” and “Eddie Vedder“. It’s remarkable how vital that album continues to sound today, to the point where it fits in nicely with other grunge-era notables like Nirvana, Pearl Jam and Stone Temple Pilots. What’s so impressive (and unique) about Local H is how Scott Lucas and Joe Daniels were able to capture all the noise, fury and hooks of their peers with just a single electric guitar and a set of drums. The ability to do more with less has been a trademark of this band since the beginning, and it continues to this very day.
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In honor of As Good As Dead turning 20, Local H have turned the tables a little and decided more is more for once by embarking on a three month U.S. tour where they’ll play that classic album along with other catalog-spanning cuts. Things officially kicked off this past weekend, with a pair of sold out shows at Chicago’s legendary Metro surrounding the record’s actual release date of April 16th. I was lucky enough to attend Friday’s show (Night 1), which wound up being the perfect showcase for why this band is so special.

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Show Review: Autolux [Empty Bottle; Chicago; 4/9/16]

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On 04/12/2016

In chicago, live music, music, photos, show review

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If Autolux fans have learned anything about the L.A. trio since their 2004 debut album Future Perfect, it’s that they take their sweet time. In their case, the preferred incremental gap seems to be six years, which embodies the period it takes them to write and record new music, then tour in support of it. The space occurred between Future Perfect and 2010’s Transit Transit, then once more leading up to the just-released Pussy’s Dead, their third full-length in a dozen years. Frustrating as the wait can be sometimes, the time they take to refine and gestate their sound tends to shine through on their recordings. Six years is more than enough of a gap to allow for different genres to grow and decline, so each time Autolux re-emerges from their self-imposed stasis the music landscape is completely different. Yet while their sound continues to evolve from album to album, it is clearly not dictated by trends. Similar to their peers and friends in Radiohead, Portishead and My Bloody Valentine, they follow their own path and wait for the rest of the world to catch up to them.

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Show Preview: Porches, Alex G and Your Friend @ Bottom Lounge [4/9]

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On 04/01/2016

In chicago, live music, music, show preview


Outside of a music festival or a special radio session, have you ever been to an indoor concert with a late afternoon start time? I can’t recall ever attending a show before 7:30pm, and would imagine that spending time at a venue when the sun is out would feel a bit weird. Yet sometimes it’s necessary, I guess, particularly if said venue is double booked for the evening. Apparently Chicago’s own Bottom Lounge does that on occasion, typically on weekends when a majority of people aren’t at work. Saturday, April 9th is one of those occasions, with a triple bill worth not only my money but yours as well.

The first thing you need to know is that it’s going to be an emotional evening, in addition to being an early one. All three artists set to perform have released deeply personal, introspective records in the last year, and received a fair amount of critical acclaim for each. First on the lineup is Your Friend, otherwise known as Taryn Miller. Though her pseudonym can be a challenge to find via traditional search engines, she and her impressive debut album Gumption are worth seeking out. The music she makes could be considered experimental folk, as there’s a fascinating dichotomy between the traditional and non-traditional, the intimate and the expansive, the calm and the chaotic. Strip them down to their bones and you’ve got a single guitar and a voice, but the use of loops, found sounds, electronics, drones and other elements twist and obscure that in beautiful ways while revealing layers of untold depth. The lyrics are reflections on the self, how we present ourselves to the world and the courage it takes to change. Listen to the song “Heathering” below to capture a better idea of Your Friend’s particular aesthetic. It’s definitely worth showing up early to check out her set.

The meat in this musical sandwich is Alex G, the shortened moniker of Alex Giannascoli. The 21-year-old Philadelphia native started to receive a fair amount of attention in 2014 with the release of DSU, his first album that was properly mastered and released on an actual label. Prior to that, he self-recorded and self-released more than a handful of other full lengths and EPs via Bandcamp, very much fitting the definition of a DIY bedroom singer/songwriter. His lo-fi, often hangdog approach has earned him comparisons to Elliott Smith and Pavement in the past, though his sharper experimental leanings on last fall’s Beach Music took things in a much darker and uncommercial direction. It’s an interesting change considering this marked his highest profile release to date and Domino Records debut. Still, there’s plenty to like if you can get past some of the odd choices he makes with vocal modulation. For example a song like “Bug” would probably have been even better if some chipmunk-styled vocals didn’t pop up for no apparent reason. Still, beyond some small missteps on the new album, his past catalog is remarkably solid and worth your exploration. The same could be said about his live performances.

New Yorker Aaron Maine is the man behind the Porches name. It’s a project that’s been around for close to a decade now, but similar to Alex G is just starting to hit it big. Prior to the release of his Domino debut Pool earlier this year, Maine put out at least eight records, though it’s a little tough to put together an official count given that at least a couple seem to have (mostly) vanished from the internet. In many ways it feels as if those previous albums were all in preparation for this new one, which has earned a wealth of critical acclaim and placed Porches on an exclusive list of rising artists. The songs on Pool might best be described as dance tracks for lonely people. You could also use the album title to show the fluidity and spacious grandeur that a majority of the tracks exhibit. Synths and other electronics surge and swirl, while guitars, when present, are often relegated to the background. It’s a bit of a departure for Maine, whose earlier efforts were more entrenched in the world of lo-fi folk. The directional shift is all too purposeful, yet still manages to capture the intimacy and introspection that Porches has been known for across earlier efforts. Take a listen to “Car” and “Be Apart” below to get a better grasp on the magic of Porches.

So there you have it, a rundown of the three dynamic artists set to perform at Bottom Lounge early on a Saturday evening in April. Show up early, see some quality performances, then grab dinner after. Nice and easy. Here are the fine details:

Porches, Alex G & Your Friend
Buy Tickets
5:30 PM / $15

Show Preview: Ty Segall & The Muggers at Thalia Hall [3/7 + 3/8]

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On 02/25/2016

In music, show preview


Ty Segall is nothing if not prolific. You could easily call him one of the hardest working musicians today, and his output helps prove it. As an example he released four albums between 2012 and 2013, and at least one full length every year since then. If he’s not putting something out under his own name, he’s creating or joining other bands. Last fall he made a record with one of his side bands Fuzz, and already this year he’s put out Emotional Mugger under his own name. It wouldn’t surprise me if he’s got at least one more full length ready to go before the end of 2016. Perhaps the most insane thing about all of it is how generally great and varied every release has been. I legitimately can’t recall having heard a single bad Ty Segall-involved album in the last few years…maybe ever. Along the way he’s managed to make himself into a bit of an amorphous element, upending expectations at just about every turn. Just when you think another album of fuzzed out psych-rock is on the way, he picks up an acoustic guitar and explores folk or leans hard in the opposite direction by giving metal a try. He takes to all of it like a fish to water, and even plays different instruments depending on the particular song or project.

The fatal flaw with all of Segall’s efforts is that he may be giving listeners too much of a good thing. His constant progress has created a set of unrealistic expectations, and may even be diluting what he does give us. For example, if he puts out another album in 6-8 months, will it lessen the appreciation and repeat listenability of Emotional Mugger? Can having so much available material in too short of a time span make it difficult to focus on and figure out what truly stands out and is special about it? I suppose it’s up to each one of us to decide how much we can digest, and try to manage as best we can.

When he’s not in the studio, Segall can typically be found on the road. He tours in the same way he records – like a madman. Live shows are almost always brute force displays of strength, primal in nature and loud in volume. Guitars are always at a maximum level of fuzz, and drums suffer the sort of abuse that leave you concerned they could give out at any moment. When he’s behind the microphone, Segall’s voice wails and screams right along with everything else, so what comes out of the speakers could best be described as an auditory weapon of mass destruction. If you’re standing in the right spot, his songs may motivate parts of the crowd to erupt into massive mosh pit(s), layered with body surfers for good measure. It can be a brutal, full body experience that’s not for everybody. If you’re not a physical person, stand away from those who prefer jumping around. If loud music makes you worry about your hearing, wear earplugs. No sense in denying yourself the pleasure and invigorating life force of a Ty Segall show if you enjoy his music. It’s actually quite remarkable to see his songs played on a stage in front of an audience, because it enhances what you might otherwise hear through headphones or speakers in the comfort of your bedroom. That might be the way to most fully appreciate the man and all he’s done for music these last few years.

Ty Segall performs two nights at Thalia Hall next week. Details and ticket info are below. Don’t miss this!

Ty Segall & The Muggers
Tickets: Monday, March 7 / Tuesday, March 8
9PM / 17+ / $23 (advance) / $25 doors

Buy Emotional Mugger from Drag City

Show Preview: Marlon Williams at Schubas [2/10]

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On 02/04/2016

In chicago, live music, music, show preview


People are so eager to affix artists with labels. They provide an easier way to understand what artists do, so outsiders can better determine if it might be right for them. As time marches forward and old ideas become new again, there are those that fight against such traditions, seeking to carve their own paths outside of the familiar. Pictures, words and sounds require a certain level of accessibility to establish an audience, but new twists on old favorites can usher in advancements and inspire others to do the same.

Marlon Williams is a singer-songwriter from New Zealand who is not so easily defined or labeled. Despite being in his mid-20s, many have called him an “old soul” based on the mature themes and influences that permeate his music. As with most who have grown up in the age of the mp3, such increased access allows you to explore anything and everything your heart desires. Even in the small coastal town where he grew up, the soundtrack of his youth included PJ Harvey, Smokey Robinson, Elvis, The Beatles and Gram Parsons mixed in with traditional Maori and gospel songs thanks to his time in a church choir. Williams’ father was also in a punk band, which most assuredly left an impression as well.

So after consuming so much and so many different styles and genres of music, it makes perfect sense that Williams is something of a sonic polymorph. Those quick to judgment have been saying his recently released self-titled album falls under the country or alt-country umbrella, but the reality is so much deeper and more varied. You can hear flourishes of folk, Americana, bluegrass, gospel, soul, rock and even punk twisted into this remarkable tapestry that transcends such easy definitions. At the heart of it all is that powerful voice, which anchors every song with purpose and meaning no matter what direction it takes. Case in point: he covers Nina Simone’s “When I Was A Young Girl” better than anyone I’ve ever heard outside of the original version. It’s striking and very Tim/Jeff Buckley-esque, to the level where it gave me (and I hope you) chills.

Following a sold out tour through Australia and New Zealand, Marlon Williams is now seeking to break out internationally with a tour that takes him around the globe in 2016. He’s currently making his way through North America, which includes a stop at Schubas Tavern this upcoming Wednesday, February 10th. Woodrow Hart & The Haymaker opens. This is a prime opportunity to see a rising star before he blows up, so do yourself a favor and don’t miss this show!

Marlon Williams with Woodrow Hart & The Haymaker
Wednesday, February 10
8PM / 18+ / $12

Show Review: Torres, Palehound + Julien Baker [Lincoln Hall; Chicago; 1/15/16]

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On 01/18/2016

In chicago, live music, music, photos, show review

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It’s been just over eight months since Mackenzie Scott (aka Torres) released her sophomore album Sprinter, and I’m fairly certain she hasn’t left the road since then. At the very least, as of this past weekend she’s played three shows in Chicago over that time period – easily more than most non-local artists. I’d argue it’s the town that keeps drawing her back, but exceptional circumstances such as a tour opening for Garbage likely brought her back sooner than anticipated. This particular time she was asked to return for the Tomorrow Never Knows festival, a multi-day, multi-venue event focused on raising the profiles of up-and-coming bands/musicians. This is also known as “something for Chicagoans to do in the dead of winter when concert season is slow.” For the record, it’s a great way to pass the time with plenty of great live music. The triple bill of Torres, Palehound and Julien Baker is just a small testament to that, as all three left a sharp impression on 2015 with highly personal, emotionally devastating albums. It made me concerned I’d be walking out of Lincoln Hall on Friday night a shell of a human being, my insides shredded from so much anguish. Thankfully that wasn’t entirely the case.
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The night began with an opening solo set from Julien Baker. Her debut album Sprained Ankle earned her a place on many “Best of” lists last year, with special attention paid to her powerful and raw lyrics delivered with the nuance of a strong gut punch. In a stunning six song set, Baker wrenched every bit of emotion from each moment. The packed room stood in hushed silence as the weight and beauty slowly became too much to bear. It was an incredibly compelling example of how a performer can fully connect with an audience and even drive a few to tears. My own eyes began to well up towards the end, and that’s a rarity. The 19-year-old Baker is undoubtedly a talent worth following with a long career ahead of her. This was her first-ever show in Chicago, and judging by how many people bought her record at the end of the night, it certainly won’t be her last.
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After the delicate sadness that was Julien Baker’s set, it seemed like Palehound wanted to deal with serious emotional fallout in a completely different way. Very few of their songs could be considered delicate, instead opting for a much darker, angrier tone spiked with heavier ’90s style grunge guitars in the vein of Hole or (most accurately) Speedy Ortiz. Ellen Kempner doesn’t take relationships lightly, so getting emotionally wounded after a break-up fosters aggression and resentment rather than clear-cut sadness and depression. That’s what the record Dry Food is all about, and it hits hard. So too does the band’s live show. While Kempner played a few songs solo with just her and an electric guitar, a majority of the time she was joined by a bassist and drummer who helped flesh out many of the songs and give those wounds an extra little twist of the knife. The trio dynamic also allowed Kempner to take some sonic detours on songs like “Easy” and “Molly” with some solos that really gave the crowd a taste of her profoundly excellent guitar skills. While it certainly left me impressed in the first half of the set, things calmed down a bit towards the end, which would’ve been disappointing if this alternate side wasn’t equally as compelling. At one point we were treated to a new song she hadn’t played live before, taking care to note that it was written more recently when someone new had come into her life and changed her outlook in a more positive direction. It was just about the only love song that would be played all evening, and offered a glimpse into where Palehound might be headed next. No matter how things progress in terms of content or subject matter, the band made it pretty clear on Friday night that they are highly talented and a force to be reckoned with now and in the future. Don’t be surprised if you hear plenty about them in 2016 and beyond.
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The biggest benefit of touring incessantly is that you develop a much stronger stage presence. That is to say you learn what works and what doesn’t to help create the best, most entertaining and engaging version of your live show as possible. Given that Mackenzie Scott spent a majority of her time on the road in 2015, it makes perfect sense that she’s all the better performer because of it. When I caught her last May, it was mere weeks after the release of Sprinter and there were clear indications she was still feeling things out a bit with the new songs. These are growing pains every artist goes through, and some handle it much better than others. In the case of Torres, eight months ago she sounded great and put on a confident, strong show, but a few small things like the set list could have used some adjustment. Specifically, the overall pacing was a little off, and there were a few moments when it felt like Scott was holding back just a bit. For all I know it could have been the circumstances of that particular day, mixing things up on tour for the sake of variety. No matter the factors, by all accounts the set on Friday at Lincoln Hall represented an increase in consistency and showmanship.
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The somewhat ironic thing is that the set list was nearly the same as the previous Torres show last May, just the order of the songs had changed slightly. That served well to even everything out and create a clearer path from start to finish. From the slow burn opening salvos of “Mother Earth, father God” through the clawing descent of “The Harshest Light,” the nine song set felt very much like a journey into and out of darkness. The 1-2-3 punch of “New Skin,” Cowboy Guilt” and “Sprinter” slammed with the force and subtlety of a wrecking ball, leaving destruction and devastation in its wake. The weight of these songs also physically manifested itself through Scott’s body as she visibly trembled during the more intense moments of the set. This was particularly prominent during the back-to-back combination of “Son, You Are No Island” and “Strange Hellos,” the former of which was all underlying dread and the latter of which was all powerful, fiery release. For those few loudly punctuated minutes, everyone in the room was rapt with attention as the walls were painted with sheer ferocity and self-confidence. This was Torres at her most vital, suddenly coming into focus and finding her footing after wandering around lost in the darkness. Such a captivating catharsis contributed to what was the best Torres show I’ve seen to date. Can’t wait for the next one.

Buy Sprinter on iTunes

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Show Preview: The Go! Team at Lincoln Hall [1/16/16]

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On 01/08/2016

In live music, music, show preview


There are very few bands on this planet whose live show could accurately be called a party. Don’t get me wrong; any artist who brings lots of passion to a performance is worth your time and hard-earned money, no matter the energy level or content. But party bands are a special breed, particularly in their ability to transcend any real notions of quality associated with their music by pumping it full of fun and excitement. Andrew W.K. hasn’t released an album since 2009, and everything that came before it sounded pretty much the same, but he’s still out there touring and selling out shows by singing party anthem after party anthem. Good for him.

Which brings me to The Go! Team. They are, in my opinion, the quintessential party band. I’ve never had a bad time at a Go! Team show. Very few people probably have. There’s just too much to enjoy, which really gets reflected first and foremost on their albums. Their sound is something of a challenge to define, in large part because they slam together so many different genres and styles for the hell of it. For example, you could get a Bollywood sampled melody paired with an old school hip hop beat, garage rock guitars and school playground chanted lyrics. The best part is that it works a vast majority of the time, like a delicious stew made from leftovers in the fridge.

I can safely say there’s never been a bad Go! Team record, though we’ve yet to get one that eclipses the 2004 debut Thunder, Lightning, Strike. Part of the reason why that was such a success was because of its novelty at the time, and perhaps due to Ian Parton’s insistence on piecing together every single element himself. Two subsequent efforts had the live band take an active role in the studio, and there’s been a small struggle to transcend past that initial sound. But last year’s The Scene Between saw Parton return to that solo dynamic, perhaps seeking to recreate the magic of a decade earlier. The results were once again solid and generated good reviews, but not quite the raves or hype levels that would elevate The Go! Team beyond their current status. Just like the album (and song) title, they in some ways feel trapped between scenes, where it can be an occasional struggle to determine where they fit into the current music landscape.

Part of that I think has to do with the vexing mystery that is consistency. If you make good music on a regular basis without stirring up headlines or dramatically changing your sound, people tend to lose focus. Hype is a fickle beast that shift attentions on a whim in a quest for the Next Big Thing, while leaving everyone else in the dust. The Go! Team continue to deliver on their initial promise, and each live show remains a celebration worth attending. They are worthy of your love, and if you’ve not yet had the opportunity to hear their music or experience one of their unique and energetic performances, that’s something you need to remedy sooner rather than later. If you’ll be in Chicago next Saturday (January 16th), come hang out at Lincoln Hall if you want to dance, jump and enthusiastically sing along for what promises to be a highly memorable and fun evening with The Go! Team. Rounding out the bill will be Javelin and Jude Shuma. It’s part of the Tomorrow Never Knows festival, which you should also check out, just in general. Fine details:

The Go! Team with Javelin and Jude Shuma
Saturday, January 16
9PM / 18+ / $15

Show Preview: Ryn Weaver at Park West [11/12]

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On 11/06/2015

In chicago, class of 2015, live music, music, show preview

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Back in January, I had the privilege of naming Ryn Weaver to my Class of 2015 project. In case you’re too lazy to click that link, the basic idea is that each year I choose 10 rising artists and closely follow their growth and progress for the next 365 days. My track record is pretty strong, and while nobody will likely ever top the run that Class of 2014 alumnus Sam Smith had last year, a few 2015-ers are holding their own so far. Ryn Weaver is arguably at the top of the pile right now, for a couple different reasons I’ll explain in detail.

First, there’s her debut album The Fool. It came out this summer and is a collection of fun, quality pop songs worth checking out if you haven’t already. More importantly, the record proved the hype behind her first single wasn’t a fluke. Her talents extend well beyond “OctaHate” to showcase introspective lyrics and a powerful vocal range that’ll make your eyes widen and jaw drop. Many wise radio programmers have picked up on this, and provided her some strong exposure on Top 40 and Pop stations around the world. That translates to a growing fan base.

Second, there’s her live show. Weaver performed at every major U.S. music festival this summer, including Coachella, Bonnaroo and Lollapalooza. I was fortunate enough to not only catch her set at Lolla, but an additional aftershow she headlined the night before. Yes, she’s got incredible stage presence and knows how to work a crowd. While there’s a certain element of predictability to her set given she has only released an album and an EP so far in her young career, each song takes on a unique and distinctive life apart from the recorded versions in large part because she performs with a full band. That’s unique for someone who makes pop music, where synthetic backing tracks and overdubs are commonplace on stage. She believes that live performances should be fully LIVE, and they’re all the better because of it. Her vocals only get better too, showcasing an elasticity that goes even beyond what you hear on record.

Third, she loves her fans. I’ve seen plenty of performers go out of their way to stick around after the show and sell/sign merch, which is always nice even though most of the time they just want to make a sale. When I saw Weaver back in August, she didn’t hang out at the merch booth, but instead greeted adoring fans outside of her tour bus. For over an hour. She not only took the time to sign everything people wanted signed, but she took lots of selfies and had lengthy, genuine conversations that arguably lasted a little too long. It took her about 90 minutes to make it through a line of about 20-25 people, so everyone got a highly personal and engaging experience with her. Not sure I’ve ever seen someone display that level of commitment to fans, which really speaks to the kind of person she is.

If you’ll be in Chicago on Thursday, November 12th, you can experience the magic and wonder of Ryn Weaver in person when she plays a show at Park West. It will likely be a wonderful evening, filled with great music and quality opening sets from ASTR and Holychild. The show is all ages and starts at 7, so it should be extra high energy and fun. Tickets are $25 and can be purchased in advance here. Hope to see you there!

Show Review: Hinds + Public Access T.V. [Lincoln Hall; Chicago; 10/22/15]

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On 10/23/2015

In chicago, class of 2015, live music, music, photos, show review

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In my preview for the Hinds / Public Access T.V. show at Lincoln Hall, I opened with a few remarks on garage rock and how more often than not it tends to have a very gritty, ramshackle-like quality running through every song. A slightly off-key vocal here or a missed chord there is part of the charm. The lack of sheen and perfection also occasionally gives the impression that an implosion could happen at any minute, instilling the music with a precious quality, like something magical was captured that almost didn’t come together. As the crowd at Lincoln Hall found out with sets from the two aforementioned bands on Thursday night, sometimes that sensation extends to live shows too, whether on purpose or completely by accident.

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Starting the evening was Public Access T.V., a New York-based band formed and fronted by John Eatherly (ex-Be Your Own Pet). They’ve only got a handful of songs that have been released so far, but their sound has certainly evolved in the year or so since they formed. They played all of those tracks at Lincoln Hall, along with a few others destined for inclusion on their debut full length due out in early 2016. What struck me most about their live show was how tight they sounded. It stood in contrast to the loosely recorded versions of many of their songs, which realistically should have also been messier given their short existence as a band. Many artists take 2+ years to find their stage legs and craft a truly compelling show, so Public Access T.V. are ahead of schedule. Then again, with their members’ past history why wouldn’t they be?

Songs like “Monaco” and the recently released “Patti Peru” sounded quite good and were bouncy enough to dance to, which the crowd seemed to embrace for the most part. Most exciting for me however was the unreleased material they played. For a band who’s sound has undergone a significant sonic shift in the last year, these latest steps take things to a whole new level of excellence. An exceptional amount of talent was on display as Eatherly and guitarist Xan Aird both tore up multiple solos that were eerily reminiscent of modern garage heroes like The Strokes and The White Stripes. It was rather exhilarating to watch, even when mixed with some plainer material. Time will tell if Public Access T.V. actually deliver on the promise shown during this Lincoln Hall set, and if fans will embrace them even though there are probably hundreds of other acts trying to earn attention with a very similar aesthetic.

Buy the Public Access T.V. EP from iTunes

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One of the main things I know about Hinds is that they like to party. It’s been evident since their inception, and you can hear it in the recorded versions of their songs too. Therefore it only seems fitting that when I first encountered the Madrid band at Lincoln Hall they had cans of Old Style in their hands. As I was standing up against the stage enjoying the opening set, all of a sudden Carlotta, Ana, Ade and Amber appeared right next to me, dancing, laughing and just generally having a great time. They took photos of Public Access T.V., heckled their bassist, and sang along to most of the songs. It’s always wonderful when touring bands clearly admire and fully support one another, so all credit to Hinds for refusing to stay backstage and celebrating their openers with the rest of the crowd.

When it came time for their headlining set, things suddenly took a turn in an unexpected direction. Opening song “Warning With The Curling” has a fantastic vibe to it complete with complex instrumental flourishes that really give it extra bite, particularly when compared with this early version when Hinds was only a two-piece called Deers. The problem was with the vocals, which started off as non-existent before they were upgraded after a minute to a level that was barely audible. Poor mixing at Lincoln Hall rarely if ever happens, so I’m not sure if someone was asleep at the sound board or the band purposely requested the vocals at that level, but either way I could tell that something was off from the start. The issues multiplied when after two songs the band was forced to put the show on hold because a string on one of Carlotta’s guitars broke. They asked John Eatherly of Public Access T.V. to come up and re-string it for her, which he kindly did. Considering that last year I witnessed a member of the band Blank Range re-string his guitar mid-song without missing a single note, this was a little disappointing by comparison. Still, broken strings happen to every band, and there’s not much you can do about them unless you’ve got a guitar tech/roadie working for you behind the scenes. So bad sound and a broken string struck during the first 10 minutes, and thankfully things didn’t get worse from there.

There were a couple of small alcohol-related issues that emerged over the course of Hinds’ set, but nothing worth noting except to say all the band members were pretty drunk from the start and the multiple beers and shots they drank between songs most likely didn’t help anything. Of course they didn’t really hurt it in the end either. When you’ve got a bunch of quality songs that for all practical purposes sound like they were recorded on a multi-day bender in the first place, playing them live while drunk just highlights that aspect even more. Plus they’ve probably been playing wasted for so many shows by now they have it down to a science. Still, that didn’t stop Carlotta from apologizing towards the end of the set, telling the crowd, “Sorry, we usually aren’t this sloppy.”
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Despite being largely a collection of accidents, errors and alcohol-fueled terrors, there was something irrevocably charming about Hinds. Call it stage presence or generally mischievous attitudes, but when you throw heaps of personality on top of a dozen very good or great songs, a certain amount of leeway is given that both the band and crowd fully acknowledge. No matter how often things went wrong, everyone on stage and off was smiling and having a great time. The cheers were loud and passionate. At one point during “Chili Town” somebody climbed on stage and then crowd surfed just for the hell of it. When it came time for the encore, the band invited everyone to join them on stage for their cover of Thee Headcoatees’ “Davey Crockett,” despite the protests of Lincoln Hall security and management. Halfway through the song somebody stepped on a cord and unplugged Ana’s guitar. They paused for 20 seconds while she plugged it back in, and then picked up right where they left off with everyone singing and dancing along. It was the perfect way to end a gloriously imperfect night.

Preorder Hinds’ debut album Leave Me Alone

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Show Preview: Hinds + Public Access T.V. at Lincoln Hall [10/22]

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On 10/15/2015

In live music, music, show preview


One of the most distinct features associated with garage rock tends to be its ramshackle bordering on lazy attitude toward composition and structure. Unlike most other styles of music, there’s a certain amount of charm that oozes through songs with all of the cracks visible and hinting that things could completely fall apart at any second. It’s like a lovable drunk friend or relative – they stumble around with smiles on their faces and jokes to spare, but there’s always a slight worry at the back of your mind that they’ll blindly wander out into traffic and get hit by a car or start puking heavily in the most inappropriate place. It’s all fun and games until shit gets real. Thankfully garage rock rarely if ever self-destructs in an off-putting way, and when it does only harmless jangly guitar melodies are left in its wake. There’s often a method to the madness, as even some of the grittiest bands can secretly be the greatest perfectionists. Their jeans are torn up, but less from wear and more because they were purposefully ripped to look that way.

The reason I bring this up is because two garage rock-inspired bands will be performing together in Chicago at Lincoln Hall next Thursday, and they’re proverbial trainwrecks you definitely shouldn’t miss. Calling Hinds and Public Access T.V. trainwrecks is meant as a compliment, and hopefully everyone takes it as such. The music that both bands make is distinctly bouncy, fun and memorable in such a way that you can tell it was made by people who are passionate about every aspect of life. Every album, song, video and live show is a celebration.

In the case of Public Access T.V., the New York four-piece is the brainchild of John Eatherly, formerly of the indie punk band Be Your Own Pet. Those familiar with his former group should feel some sense of connection with this new one as they share a similar attitude, though the sound and members are certainly different. Instead of hyperactive and aggressive punk rock, Public Access T.V.’s sound comes across more like a hybrid of ’70s punk and ’90s Britpop, which is a unique enough combo that it enables them to defy easy categorization. The term “garage rock” is more of a catch-all descriptor for them than it is a legitimate definition. For example, their latest single “Patti Peru” feels familiar in a Strokes or Stooges kind of way, while “All We Want” is practically indebted to new wave with its more synth-dominant melody. They are nothing if not a complex band. Considering that they currently only have a few songs to their name, there’s also plenty of room for these guys to continue evolving and shaking up some genres just for the fun of it. Of course as more and more people are turned on to Public Access T.V. they’ll figure out what’s working best and head in that direction. I’m excited to hear what that might be, and hope you will be too. In the meantime they’re playing live shows and earning plenty of acclaim along the way, which is why they’re worth showing up early at Lincoln Hall to see.

As for Hinds (fka Deers), the Madrid four-piece are members of my Class of 2015, otherwise known as 10 artists I’m expecting to do big things this calendar year. They’ve done a fantastic job building hype these last 10 months, releasing a couple of new singles, videos and a mini-album collection of older songs, all to keep us tantalized until their debut full length Leave Me Alone arrives in January 2016. Their star has continued to rise the whole time, in part due to the quality of the music but also because they’ve been touring pretty much nonstop for the last year and a half, winning over audiences around the globe. They played a few shows in the U.S. this past spring, but hadn’t really scheduled a full North American tour until recently. They spent the last couple of weeks opening for Glass Animals in a dozen or so cities around the country, Chicago included, but now they’re off on their own headlining trek and will be bouncing back through town on the 22nd. One of the things I really like about Hinds is how much they’re willing to share with their fans. Most of their music videos are the four of them goofing around backstage, on the road or at home. Last winter they released a 25 minute documentary highlighting their 2014 summer, which gave even more insight into their distinct aesthetic and personalities. It’s ridiculous how charming and effortless the four of them are together, and their songs capture that chemistry perfectly. Give a listen to songs like “Chili Town” and “Between Cans” to get a great idea of why Hinds are such a captivating band that has earned and continues to earn a very rabid fan base. They’re likely to become huge sooner rather than later, so do yourself a favor and catch them at a small-ish venue like Lincoln Hall while you can!

The Fine Details
Date: Thursday, October 22
Location: Lincoln Hall
Time: 9 PM
Age Restriction: 18+
Tickets: $15 [Buy]

This Week in Music: 9-11-15

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On 09/11/2015

In live music, music, music news, music videos, this week in music

Every Friday, instead of sharing downloads and Soundcloud streams, we take a quick look back at the many other music-related things that happened this week in a segment that’s appropriately called “This Week in Music.” If there was a great or noteworthy music video that was released, it’ll be featured here. If an artist gave a particularly noteworthy interview, that might pop up in the links below. The same goes for interesting articles related to music, documentaries about bands, and just generally whatever might strike my fancy. If you’ve got something fun or important related to an artist that you think should be mentioned here, shoot me an email! All the information you need is in the sidebar on the right. So here’s this week’s wrap-up. Click the links below, and you’ll be off!

Watch Jack White demonstrate his drumming technique

Music Video: Empress Of – Standard

YouTube Audio Stream: The Decemberists – Why Would I Now?

Music Video: Julia Holter – Sea Calls Me Home

Watch a short documentary about St. Vincent returning to Texas

Music Video: Viet Cong – Bunker Buster

YouTube Audio Stream: Disclosure – Hourglass (ft. Lion Babe)

Music Video: Kurt Vile – Life Like This

Watch Kendrick Lamar perform on The Late Show With Stephen Colbert

YouTube Audio Stream: Big Grams (Big Boi x Phantogram) – Fell in the Sun

Show Preview: Jenny Hval + Briana Marela at Constellation [9/3]

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On 08/27/2015

In chicago, live music, music, show preview


We’re in sort of a weird, experimental pop renaissance so far in 2015. There have been some extremely interesting and important records released this year that may have flown just under your radar but are more than worth the time and effort to seek out. I’m talking about albums from such notables as Bjork, Holly Herndon, Deradoorian and Circuit des Yeux among others. Later this year we’ll also get albums from Empress Of and Julia Holter, which should fit in perfectly with the rest. But right now I want to take a moment to highlight two particular LPs that I’ve been quite taken with so far this year.

The first is Briana Marela’s All Around Us, which came out earlier this month. It’s her first for Jagjaguwar, and for it Marela flew from Seattle out to Iceland hoping to be inspired. Iceland of course being the home to Sigur Ros, she wound up working with the band’s producer Alex Somers, as well as the orchestral collective Amiina who make their instrumental presence felt on just about every one of the band’s albums. The results are stunning and beautiful, particularly when paired with Marela’s sugary sweet yet breathy vocals. There’s a brightness that radiates through every song, reflected outward in a burst of rainbow colors like when sunlight hits a crystal. Cuts like “Surrender” and “Take Care of Me” are great examples of the expansive arrangements and slightly obtuse song structures present throughout the record.

If you’re interested in going a bit stranger and more confrontational with your music, Jenny Hval’s latest effort Apocalypse, girl can definitely help you there. Her modus operandi is tearing apart traditional pop songs and repurposing them to somehow find the more memorable and catchy elements within. There are two primary factors that help make her music so challenging. The first is the seemingly random way songs are composed, where pop melodies will emerge from a strange direction and either choose to stick around or continue on a separate path into obscurity. What the motivation behind such shifts are remains a mystery, but that’s all part of the adventure. The second has to do with Hval’s lyrics, which tend to be odd and provocative yet also meditative and well thought out. She’ll use phrases like “soft dick rock” and “huge capitalist clit” that have a certain WTF quality to them, yet their grand purpose is to make you think about concepts like the patriarchy and counterculture in a different way. Sure it’s not exactly easy listening, but the effort you’ll expend trying to dig into everything going on across this record pays out dividends across repeat listens. Give a listen to “That Battle Is Over” and “Sabbath” to get a better idea of what the album is all about and whether or not you might consider it to be your cup of tea.

What’s very exciting is that Briana Marela and Jenny Hval are touring together, and will be performing at Constellation in Chicago next Thursday, September 3rd. It’s an 18+ show that kicks off at 8:30. Tickets are $12 in advance and can be purchased here. It promises to be a highly fascinating and memorable night, so I strongly encourage you to come out and support these two powerful and innovative artists!

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