Hey kids...
I'm here, here and here now... and here still.
'Doesn't mean I don't love you still.
Kthanxbye!
Thursday, January 31, 2008
Friday, January 11, 2008
Top 10 Albums of 2007
Well. It's been nearly a year since blizz-ogged on this page. But, I'm inspired by the STiTP/Kerchief Valhalla list, to post my own top 10 of the year. Like I do sometimes, I have to mention albums that are supposedly AWESOME but haven't got my lazy-ass around to listening to.
Top 10 Albums of 2007
10. Y.A.C.H.T., I Believe in You. Your Magic is Real*
This one needs an asterisk. It took till '07 for me to find, and fall head-over-heals with the bleeps, bloops and diary entries of The Blow. Early into 2007 Blow's beatmaker, Jona Bechtolt, marooned singer/songwriter Khaela Maricich to pursue solo work under the name of YACHT. Since then, I've been left alone in a corner with no new Blow to enjoy. Bechtolt's "solo" I Believe in You… consoled me – just like the friend whose consoling words don't help but you appreciate them anyway.
MP3: "See A Penny (Pick It Up)"
9. Wilco, Sky Blue Sky
One guy calls it "dad rock" and gives it a deece review and suddenly everyone's off the Wilco wagon. Poppycock! This album is the real deal. In the last decade we've seen Tweedy grow from the guy that wrote the couplet "We should take a walk / But you're such a fast walker, whoa-oh", to becoming a abstract Dixie Cup Aquarium Drinker, to a Wheel/Bug/Hummingbird, to Jeff Tweedy. After all the band shifts, style shifts (fan base shifts?) Wilco emerged this year, confident in their LP's, walking softly and carrying a big catalog. Tweedy sings sweetly, simply and directly after a few years of his free-associative and abstract lyrics. The band's kraut-rock exercises have been distilled into a few efficient jam-outs. There's just something impressive about Nels Cline, an avant-jazz squall guitarist, reigning in his tendencies enough to play a simple, clean Allman-brothersesque guitar duet. As Lisa Simpson once said – "It's the notes they're not playing."
8. Flosstradamus / Kid Sister
Does not releasing a "proper album" mean you can't get any love on year-end lists anymore? Not in this crazy inter-blag world. Although, technically, there's no proper album out, DJ/Mash-up kids Flosstradamus and one of the duo's kid sisters – Kid Sister, are churning out the jams. The bumpin' beats, hip-hop mashups, old-school rhymes, and indie-happy samples have been Chicago dance/bar favorites for a while now, but it's time for the big time. SxSW lost their brains for Floss' remix of Matt & Kim's Yea Yeah, meanwhile Kid Sister's "Pro Nails" found it's way onto Kanye's Can't Tell Me Nothing mixtape and the rest will be history… by the end of next year. Watch your back though Flossy, The Hood Internet's quick on your tail. (Photo Credit: Everyoneisfamous.com)
MP3: Flosstradamus "Overnight Star"
7. Bishop Allen, The Broken String
It's been nearly half a decade since Bishop Allen dropped the self-released Charm School LP – an album whose hooks and lines you'd catch yourself singing constantly. The groups ring-leaders, Christian Rudder and Justin Rice, recorded the album with a microphone, a pre-amp, and ProTools while trying hard not to annoy their Bishop Allen Drive neighbors in Cambridge, MA. They're a dynamic and fairly prolific pair… aside from the band both have cultivated what seems like their own brand -- Rudder writing the hilarious entertainment section of the now-defunct SparkNotes.com, and co-creating the equally hilarious dating site (OkCupid) while both Rice & Rudder are pseudo-stars of the burgeoning "Mumblecore" film scene (Rice starring in Mutual Appreciation and Rudder as the love interest in Funny Ha-Ha). The Broken String is a triumph of sorts, a culmination of a plan that started more than a year before its release – to support the band by self-releasing an EP each month for an entire year. Each month was a new surprise – a new track that was a sure-fire hit, and the LP, while lacking some of the DIY charisma of the individual EPs, is an album full of pure pop gold. Bishop Allen are as fun as every, but stretch their creative boundries with a latin-tinged "Like Castanets" and the dramatic flair of "The Monitor".
6. Radiohead, In Rainbows
Perfect timing. Every few years people start forgetting about these Oxfordshire lads they come along and blow the lid off of everything. This time it was more context than content, but the album is solid, and exciting. Most exciting, at least to me, is Thom Yorke using the word "I" again. An interesting question to be posed – Is it a coincidence that the most direct, "pop" album Radiohead has put out in a decade is the one that they're giving away to listeners for whatever they want to pay? I.E., would a challenging album along the lines of Kid A compromise the ultimate commercial success of the album? If so, does operating "free" from the Music Industry effect an artists creative process just as much (or more so) than operating within the system? It's a temple-tapper.
5. Kanye West, Graduation
What a hilarious twist. Kanye, throwing fits at MTV Europe Awards about Justice v. Simian winning Video of the Year, learned a few lessons about Euro Dance Pop. 1) Synths can be cool 2) Pasty White People can be cool 3) Daft Punk is fucking cool.
4. Architecture in Helsinki, Places Like This
There were hankerings. After the last few loops around the U.S., AiH had subtly shifted from a twee band you could dance to, to a dance band you could drink chamomile tea to. Half the band disappeared and all of the sudden these Aussie's were doing fun chant-along world beat tunes. Cameron Bird, who's vocal stylings on their debut LP Fingers Crossed rarely raised above a childish whisper, now growls and yalps and screams – the fun juvenile spirit is still present in the band but now it's like their at recess.
MP3: "Heart It Races"
3. LCD Soundsystem, Sound of Silver
Regardless of the criticism that Sound of Silver is nearly a song-for-song repeat of their debut LP, it still sounds better than nearly everything else out there. James Murphy, and his DFA clan can churn out the beats, that much is known. But if S.O.S. is a duplication of LCD Soundsystem it's its doppelganger – imbedding criticism and actual emotion into dance tracks. Sarcasm and cynicism is a refuge (and a cash crop in Williamsburg) and Murphy trumped expectations by turning the scene's discoball mirrors back onto themselves.
2. M.I.A., Kala
Dude. This some crazy shit. "Paper Planes" is easily my favorite song of the year -- with or without gunshots. I LOVED Arular when it dropped and I'm so pleased that her follow-up is just as bombastic, vaguely political, vaguely danceable, but wholly original. I guess I'm happy we live in a cultural climate that an album as globally scatter-brained as this can find such a wide, receptive audience.
1. The National, Boxer
I'm not a lyrics man. In fact, I'll really only pay attention to the lyrics if the song sufficiently interests me. Lucky for The National, the urgent, heavy but not inaccessible sound begs you to read into their lyrics. Boxer's content, just like its sound, is dark and brooding, but offers glimpses of romance, desperation, charm, and touchstone imagery. Beyond the discussion of the album's cryptic Willy Loman storyline, what can't be stressed enough is that the album is a true pleasure to listen to. A great album all the way through, and an LP that begs you replay it as soon as the last measure ends.
Sunday, January 28, 2007
Rodrigo y Gabriela @ The Hideout
Another random weekend night landed me in a hilariously long line outside one of my favorite spots: The Hideout. The bar is aptly named; hidden in an industrial area of town near North Ave and Elston and it’s not an easy find if you don’t know where you’re heading. Then again, judging by the queue, the place isn’t exactly “hush-hush”. Hideout has a stellar entertainment reputation (comedy, poetry, music, etc), a great low-key vibe and a line that stretched out the door and down the block.
(Images taken From www.RodGab.com)
My pal Kate had tipped me off to a free early show hosted by WXRT. It’d be fair to say that XRT is “slipping” a bit as far as being a relevant Chicago music resource goes (XRT listener pole, the loss of Sound Opinions), but they’re still an authority if they highlight fabulous musicians like Mexico-via-Dublin’s Rodrigo y Gabriela. Hell, before I even saw them I relished saying their names in a thick, fake, latin accent: “Rrrodureeego Eeee Gabreeeeyayla.”
While we're trying to keep warm out on Wabansia, there's terrific music floating out the windows of The H/O... more slackers (myself included) begin to line up outside, annoyed that we’re not being let in. While we’re standing, and shivering, and smoking, snippets of gorgeous guitar work emanated though the open window facing the front patio. Intrigued outsiders started taking turns peeking into front window in hopes of catching a glimpse.
Within 10 or so minutes the crowd thinned out and the kindly Hideout staff let us in, so long as we promised to stay at the front bar. All of us promised and about half of us complied. Being a good kid I took a seat at the front bar, ordered a round of Old Styles, and took it all in: The bar aglow with homemade paper snowflakes and Christmas lights, the mixed-bag crowd, and the gorgeous acoustic onslaught that was filtering in from the crowded room behind us.
Eventually my curiosity got the best of me and I joined the dozen or so that opted to just stand on chairs and tables in the bar in hopes of seeing the stage. The backroom was packed with the exact type of people I picture listening to XRT and some terrible world music CDs. (Also, side note: RodGab would politely punch you in the gullet for saying they were “world music”). Peering over the adult-contempo crowd, I spotted two mild-mannered guitarists laying out beautiful, seemingly effortless classical guitar picking with a flair that married Latin and Led Zepplin.
When Rodrigo Sanchez would occasionally drop into complicated fretwork, the capacity crowd remained absolutely silent. At other times the sound assault was so dynamic you’d think there were more than a pair of acoustic guitars on stage. Part of that sound is Gabriela Quintero’s percussive style--occasionally punishing her guitar strings to create jagged rhythms and using the hollow body of her guitar in substitution of a proper drum kit. The combined effect of the duo was overwhelming--a full sound that belied the two dexterous and mild-mannered performers on stage.
The show ended (after a superb rendition of Stairway... NOT joking), and Gabriela graciously thanked the crowd in charming, broken English. A few minutes later, (and after a much-appreciated appearance by those Nomadic Tamale Guys) the pair waived goodbye to the handful of onlookers and hopped into a waiting cab.
(Images taken From www.RodGab.com)
My pal Kate had tipped me off to a free early show hosted by WXRT. It’d be fair to say that XRT is “slipping” a bit as far as being a relevant Chicago music resource goes (XRT listener pole, the loss of Sound Opinions), but they’re still an authority if they highlight fabulous musicians like Mexico-via-Dublin’s Rodrigo y Gabriela. Hell, before I even saw them I relished saying their names in a thick, fake, latin accent: “Rrrodureeego Eeee Gabreeeeyayla.”
While we're trying to keep warm out on Wabansia, there's terrific music floating out the windows of The H/O... more slackers (myself included) begin to line up outside, annoyed that we’re not being let in. While we’re standing, and shivering, and smoking, snippets of gorgeous guitar work emanated though the open window facing the front patio. Intrigued outsiders started taking turns peeking into front window in hopes of catching a glimpse.
Within 10 or so minutes the crowd thinned out and the kindly Hideout staff let us in, so long as we promised to stay at the front bar. All of us promised and about half of us complied. Being a good kid I took a seat at the front bar, ordered a round of Old Styles, and took it all in: The bar aglow with homemade paper snowflakes and Christmas lights, the mixed-bag crowd, and the gorgeous acoustic onslaught that was filtering in from the crowded room behind us.
Eventually my curiosity got the best of me and I joined the dozen or so that opted to just stand on chairs and tables in the bar in hopes of seeing the stage. The backroom was packed with the exact type of people I picture listening to XRT and some terrible world music CDs. (Also, side note: RodGab would politely punch you in the gullet for saying they were “world music”). Peering over the adult-contempo crowd, I spotted two mild-mannered guitarists laying out beautiful, seemingly effortless classical guitar picking with a flair that married Latin and Led Zepplin.
When Rodrigo Sanchez would occasionally drop into complicated fretwork, the capacity crowd remained absolutely silent. At other times the sound assault was so dynamic you’d think there were more than a pair of acoustic guitars on stage. Part of that sound is Gabriela Quintero’s percussive style--occasionally punishing her guitar strings to create jagged rhythms and using the hollow body of her guitar in substitution of a proper drum kit. The combined effect of the duo was overwhelming--a full sound that belied the two dexterous and mild-mannered performers on stage.
The show ended (after a superb rendition of Stairway... NOT joking), and Gabriela graciously thanked the crowd in charming, broken English. A few minutes later, (and after a much-appreciated appearance by those Nomadic Tamale Guys) the pair waived goodbye to the handful of onlookers and hopped into a waiting cab.
2006 Albums of the Year, Late As Usual
Top Albums 2006
Ahhhh! It’s the obligatory “end of year list,” and obligatorily posted late, by moi. Okay. I would like to mention that I can only rank albums that I’ve actually listened to. Here’s 10 (+5) albums from 2006 I’ve listened to a lot and have actual insight on:
Preface: In keeping with the concept of the Arctic Monkeys’ debut "Whatever People Say I Am, That's What I Am Not" I will say that The Arctic Monkeys are good, and that they deserve to make any and every “top 10” list.
1. Hot Chip, Hot Chip - The Warning
Oh Man. You can’t hate on this CD. This is the kind of record that changes people opinion on a “sort” of music. I.E., my friend Jimmy’s 30-something pseudomentor Chad (that’s his real name). Chad said something like... “I really like that ‘Hot. Chip’ song. Even though it’s kind of, ‘dancey’.” Join the club Chadly! The LP is just too catchy, too poppy, too funky, too damn fun to categorically deny because of dudes with keyboards and silly mustaches.
Free mp3: "And I Was A Boy From School"
2. The Hold Steady - Boys And Girls In America
Everyone’s afraid to put this album at number 1. It SHOULD be. (Hypocrite warning). This is an album I would recommend, without hesitation, to anyone. It’s a straight-ahead rock n roll album… which I thought didn’t exist anymore. I thought every band needed some sort of concept, prepackaged backstory, or clever nod to whatever retro-trend in the band is aping. The Hold Steady has straight-up rock swagger that reminds me most immediately of Guided By Voices. But the content… oh my… the tales Craig Finn talk/sings are wonderful. They’re the kind of personal/universal “‘member when?” youth stories everyone relates to even if you’ve done nothing of the sort: Betting on ponies, drinking, smoking, troubled kids, raging parties, first loves. All of them done in this anthemic, Glory Days-meets-Chuck Klosterman type storytelling. Indifferent to cliché, Finn’s immediate literature reference, “...There are times when I think Sal Paradise was right,” sets a tone for a terrific and shambling LP.
Free mp3: "Killer Parties"
3. Junior Boys - So This Is Goodbye
This is a sexin’ album. It’s an album by and for th’ sexin. I didn’t think Junior Boys would be able to top their previous release, Junior Boys - Last Exit, but they did… well… he did… as one half of The J.B. left before this album got made. Yet another reason why the band can’t be mentioned without a casual name-drop of their frères’ M83. This stuff blows m83 out of the water. Transcendental, groovy, electronic but deeply soulful, the understated crooning (and sometimes just cool breathing) of hit single Junior Boys - In The Morning would have to be my favorite single of the year.
Free mp3: "In The Morning"
4. Headlights - Kill Them With Kindness
“Kind of a new record slipped into a list old safe ones… verrry PUSSY!”. Ha. Guilty. I got this record very late in the year, but, as Last.FM would testify, I’m enjoying very very much. Nothing exciting has come out of champaign, IL since, ohhhh… Braid, until now. I’m a sucker for girl/boy vocals, and this was THE album for me in the last few months. Think Stars (especially Amy Milian-like vocals, minus all the fatalistic/melancholic/depressive lovesickness, then sprinkle with a few exciting influences… occasional Mates of State keyboard fun, some navelgaze dabbling, a track that reminds me a bit of Broken Social Scene, and that standard “We’re twee But We’ll Include One Adorable Techno Track To Show We Can Do It” song. (Ahem, Belle and Sebastian – Electronic Renaissance, Scotland Yard Gospel Choir – Topsy Turvy). Check ‘em out.
Free mp3: "Owl Eyes"
5. The Radio Dept. - Pet Grief
Tim (The Muttering Retreats) turned me on to these guys. What a fabulous album. It’s this kind of new wave revivalism that makes me despise legwarmers and oversized belts a little less. It’s tough not to “influence pick” on the album, but it wonderfully re-creates a poppy The Jesus and Mary Chain thang in a haze of keyboards and drones and looooooooove.
Free mp3: "Against The Tide"
6. Decemberists - The Crane Wife
Mad props for jumping to a major label and putting out an uncompromised LP, especially 10+ minute song sagas. Though, Castaways & Cutouts and Her Majesty… are still my personal favorites, Colin Meloy & Co went from your libraries favorite chamber pop band to a synth-soloing Genesis-nodding pop/progrock hybrid -- quite a feat. And a little unsettling.
Free mp3: "Sons & Daughters"
7. The Pipettes - We Are the Pipettes
I think, technically, this album hasn’t been released in the U.S. yet. I don’t care. Good music travels fast. Records labels can’t control product if the fanbase or buzz is large enough. The Pipettes bring back that girl group era to modern-times, a-lah Camera Obscura, but where C.O. delivers wispy lovelorn tunes with some occasional twang, The Pipettes have style, sass, swagger (and handclaps) to spare. The Pipettes – Your Kisses are Wasted on Meis a gem among an album filled with…well… other gems. The only downside is that the “we all have slightly different personalities and dress in polka-dots” seems suspiciously like a marketing ploy, you really can’t hate on these girls. 1 year from now, the re-united The White Stripes will have the Pipettes open for them. I predict it… it will come true.
8. Isobel Campbell & Mark Lanegan - Ballad of the Broken Seas
When Isobel left Belle and Sebastian I was 95% sure her success would nearly match that of Looper. I picture, mid-Storytelling tour, Stuart Murdoch turns to Isobel on the tour bus and “Oi, Ah quite like your voice eeen that, buh eeets a bit wyrd, ya know, that one song you du (Belle and Sebastian - Beyond The Sunrise Song), eh?” Isobel promptly gives Stu’ the finger, jumps off the bus with a small, adorable, Scottish-looking suitcase, meets Mark Lanegan in a faux-country bar in near the airport, and after a ravenous weekend in a motel, they decide to record an album. Isobel then flutters her eyes, forgets Mark for 3+ years and gives him a ring when she gets board spooning her cello.
Free mp3: "(Do You Wanna) Come Walk With Me"
9. TV on the Radio - Return To Cookie Mountain
Good, solid album, and a welcome return after a disappointing debut LP. I feel this one was a bit over buzzed, but it’s still incredible. A good listen, all the way through, the standout being the rollicking, driving assualt of “Wolf Like Me”. It’s SO hard to tell people there’s an indie band who combines, art-punk, trip-hop and Peter Gabriel and have them still pay attention to you. But, the word’s out on them, there will have to be no convincing.
Free mp3: "Wolf Like Me"
10. Islands - Return to the Sea
Who woulda thunk it??? Especially now that all The Unicorns are dead. Turn the weirdness level down about two-notches, and what appears but yet another fabulous pop band out of Canadia. But to be honest, I kind of miss the previous weirdness levels, but their beginnings of silly instrumentation, deliberately incomplete songs structures, and childish deliveries allowed the .666Unicorns to flank the standard pop-rock formula and conquer all. Now... about Th' Corn Gang.
Free mp3: "Jogging Gorgeous Summer"
Honorable Mentions:
11. Belle and Sebastian - The Life Pursuit
Free mp3: "White Collar Boy"
12. Sufjan Stevens - The Avalanche: Outtakes & Extras from Illinois Album
13. Jenny Lewis With The Watson Twins - Rabbit Fur Coat
Free mp3: "Rise Up With Fists"
14. José González - Stay In The Shade
15. Camera Obscura - Let's Get out of This Country
Free mp3: "Lloyd, I'm Ready To Be Heartbroken"
Mad shoutouts to an indie kids' savior: The Hype Machine.
And the blogs I stole mp3's from:
http://skyscraperlife.blogspot.com/
http://www.girlpants.org/ (not making this one up, promise)
http://res1999.blogspot.com/
http://www.michaelmieler.com/blog/ Mike Went West
http://timedoor.textdriven.com Timedoor
http://tracemyface.blogspot.com/ Red Blondehead
http://www.blogotheque.net/sommaire.php3 La Blagotheque
Ahhhh! It’s the obligatory “end of year list,” and obligatorily posted late, by moi. Okay. I would like to mention that I can only rank albums that I’ve actually listened to. Here’s 10 (+5) albums from 2006 I’ve listened to a lot and have actual insight on:
Preface: In keeping with the concept of the Arctic Monkeys’ debut "Whatever People Say I Am, That's What I Am Not" I will say that The Arctic Monkeys are good, and that they deserve to make any and every “top 10” list.
1. Hot Chip, Hot Chip - The Warning
Oh Man. You can’t hate on this CD. This is the kind of record that changes people opinion on a “sort” of music. I.E., my friend Jimmy’s 30-something pseudomentor Chad (that’s his real name). Chad said something like... “I really like that ‘Hot. Chip’ song. Even though it’s kind of, ‘dancey’.” Join the club Chadly! The LP is just too catchy, too poppy, too funky, too damn fun to categorically deny because of dudes with keyboards and silly mustaches.
Free mp3: "And I Was A Boy From School"
2. The Hold Steady - Boys And Girls In America
Everyone’s afraid to put this album at number 1. It SHOULD be. (Hypocrite warning). This is an album I would recommend, without hesitation, to anyone. It’s a straight-ahead rock n roll album… which I thought didn’t exist anymore. I thought every band needed some sort of concept, prepackaged backstory, or clever nod to whatever retro-trend in the band is aping. The Hold Steady has straight-up rock swagger that reminds me most immediately of Guided By Voices. But the content… oh my… the tales Craig Finn talk/sings are wonderful. They’re the kind of personal/universal “‘member when?” youth stories everyone relates to even if you’ve done nothing of the sort: Betting on ponies, drinking, smoking, troubled kids, raging parties, first loves. All of them done in this anthemic, Glory Days-meets-Chuck Klosterman type storytelling. Indifferent to cliché, Finn’s immediate literature reference, “...There are times when I think Sal Paradise was right,” sets a tone for a terrific and shambling LP.
Free mp3: "Killer Parties"
3. Junior Boys - So This Is Goodbye
This is a sexin’ album. It’s an album by and for th’ sexin. I didn’t think Junior Boys would be able to top their previous release, Junior Boys - Last Exit, but they did… well… he did… as one half of The J.B. left before this album got made. Yet another reason why the band can’t be mentioned without a casual name-drop of their frères’ M83. This stuff blows m83 out of the water. Transcendental, groovy, electronic but deeply soulful, the understated crooning (and sometimes just cool breathing) of hit single Junior Boys - In The Morning would have to be my favorite single of the year.
Free mp3: "In The Morning"
4. Headlights - Kill Them With Kindness
“Kind of a new record slipped into a list old safe ones… verrry PUSSY!”. Ha. Guilty. I got this record very late in the year, but, as Last.FM would testify, I’m enjoying very very much. Nothing exciting has come out of champaign, IL since, ohhhh… Braid, until now. I’m a sucker for girl/boy vocals, and this was THE album for me in the last few months. Think Stars (especially Amy Milian-like vocals, minus all the fatalistic/melancholic/depressive lovesickness, then sprinkle with a few exciting influences… occasional Mates of State keyboard fun, some navelgaze dabbling, a track that reminds me a bit of Broken Social Scene, and that standard “We’re twee But We’ll Include One Adorable Techno Track To Show We Can Do It” song. (Ahem, Belle and Sebastian – Electronic Renaissance, Scotland Yard Gospel Choir – Topsy Turvy). Check ‘em out.
Free mp3: "Owl Eyes"
5. The Radio Dept. - Pet Grief
Tim (The Muttering Retreats) turned me on to these guys. What a fabulous album. It’s this kind of new wave revivalism that makes me despise legwarmers and oversized belts a little less. It’s tough not to “influence pick” on the album, but it wonderfully re-creates a poppy The Jesus and Mary Chain thang in a haze of keyboards and drones and looooooooove.
Free mp3: "Against The Tide"
6. Decemberists - The Crane Wife
Mad props for jumping to a major label and putting out an uncompromised LP, especially 10+ minute song sagas. Though, Castaways & Cutouts and Her Majesty… are still my personal favorites, Colin Meloy & Co went from your libraries favorite chamber pop band to a synth-soloing Genesis-nodding pop/progrock hybrid -- quite a feat. And a little unsettling.
Free mp3: "Sons & Daughters"
7. The Pipettes - We Are the Pipettes
I think, technically, this album hasn’t been released in the U.S. yet. I don’t care. Good music travels fast. Records labels can’t control product if the fanbase or buzz is large enough. The Pipettes bring back that girl group era to modern-times, a-lah Camera Obscura, but where C.O. delivers wispy lovelorn tunes with some occasional twang, The Pipettes have style, sass, swagger (and handclaps) to spare. The Pipettes – Your Kisses are Wasted on Meis a gem among an album filled with…well… other gems. The only downside is that the “we all have slightly different personalities and dress in polka-dots” seems suspiciously like a marketing ploy, you really can’t hate on these girls. 1 year from now, the re-united The White Stripes will have the Pipettes open for them. I predict it… it will come true.
8. Isobel Campbell & Mark Lanegan - Ballad of the Broken Seas
When Isobel left Belle and Sebastian I was 95% sure her success would nearly match that of Looper. I picture, mid-Storytelling tour, Stuart Murdoch turns to Isobel on the tour bus and “Oi, Ah quite like your voice eeen that, buh eeets a bit wyrd, ya know, that one song you du (Belle and Sebastian - Beyond The Sunrise Song), eh?” Isobel promptly gives Stu’ the finger, jumps off the bus with a small, adorable, Scottish-looking suitcase, meets Mark Lanegan in a faux-country bar in near the airport, and after a ravenous weekend in a motel, they decide to record an album. Isobel then flutters her eyes, forgets Mark for 3+ years and gives him a ring when she gets board spooning her cello.
Free mp3: "(Do You Wanna) Come Walk With Me"
9. TV on the Radio - Return To Cookie Mountain
Good, solid album, and a welcome return after a disappointing debut LP. I feel this one was a bit over buzzed, but it’s still incredible. A good listen, all the way through, the standout being the rollicking, driving assualt of “Wolf Like Me”. It’s SO hard to tell people there’s an indie band who combines, art-punk, trip-hop and Peter Gabriel and have them still pay attention to you. But, the word’s out on them, there will have to be no convincing.
Free mp3: "Wolf Like Me"
10. Islands - Return to the Sea
Who woulda thunk it??? Especially now that all The Unicorns are dead. Turn the weirdness level down about two-notches, and what appears but yet another fabulous pop band out of Canadia. But to be honest, I kind of miss the previous weirdness levels, but their beginnings of silly instrumentation, deliberately incomplete songs structures, and childish deliveries allowed the .666Unicorns to flank the standard pop-rock formula and conquer all. Now... about Th' Corn Gang.
Free mp3: "Jogging Gorgeous Summer"
Honorable Mentions:
11. Belle and Sebastian - The Life Pursuit
Free mp3: "White Collar Boy"
12. Sufjan Stevens - The Avalanche: Outtakes & Extras from Illinois Album
13. Jenny Lewis With The Watson Twins - Rabbit Fur Coat
Free mp3: "Rise Up With Fists"
14. José González - Stay In The Shade
15. Camera Obscura - Let's Get out of This Country
Free mp3: "Lloyd, I'm Ready To Be Heartbroken"
Mad shoutouts to an indie kids' savior: The Hype Machine.
And the blogs I stole mp3's from:
http://skyscraperlife.blogspot.com/
http://www.girlpants.org/ (not making this one up, promise)
http://res1999.blogspot.com/
http://www.michaelmieler.com/blog/ Mike Went West
http://timedoor.textdriven.com Timedoor
http://tracemyface.blogspot.com/ Red Blondehead
http://www.blogotheque.net/sommaire.php3 La Blagotheque
Thursday, January 04, 2007
Office - Live at The Double Door
“If you don’t know by now... ask somebody else!” frontman Scott Masson exultantly sings to a home-team crowd. The line seems like a rallying chorus for his band, Office, and rightly so. For well over a year now the talented and peppy rock outfit was the worst-kept secret in Chicago. A group that, apparently, was only a mystery to A&R types.
Apologies for the lame cell-phone camera pics. Hey. They're better than nothing.
Yeah, everyone at The Double Door on this mild Friday in December knew by now -- including James Iha, Smashing Pumpkins' guitarist and Office’s new best friend. The bash thrown at the Wicker Park club Ohm after the set was heralded as a label-signing party, as Iha nabbed Office for his own Scratchie record label. (The signing itself is old news as Office’s website let word slip in October.)
Thank god the show was fabulous. Pre-show, the night was looking pretty dismal for me. Our plan to stake out the paradoxical "hi-concept dive" Empire Liquors failed when they were having a private party. Instead, our group set up camp at Debonair Social Club just down the street. The place was vacant -- a hollow space which I immediately realized was the former (and equally uncrowded) Tre Via.
From what I read, I liked the concept behind Debonair, but the high ceilings and non-intimate setting made the place feel more like a cavernous gallery than an enjoyable social setting. That said, my impression might not be a solid one as we were there at 8ish --well before the W.P. crowd started filtering in.
But there was definitely one dude that stood out from the crowd. Prettymuch looking like Fat Joe (give or take some bling) he decided to stand up on one of the booth seats near us and take a biiiiiiiig stretch. Those of us with ADHD who’d been watching film projections of balloons and androgynous twenty-somethings were instead distracted by this guy's ill-fitting hoodie creeping up his torso to reveal his weird, pale, PBR-belly. I tried not to think much of it and considered him merely an effective confrontational installation piece.
So, yeah, post-tubby’s striptease we hightailed it to the Double Door, missing Someone Still Loves You Boris Yeltsin, and walking in just as Mannequin Men took the stage and efficiently rocked the place. I concurred with my two pals that they were not too shabby, but the set was more spot-the-influence than we’d hoped -- not that MC5, Jet-like AC/DC, 60s Mod, and New Wave are bad influences to work with. All-in-all, a good band to check out, but it was clear the crowd was there to see the other hometown group on the bill.
The collective venue had high expectations, and Office delivered, projecting the kind of confidence and enthusiasm that creates a magnetic live experience. With sharp guitars and punchy delivery, the fivesome keys off each other’s energy -- all seemed so excited to be on stage they could probably make a desolate rehearsal space the most exciting place to be in the city.
Regaled in a Santa cap and a god-awful sweater, Scott Masson delivered snide commentary and sing-along choruses, while guitarist Tom Smith switched between jerky Cars-like chords and playful Guitar Hero posturing. Meanwhile bassist Alissa Noonan battled illness to pump out bouncy basslines and bop around shoeless. Team cheerleader and universal rock-crush Jessica Gonyea switched from keyboard to tambourine to cowbell and played most of the show jumping up and down to the beat played solidly and exuberantly by drummer Erica Corniel.
Office called Mannequin Men and SSLYBY back on stage for a joyously amateur rendition of John Lennon’s Happy Christmas before crowds emptied out onto North Ave. The night for me ended with some cheap drinks at Estelle's (a fairly unremarkable bar which manages to get LINES outside it), and a half-serious razzing at Western & Armitage’s Green Eye for rocking a tie on a Friday night. Pshaw.
Apologies for the lame cell-phone camera pics. Hey. They're better than nothing.
Yeah, everyone at The Double Door on this mild Friday in December knew by now -- including James Iha, Smashing Pumpkins' guitarist and Office’s new best friend. The bash thrown at the Wicker Park club Ohm after the set was heralded as a label-signing party, as Iha nabbed Office for his own Scratchie record label. (The signing itself is old news as Office’s website let word slip in October.)
Thank god the show was fabulous. Pre-show, the night was looking pretty dismal for me. Our plan to stake out the paradoxical "hi-concept dive" Empire Liquors failed when they were having a private party. Instead, our group set up camp at Debonair Social Club just down the street. The place was vacant -- a hollow space which I immediately realized was the former (and equally uncrowded) Tre Via.
From what I read, I liked the concept behind Debonair, but the high ceilings and non-intimate setting made the place feel more like a cavernous gallery than an enjoyable social setting. That said, my impression might not be a solid one as we were there at 8ish --well before the W.P. crowd started filtering in.
But there was definitely one dude that stood out from the crowd. Prettymuch looking like Fat Joe (give or take some bling) he decided to stand up on one of the booth seats near us and take a biiiiiiiig stretch. Those of us with ADHD who’d been watching film projections of balloons and androgynous twenty-somethings were instead distracted by this guy's ill-fitting hoodie creeping up his torso to reveal his weird, pale, PBR-belly. I tried not to think much of it and considered him merely an effective confrontational installation piece.
So, yeah, post-tubby’s striptease we hightailed it to the Double Door, missing Someone Still Loves You Boris Yeltsin, and walking in just as Mannequin Men took the stage and efficiently rocked the place. I concurred with my two pals that they were not too shabby, but the set was more spot-the-influence than we’d hoped -- not that MC5, Jet-like AC/DC, 60s Mod, and New Wave are bad influences to work with. All-in-all, a good band to check out, but it was clear the crowd was there to see the other hometown group on the bill.
The collective venue had high expectations, and Office delivered, projecting the kind of confidence and enthusiasm that creates a magnetic live experience. With sharp guitars and punchy delivery, the fivesome keys off each other’s energy -- all seemed so excited to be on stage they could probably make a desolate rehearsal space the most exciting place to be in the city.
Regaled in a Santa cap and a god-awful sweater, Scott Masson delivered snide commentary and sing-along choruses, while guitarist Tom Smith switched between jerky Cars-like chords and playful Guitar Hero posturing. Meanwhile bassist Alissa Noonan battled illness to pump out bouncy basslines and bop around shoeless. Team cheerleader and universal rock-crush Jessica Gonyea switched from keyboard to tambourine to cowbell and played most of the show jumping up and down to the beat played solidly and exuberantly by drummer Erica Corniel.
Office called Mannequin Men and SSLYBY back on stage for a joyously amateur rendition of John Lennon’s Happy Christmas before crowds emptied out onto North Ave. The night for me ended with some cheap drinks at Estelle's (a fairly unremarkable bar which manages to get LINES outside it), and a half-serious razzing at Western & Armitage’s Green Eye for rocking a tie on a Friday night. Pshaw.
Monday, November 13, 2006
Hot Chip, Cool Bar
Remember the time when people said "synthesizer" instead of keyboards? Incidentally, it was also when fashionable gals were wearing like, tights under skirts, and um, leg-warmers. Well, my nostalgia-prone friend, for better or for worse, that time is back.
When Hot Chip (nay "Hawt Chip") took the stage at The Metro earlier this month, four-fifths of them took their stations behind a wall-o-synths. Shaking the venue's collective booty as much as 5 pasty Brits can shake an equally pasty crowd, they started the set with the throbbing dance-funk of "Boy From School" and carried the energy through the set. Mind you, Hot Chip is NOT a poke-around-behind-a-laptop band. The emphasized live element makes for a terrific show -- for every electric drone and bass beat there's dreamy pop harmonies, guitar hooks, and yes, even the beloved cowbell that's all the rage these days. Can't wait for the triangle to make it's homecoming.
For the encore they banged out a riotous version of "Over and Over" and a few days later someone reminded me I screamed "SYNTH GODDDS!" at some point. Probably when the song segued perfectly into a cover of New Order's "Temptation" -- a well-deserved nod to the Kings of Pasty Dance-Pop.
While my friend was busy slurring tequila infused come-ons downstairs at Smartbar, the remainder of our group took two quick lefts out the door and ducked into arguably the most tolerable bar in Wrigleyville: The Gingerman Tavern. An oddly shaped spot that occupies the wedge between N. Clark and Racine. It's no coincidence this bar is stumbling-distance from The Metro. The mix-matched chairs, tables and billiard balls complement it's equally eclectic clientele. That said, if anyone knows of a better Wrigleyville bar, I'd like to hear it, drink there, and then tell you why you're wrong.
photos by Pegs. Thanks Pegs.
When Hot Chip (nay "Hawt Chip") took the stage at The Metro earlier this month, four-fifths of them took their stations behind a wall-o-synths. Shaking the venue's collective booty as much as 5 pasty Brits can shake an equally pasty crowd, they started the set with the throbbing dance-funk of "Boy From School" and carried the energy through the set. Mind you, Hot Chip is NOT a poke-around-behind-a-laptop band. The emphasized live element makes for a terrific show -- for every electric drone and bass beat there's dreamy pop harmonies, guitar hooks, and yes, even the beloved cowbell that's all the rage these days. Can't wait for the triangle to make it's homecoming.
For the encore they banged out a riotous version of "Over and Over" and a few days later someone reminded me I screamed "SYNTH GODDDS!" at some point. Probably when the song segued perfectly into a cover of New Order's "Temptation" -- a well-deserved nod to the Kings of Pasty Dance-Pop.
While my friend was busy slurring tequila infused come-ons downstairs at Smartbar, the remainder of our group took two quick lefts out the door and ducked into arguably the most tolerable bar in Wrigleyville: The Gingerman Tavern. An oddly shaped spot that occupies the wedge between N. Clark and Racine. It's no coincidence this bar is stumbling-distance from The Metro. The mix-matched chairs, tables and billiard balls complement it's equally eclectic clientele. That said, if anyone knows of a better Wrigleyville bar, I'd like to hear it, drink there, and then tell you why you're wrong.
photos by Pegs. Thanks Pegs.
Thursday, November 09, 2006
The Day Downers Grove Was Awesome.
In what some would consider to be an unfortunate event in itself, I rolled out of bed at 6:30am on a Saturday to head to the western suburbs and catch a children’s book celebration. Ouch.
Why would someone do this? Well, the book was the 13th and final installment of A Series of Unfortunate Events by reclusive author Lemony Snickett, along with the musical accompaniment of The Gothic Archies.
ROCK AND ROLL!!!!
But enough with the pseudonyms. Snickett (who’s never been seen) is the penname of the mordantly funny and slightly effeminate Daniel Handler. The Gothic Archies is the most recent nom-de-plum of Stephin Merritt. The prolific singer/ songwriter/ producer/ collaborator that has made fantastic albums under the names Future Bible Heroes, The 6ths, and most recognizably The Magnetic Fields.
I had no knowledge of the Unfortunate Events series (except for the some semblance of a Jim Carrey film) until Anderson's Bookshop hooked me up with a copy of the book. Despite being utterly clueless, the opportunity to see (and ideally meet) the seldom-touring Merritt was too much of an opportunity to pass up.
It was obvious, as we waited in a line that curved around the block, that Merritt was an obscure footnote in this J.K.Rowling-esque obsession. The cue was mostly made up, as I assumed, of youth -- all clutching their new Snickett book. Well… youth, their parents, a smattering of hipsters and Carol Marin. Some of the kids were dressed as characters from the novel... mostly Violet: the eldest of the polite, book-loving orphan protagonist Baudelaire children.
At 9:30 the doors opened and people started heading into The Tivoli Theatre -- a gorgeous restored movie house. Merritt and Handler simultaneously took the stage, but it was definitely Handler’s show. He strode to centerstage and gleefully introduced Mr. Lemony Snickett with a sweeping gesture and a swell of applause. As the clapping subsided and no one emerged from the curtains the elders in the crowd who were “in” on the joke let out a little snicker. The kids were less jovial about the ordeal and disappointed that the Tivoli marquee, “Welcome Lemony Snickett”, was an out-and-out lie.
Handler then suggested the crowd should do the “Peter Pan thing” and applaud SO loud that Snicket should magically appear. The kids put in an honest second-effort but would quickly learn that Handler takes delight in disappointing children for the sake of entertainment –- a hobby shared by the author’s delightfully evil antagonist, Count Olaf.
“HONESTLY! Why would he [Snickett] lie to children!!!?,” Handler mused loudly, grabbing one of his books from the hands of an aisle-seated youth. “…Aside from the fact that it's easy. And fun." The kids, at some point, were also in on the joke and took delight in Handler’s antics and boisterous delivery -- even when the content of his quips were well over their heads.
Really bad photo of Merritt (right) and Snickett's untouched drumkit (left).
Amidst this highly-animated meanness, Merritt plucked the ukelee to the tune of his new Gothic Archies songs (an album which dedicates a song to each of Snickett’s thirteen books.) Between Handler’s silliness, the author would pick up his accordion to join Merritt in their songs. Merritt, who played the straightman to all of Handler’s hi-jinks, played very little and sang even less.
The Gothic Archies album, The Tragic Treasury: Songs from A Series of Unfortunate Events was TECHNICALLY co-written by Merritt and Snickett. But truth be told, Handler plays the accordion pretty well. In fact, Handler played keyboard and accordion on Merritt’s biggest success to date -- The Magnetic Fields’ massive pop genre-hopper 69 Love Songs.
Live, the diminutive Merritt’s voice is striking, a most unnatural baritone that resonated throughout the cinema. His foreboding (and sometimes nearly comical) delivery fits perfectly in Snickett’s playfully gloomy world. Sometimes buried in studio wizzardy or lo-fi recordings, Merritt’s vocals in-person were powerful -- most remarkably on their song “This Abyss”.
Merritt exited mid-show in a staged fit of embarrassment, as Handler complained aloud about the musician’s “incessant one-chord strumming”. The author then dragged two volunteers out of the crowd to use percussive instruments. Handler thrust a noise-maker at the older volunteer saying, “Here. Hold this. And when I give the signal, throttle it like a baby.”
At this point, with Merritt definitely not coming back, my entourage began to sneak back to the lobby in the hopes of talking to the reclusive artist. Not that I had anything logical to say to him. After blinking at eachother for a second, Merritt dead-panned "It's too early." It was. It wasn't even noon in rainy Downers Grove. And when I realized how burned-out I was, I imagined Stephin, with the tour not half over, travelling and playing second fiddle (read: ukelee) every morning at 10, he must be flat-out exhausted. In the spirit of the celebration, Merritt told me to frown for a picture. He then signed my pal's CD, writing "Beware of Brian. Brian is a spy." He's on to me.
Stephin It's-Too-Early Merritt: "Frown. Frown. Frown. Frown."
Elsewhere in the Tivoli, famed author & graphic novelist Neil Gaiman was shaking hands and signing autographs too. An unexpected but exciting addition to the days events. I personally didn’t know who Gaiman was, but the level of “freaked-outedness” that my friend displayed told me that the guy was kind of a big deal.
That said, the trip out to Da Burbs was well worth it. Though Merritt’s stage time was minimal, Handler was able to keep the attention of people with a near-zero attention span – that being me, my friends, and a crowd of 10 year olds.
Scaring Small Children
Why would someone do this? Well, the book was the 13th and final installment of A Series of Unfortunate Events by reclusive author Lemony Snickett, along with the musical accompaniment of The Gothic Archies.
ROCK AND ROLL!!!!
But enough with the pseudonyms. Snickett (who’s never been seen) is the penname of the mordantly funny and slightly effeminate Daniel Handler. The Gothic Archies is the most recent nom-de-plum of Stephin Merritt. The prolific singer/ songwriter/ producer/ collaborator that has made fantastic albums under the names Future Bible Heroes, The 6ths, and most recognizably The Magnetic Fields.
I had no knowledge of the Unfortunate Events series (except for the some semblance of a Jim Carrey film) until Anderson's Bookshop hooked me up with a copy of the book. Despite being utterly clueless, the opportunity to see (and ideally meet) the seldom-touring Merritt was too much of an opportunity to pass up.
It was obvious, as we waited in a line that curved around the block, that Merritt was an obscure footnote in this J.K.Rowling-esque obsession. The cue was mostly made up, as I assumed, of youth -- all clutching their new Snickett book. Well… youth, their parents, a smattering of hipsters and Carol Marin. Some of the kids were dressed as characters from the novel... mostly Violet: the eldest of the polite, book-loving orphan protagonist Baudelaire children.
At 9:30 the doors opened and people started heading into The Tivoli Theatre -- a gorgeous restored movie house. Merritt and Handler simultaneously took the stage, but it was definitely Handler’s show. He strode to centerstage and gleefully introduced Mr. Lemony Snickett with a sweeping gesture and a swell of applause. As the clapping subsided and no one emerged from the curtains the elders in the crowd who were “in” on the joke let out a little snicker. The kids were less jovial about the ordeal and disappointed that the Tivoli marquee, “Welcome Lemony Snickett”, was an out-and-out lie.
Handler then suggested the crowd should do the “Peter Pan thing” and applaud SO loud that Snicket should magically appear. The kids put in an honest second-effort but would quickly learn that Handler takes delight in disappointing children for the sake of entertainment –- a hobby shared by the author’s delightfully evil antagonist, Count Olaf.
“HONESTLY! Why would he [Snickett] lie to children!!!?,” Handler mused loudly, grabbing one of his books from the hands of an aisle-seated youth. “…Aside from the fact that it's easy. And fun." The kids, at some point, were also in on the joke and took delight in Handler’s antics and boisterous delivery -- even when the content of his quips were well over their heads.
Really bad photo of Merritt (right) and Snickett's untouched drumkit (left).
Amidst this highly-animated meanness, Merritt plucked the ukelee to the tune of his new Gothic Archies songs (an album which dedicates a song to each of Snickett’s thirteen books.) Between Handler’s silliness, the author would pick up his accordion to join Merritt in their songs. Merritt, who played the straightman to all of Handler’s hi-jinks, played very little and sang even less.
The Gothic Archies album, The Tragic Treasury: Songs from A Series of Unfortunate Events was TECHNICALLY co-written by Merritt and Snickett. But truth be told, Handler plays the accordion pretty well. In fact, Handler played keyboard and accordion on Merritt’s biggest success to date -- The Magnetic Fields’ massive pop genre-hopper 69 Love Songs.
Live, the diminutive Merritt’s voice is striking, a most unnatural baritone that resonated throughout the cinema. His foreboding (and sometimes nearly comical) delivery fits perfectly in Snickett’s playfully gloomy world. Sometimes buried in studio wizzardy or lo-fi recordings, Merritt’s vocals in-person were powerful -- most remarkably on their song “This Abyss”.
Merritt exited mid-show in a staged fit of embarrassment, as Handler complained aloud about the musician’s “incessant one-chord strumming”. The author then dragged two volunteers out of the crowd to use percussive instruments. Handler thrust a noise-maker at the older volunteer saying, “Here. Hold this. And when I give the signal, throttle it like a baby.”
At this point, with Merritt definitely not coming back, my entourage began to sneak back to the lobby in the hopes of talking to the reclusive artist. Not that I had anything logical to say to him. After blinking at eachother for a second, Merritt dead-panned "It's too early." It was. It wasn't even noon in rainy Downers Grove. And when I realized how burned-out I was, I imagined Stephin, with the tour not half over, travelling and playing second fiddle (read: ukelee) every morning at 10, he must be flat-out exhausted. In the spirit of the celebration, Merritt told me to frown for a picture. He then signed my pal's CD, writing "Beware of Brian. Brian is a spy." He's on to me.
Stephin It's-Too-Early Merritt: "Frown. Frown. Frown. Frown."
Elsewhere in the Tivoli, famed author & graphic novelist Neil Gaiman was shaking hands and signing autographs too. An unexpected but exciting addition to the days events. I personally didn’t know who Gaiman was, but the level of “freaked-outedness” that my friend displayed told me that the guy was kind of a big deal.
That said, the trip out to Da Burbs was well worth it. Though Merritt’s stage time was minimal, Handler was able to keep the attention of people with a near-zero attention span – that being me, my friends, and a crowd of 10 year olds.
Scaring Small Children
November: Bored People Are Boring – Brian's Stuff To Do
Fri 11/10
Metro 10pm
Hot Chip
London’s Hot Chip is a frontrunner in the dancing-crazy-is-the-new-standing-still rock category. Equal parts digital and organic, the most immediate comparison is with DFA labelmates LCD Soundsystem but while the latter can come off disaffectedly NYC, Hot Chip’s modus operandi is definitely “Get Those Asses Moving”. It’s pop, it’s funk, it’s electronic and it’s just plain fun. Shy Child and Born Ruffians open. (Song Streaming here)
Sat 11/11 12pm to 5pm
SOUTH UNION ARTS MARKET (1352 S. UNION in Chicago)
Do you feel holiday mall shopping sucks the “cool” right out of you. Well, my crafty, “indie”, closet Gilmore Girls fans – I have a solution. Check out the hipper-than-thou S.U.A. Market, which, although still pre-Thanksgiving, is spinning this as a Holiday sales event. Grrrrr. Local vendors will sell a variety of handmade items: clothing, journals, photography, poster art, paper goods and more. Plus some ‘lil sweets sold by TipsyCake. Musical accompaniment by Heligoats, Octagon Island, WE/OR/ME.
Wed 11/15 – 9pm
Subterranean
NORFOLK & WESTERN
Norfolk & Western, the pseudonym of singer/songwriter Adam Selzer, has roped in his amour, Rachel Blumberg (former Decemberists’ drummer), and a handful of other musicians in order to craft intricate, literate arrangements that may rival that of Blumberg’s previous Portland-based “collective”. Chicago-based Darling open.
FREE N&W MP3 here.
Sun 11/19
Beat Kitchen
Bishop Allen
Former Bostonites now Brooklynites, Bishop Allen knows their way around a pop song. Lyrics are clever and sincere, and their sound incorporates early Talking Heads, catchy hooks, sing-songy vocals, Brit-invasion guitar and even a bit of urban twang. 2003’s under-the-radar pop gem Charm School put them on the map, and in the meantime they’ve stayed busy releasing an EP each month this year with what seems like a sure-fire hit on each one. Lots of free tunes on their homepage.
Tue 11/21, 5pm
Val’s Halla Records, Oak Park (239 Harrison St)
Val’s Halla Records Movie Night
This Tuesday, like every Tuesday, is Val’s Halla movie night. The renowned record shop has recently relocated elsewhere in Oak Park to a place that can fit like… more than eight people. Crate dive for some discount vinyl, grab some free promo stickers, and enjoy some music videos and music-themed films. Crank it up to 11.
Fri 11/24, Sat 11/25
Logan Square Auditorium
Andrew Bird
A homecoming of sorts for this original Chicago-bred talent. Logan Square Auditorium hosts a two-night stint for Andrew Bird, known for putting on enthralling and inventive concert performances. Bird’s sets are lush with layered sounds of percussion, orchestral flourishes, his talents on multiple instruments especially the violin, and yes, even his hypnotic whistling skills. All this is complimented by Bird’s penchant for quirky endearing lyricism. His whimsical sound draws easy comparisons to Sufjan Stevens, Rufus Wainwright and Jeff Buckley. There won’t be snacks.
Metro 10pm
Hot Chip
London’s Hot Chip is a frontrunner in the dancing-crazy-is-the-new-standing-still rock category. Equal parts digital and organic, the most immediate comparison is with DFA labelmates LCD Soundsystem but while the latter can come off disaffectedly NYC, Hot Chip’s modus operandi is definitely “Get Those Asses Moving”. It’s pop, it’s funk, it’s electronic and it’s just plain fun. Shy Child and Born Ruffians open. (Song Streaming here)
Sat 11/11 12pm to 5pm
SOUTH UNION ARTS MARKET (1352 S. UNION in Chicago)
Do you feel holiday mall shopping sucks the “cool” right out of you. Well, my crafty, “indie”, closet Gilmore Girls fans – I have a solution. Check out the hipper-than-thou S.U.A. Market, which, although still pre-Thanksgiving, is spinning this as a Holiday sales event. Grrrrr. Local vendors will sell a variety of handmade items: clothing, journals, photography, poster art, paper goods and more. Plus some ‘lil sweets sold by TipsyCake. Musical accompaniment by Heligoats, Octagon Island, WE/OR/ME.
Wed 11/15 – 9pm
Subterranean
NORFOLK & WESTERN
Norfolk & Western, the pseudonym of singer/songwriter Adam Selzer, has roped in his amour, Rachel Blumberg (former Decemberists’ drummer), and a handful of other musicians in order to craft intricate, literate arrangements that may rival that of Blumberg’s previous Portland-based “collective”. Chicago-based Darling open.
FREE N&W MP3 here.
Sun 11/19
Beat Kitchen
Bishop Allen
Former Bostonites now Brooklynites, Bishop Allen knows their way around a pop song. Lyrics are clever and sincere, and their sound incorporates early Talking Heads, catchy hooks, sing-songy vocals, Brit-invasion guitar and even a bit of urban twang. 2003’s under-the-radar pop gem Charm School put them on the map, and in the meantime they’ve stayed busy releasing an EP each month this year with what seems like a sure-fire hit on each one. Lots of free tunes on their homepage.
Tue 11/21, 5pm
Val’s Halla Records, Oak Park (239 Harrison St)
Val’s Halla Records Movie Night
This Tuesday, like every Tuesday, is Val’s Halla movie night. The renowned record shop has recently relocated elsewhere in Oak Park to a place that can fit like… more than eight people. Crate dive for some discount vinyl, grab some free promo stickers, and enjoy some music videos and music-themed films. Crank it up to 11.
Fri 11/24, Sat 11/25
Logan Square Auditorium
Andrew Bird
A homecoming of sorts for this original Chicago-bred talent. Logan Square Auditorium hosts a two-night stint for Andrew Bird, known for putting on enthralling and inventive concert performances. Bird’s sets are lush with layered sounds of percussion, orchestral flourishes, his talents on multiple instruments especially the violin, and yes, even his hypnotic whistling skills. All this is complimented by Bird’s penchant for quirky endearing lyricism. His whimsical sound draws easy comparisons to Sufjan Stevens, Rufus Wainwright and Jeff Buckley. There won’t be snacks.
Monday, October 30, 2006
Live Music Review: Clap Your Hands Say Yeah, Architecture in Helsinki, Takka Takka
They could’ve named this show “The Bands With Unnecessary Names” Tour ’06. New York-cum-Philly "indie" success story Clap Your Hands Say Yeah, Australia’s Architecture in Helsinki, with Brooklyn-based Takka Takka opening took Chicago by storm early this October before actual weather took Chicago by, well, storm.
Venue? One of my faves.
Ticket price? A bit exorbitant.
Playing a two-night stint? Er, probably not a brilliant business plan.
Tickets were a-plentiful at the box office as the show was going on. Small, apologetic girls were selling their tickets for under face value on Sheffield. “I just don’t want to go anymore,” she explained. Fair enough. Maybe she had a Yom Kippur hangover. Does that exist? Well, if not, it was a crappy Tuesday in general.
Takka Takka got things going off to a… start, I guess. Simple, sweet-sounding tunes, pleasing, catchy, but not incredibly anything. Their studio tracks sound tight, but the pop charm that they exude on-record didn’t come off so well live. Nevertheless, a band to keep your eye on when they come through town again next month, playing at one of my fav venues in the city.
The headliner of the show, Clap Your Hands Say Yeah, returned fairly recently from their sold-out show at The Metro earlier this year, ennui intact and ever-growing. The stage lighting creeped me out, but I’m always pleasantly surprised that lead singer Alec Ounsworth’s nasally voice isn’t nearly as obnoxious live as it is on the album. Let’s get this out of the way: A.O.’s voice sounds like David Byrne. I’m sorry if this angers people. There’s nothing wrong with sounding like David Byrne. Ounsworth insists otherwise. That’s okay, I’ve heard my voice on tape and it sounds weird too -- all hoarse and occasionally lispy.
Annnnycrap, the hits were played. Oh, were they ever played.
The highlight being an extended loopy keyboard and guitar jangle intro that jumped excitedly into "Is This Love?" with drummer Sean Greenhalgh tight on the beat. CYHSY speckled their show with some new material that keeps their "sound" but stretches the band's legs a bit. I made a mental note to call a song "Krautrock Satan", but I've since learned the song is called "Satan Said Dance." A pretty catchy tune with one exception: The band's pre-planned crowd-participation in which we were expected to chant "SATAN! SATAN!" back at them during the chorus. Neh. Problem is, 1.) not everyone (me) had heard this song before and 2.) I'd rather not chant "Satan" in general... that's just me.
Elsewhere in the set, between-song downtime seemed a bit excessive, and I also took issue with a torturously long applause for an encore, in which most had given up and started talking to other concert goers while patting their hands together. (I learned that the man with the hoodie-inside-sportcoat combo next to me "knows you girls from somewhere... maybe Bank of America?"). Regardless, 'twas a good set. You can't deny CLYSY propensity for catchy hooks, their tireless work-ethic and self-promotional savvy. The young band sounded fresh and confident--a great sign for a group that's been touring incessantly.
Sandwiched between the two NY rock bands were the delightful Architecture in Helsinki. The eclectic group dressed the part--six members (an abridged touring lineup) took the stage looking like a mishmash of high school sterotypes... spaz, jock, hippie, Cure fan, etc, etc. Shirking the deliberately childish sounds of their first release, Fingers Crossed, AiH’s entire set was blissful, endearing and downright danceable (fittingly, as an In Case We Die LP "remix" album is in the works).
Swapping vocal duties and
instruments between nearly every song, the band bounced through newer material and brand-new material, smooshing genres and song structures as they went. The abrupt endings and mid-song tempo changes which make their albums a peculiar experience created an exhilarating live experience--keeping the audience guessing… and clapping… and jumping around a bit.
The extended segue into a funk-friendly “Do the Whirlwind” got people bouncing, while the delightfully quirky Jamie Mildren (right) stole the show belting out her vocals on “Wishbone” – the hap-hap-happiest pop gem you may ever hear.
Clad in a well-loved Ryne Sandberg jersey (a move Belle & Sebastian’s Stuart Murdoch has pulled in Chicago before), singer Cameron Bird delivered his so-called “love ballad from the Outback,” “Maybe You Can Owe Me” with the equal parts whimsy and sincerity.
But before it could get too cute Bird got back to groovin'--hitting the drum machine and rocking out with such abandon that the instrument was knocked hard to the floor. Overall, the new stuff sounds great, one sounding an awful lot like Rusted Root (ha, in a good way) and the whole set giving off a exuberant twee-meets-Stop Making Sense rumpus.
(Photos by Pegs. Thanks Pegs.)
Venue? One of my faves.
Ticket price? A bit exorbitant.
Playing a two-night stint? Er, probably not a brilliant business plan.
Tickets were a-plentiful at the box office as the show was going on. Small, apologetic girls were selling their tickets for under face value on Sheffield. “I just don’t want to go anymore,” she explained. Fair enough. Maybe she had a Yom Kippur hangover. Does that exist? Well, if not, it was a crappy Tuesday in general.
Takka Takka got things going off to a… start, I guess. Simple, sweet-sounding tunes, pleasing, catchy, but not incredibly anything. Their studio tracks sound tight, but the pop charm that they exude on-record didn’t come off so well live. Nevertheless, a band to keep your eye on when they come through town again next month, playing at one of my fav venues in the city.
The headliner of the show, Clap Your Hands Say Yeah, returned fairly recently from their sold-out show at The Metro earlier this year, ennui intact and ever-growing. The stage lighting creeped me out, but I’m always pleasantly surprised that lead singer Alec Ounsworth’s nasally voice isn’t nearly as obnoxious live as it is on the album. Let’s get this out of the way: A.O.’s voice sounds like David Byrne. I’m sorry if this angers people. There’s nothing wrong with sounding like David Byrne. Ounsworth insists otherwise. That’s okay, I’ve heard my voice on tape and it sounds weird too -- all hoarse and occasionally lispy.
Annnnycrap, the hits were played. Oh, were they ever played.
The highlight being an extended loopy keyboard and guitar jangle intro that jumped excitedly into "Is This Love?" with drummer Sean Greenhalgh tight on the beat. CYHSY speckled their show with some new material that keeps their "sound" but stretches the band's legs a bit. I made a mental note to call a song "Krautrock Satan", but I've since learned the song is called "Satan Said Dance." A pretty catchy tune with one exception: The band's pre-planned crowd-participation in which we were expected to chant "SATAN! SATAN!" back at them during the chorus. Neh. Problem is, 1.) not everyone (me) had heard this song before and 2.) I'd rather not chant "Satan" in general... that's just me.Elsewhere in the set, between-song downtime seemed a bit excessive, and I also took issue with a torturously long applause for an encore, in which most had given up and started talking to other concert goers while patting their hands together. (I learned that the man with the hoodie-inside-sportcoat combo next to me "knows you girls from somewhere... maybe Bank of America?"). Regardless, 'twas a good set. You can't deny CLYSY propensity for catchy hooks, their tireless work-ethic and self-promotional savvy. The young band sounded fresh and confident--a great sign for a group that's been touring incessantly.
Sandwiched between the two NY rock bands were the delightful Architecture in Helsinki. The eclectic group dressed the part--six members (an abridged touring lineup) took the stage looking like a mishmash of high school sterotypes... spaz, jock, hippie, Cure fan, etc, etc. Shirking the deliberately childish sounds of their first release, Fingers Crossed, AiH’s entire set was blissful, endearing and downright danceable (fittingly, as an In Case We Die LP "remix" album is in the works).
Swapping vocal duties and
instruments between nearly every song, the band bounced through newer material and brand-new material, smooshing genres and song structures as they went. The abrupt endings and mid-song tempo changes which make their albums a peculiar experience created an exhilarating live experience--keeping the audience guessing… and clapping… and jumping around a bit.The extended segue into a funk-friendly “Do the Whirlwind” got people bouncing, while the delightfully quirky Jamie Mildren (right) stole the show belting out her vocals on “Wishbone” – the hap-hap-happiest pop gem you may ever hear.
Clad in a well-loved Ryne Sandberg jersey (a move Belle & Sebastian’s Stuart Murdoch has pulled in Chicago before), singer Cameron Bird delivered his so-called “love ballad from the Outback,” “Maybe You Can Owe Me” with the equal parts whimsy and sincerity.
But before it could get too cute Bird got back to groovin'--hitting the drum machine and rocking out with such abandon that the instrument was knocked hard to the floor. Overall, the new stuff sounds great, one sounding an awful lot like Rusted Root (ha, in a good way) and the whole set giving off a exuberant twee-meets-Stop Making Sense rumpus.
Free Mp3's:
Takka Takka - "Coco On The Corner"
Architecture in Helsinki - "Do The Whirlwind (Metronomy Mix)"
Clap Your Hands Say Yeah - "Upon This Tidal Wave of Young Blood"
(Photos by Pegs. Thanks Pegs.)
Subscribe to:
Posts (Atom)
