Indie Baby!

Behold, the video that's forcing me to remind myself that I don't yet want babies. Check out this adorable tot drumming along to Grizzly Bear's "Two Weeks." Cute to the core and from the looks of it, indie-rock's future star drummer. My favorite part? "Ooooh ooooh oooh!" I die.

A little comic relief for my photographer friends

Thanks to my photog friend, Lizz , for the heads up and providing me with some welcome mid-afternoon giggles. Think Lonely Island meets photo fetish:



(myspace.com/thephotoclub)

New Music: Beach House debuts "Norway"

Check out a preview of Beach House's forthcoming record, Teen Dream, set to be released in January 2010. "Norway," sure to be the duo's first single, couldn't be more pleasing to a steadfast BH fan like me. The song is a few paces faster than most BH songs, which is a welcome change; but their hazy dream-pop still prevails, the quicker tempo just mixing things up a bit. Singer Victoria Legrand channels Stevie Nicks in "Norway", but pleasantly reaches out of her deep vocal range while maintaining her token sultry voice. Listen to the song below, courtesy of PasteMagazine.com :

The Pumpkins Release New Song; Corgan Regrets Not Being a Daddy

AOL's Spinner.com debuted the first track from the Smashing Pumpkins' forthcoming Teargarden by Kaleidyscope, "Song For a Son." I don't know what I was expecting hoping for - a resurgence of the old Pumpkins, yes, but now it seems Corgan can't even be bothered to actually sing in his songs. The song was evidently inspired by the fact that he has never bore children. (??)

The opening piano part sounded hopeful, but the song develops into Corgan repeatedly whining, "I am one of many, many more to come." With plans for releasing 11 4-song EPs in the coming weeks, there will indeed be "many more (songs) to come..." but hopefully not like this one.

Listen to it at Spinner.com here: http://bit.ly/7ylkmb or visit www.SmashingPumpkins.com (below) for a free download:

The Nostalgic CD Series: Vol. 1

Catherine Wheel, Chrome

One of my all-time favorite albums, I consider Chrome (1993) to be near perfection. I discovered the UK's Catherine Wheel in 1995, when they opened for Belly at the American Theater in St Louis; I walked away with this album, and a t-shirt (how '95 of me). Between the record's spacey guitar effects pedals, and Rob Dickinson's aptitude for penning emotive lyrics, ("I build my canopy of steel / It fulfills my sense of real / A chrome protection...") Chrome maintains a special place in my heart and CD collection. "Crank" is still among my favorite songs; "Kill Rhythm," "The Nude," and "Pain" also remain magic to my ears. This one clearly comes highly recommended.

Here's a recent pic of Rob Dickinson and me, at his solo show at Schubas, just for shits and giggles.

Fixation Station

I am currently forming healthy(ish) addictions to:
* Annie Clark's blog. I love her modest charm and enjoy watching her selection of live videos. (www.ilovestvincent.com/blog)
* Jameson-spiked coffee - Self-explanatory, and my most favorite of this edition's fixations, which worries me.
* Fanfarlo - A welcome new addition to my record collection iTunes library. And they even kind-of - sort- of cover the Smashing Pumpkins' "We Only Come Out at Night" (below).

New on the Local Scene: Lincoln Hall

Chicago surely has its share of worthy venues from which to choose, but among our easy favorites is Lakeview’s local lair, Schubas. Located at the corner of Southport and Belmont, Schubas is co-owned by brothers, Chris and Mike Schuba. Naturally, when we heard the news of the brothers’ brand new musical-meets-real estate endeavor, Lincoln Park’s newest venue, Lincoln Hall, we couldn’t wait to explore. Located in the old Three Penny Cinema building (across from the Biograph), Lincoln Hall stands not far from where Chicago’s legendary music club, Lounge Ax once was (which sadly closed its doors in 2000).

Schubas has built its reputation on preserving an intimate environment in which to see first-rate acts (artists who have performed there include The Shins, Andrew Bird, Cat Power and Feist) in a cozy space that holds under 200 patrons. Lincoln Hall, however, joins such mid-sized venues as the Double Door and Bottom Lounge, holding 500 people at capacity. But what can we expect from Lincoln Hall? Schubas and Lincoln Hall Communications Director, Tim Stephans, was kind enough to give us the inside scoop on what makes the newest venue in town so damn cheeky.

Schubas is known for its intimate atmosphere, stellar sound and cordial staff - it’s no surprise that Lincoln Hall boasts similar qualities, according to Stephans. “Quality bookings, great sound and a hospitable staff” await patrons at Lincoln Hall, but the room itself differs aesthetically from its sister venue, as Stephans points out Lincoln Hall’s more “modern” look. “Schubas is plenty nice, but it’s a 20-year-old business in a 100-year-old building, so it has the natural character that accompanies that age; Lincoln Hall was built from the ground up, with the help of experienced club owners, designers and acoustic engineers.” Included in the venue’s 8,400 square-feet are two levels, each stocked with full-service bars, clear sight-lines and a warm atmosphere. When asked how Lincoln Hall differs from other mid-sized venues around the city, Stephans reiterates the venue’s “homey atmosphere” for hosted bands and patrons, and emphasizes its state-of-the-art sound. “We’re excited to (have the space to) regularly bring in bands that would normally sell out Schubas.”

For those with emotional (or perhaps gastro-economic) ties to Schubas’ culinary counterpart, Harmony Grill, don’t fret - the Schubas kin strongly believe in the blending of music and munchies, as Lincoln Hall too offers a full menu and chic dining area. (Rest assured - this menu also includes Harmony Grill’s legendary Mac and Cheese, which makes my stomach growl just thinking of it.) Though we admit it might be a tough dish to beat, Stephans also recommends the Buffalo Chicken Satay (breaded chicken strips slathered in a spicy-sweet buffalo glaze, $6), as well as Lincoln Hall’s tried-and-true hamburger ($9), which is embellished with caramelized onions and served on a brioche bun.

With shows like Mike Doughty, Jay Farrar & Ben Gibbard and Vic Chestnutt under its belt, Lincoln Hall sets a high precedent for itself already. Stephans tipped us off to some of the venue’s hottest upcoming shows, including two consecutive nights of The Walkmen (November 12 and 13), featuring The White Rabbits. Of course, we’ll still show Schubas plenty of love - after all, it remains one of our favorite local haunts. But Lincoln Hall is a welcome addition to Chicago’s concert scene. It looks like the Schuba Bros. are conquering the world - one local venue at a time.

Published 11/12/09 for CheekyChicago.com, at http://tinyurl.com/ybjbovb
Photos by by Clayton Hauck

Album Review, The xx

London’s The xx is gaining press with their self-titled debut album, and for due reason. First, and maybe most impressively, no member of the quartet is over 20-years-old - but listeners wouldn’t exactly guess that upon first listen, as xx’s sound is one of innovative, edgy (albeit seemingly lax) song craftsmanship. Vocal duties are split evenly between singers Romy Madley Croft and Oliver Sim, whose hushed voices together offer sensual yet understated sexuality with each duet. Croft’s vocal style can most closely be described as Sade-meets-Beach House-meets-Luscious Jackson; the songs’ foremost strength lies in her unique voice.

The album is sprinkled with contemporary electro-pop influences, a la Hot Chip, as heard in its many drum machines, loops and keys. But xx also features Interpol-style guitar tones, as best heard in tracks like “Night Time.” xx is essentially subdued dream-pop meets Electronica, with flecks of R&B. The album’s first single, “Crystalised,” features cool, provocative vocal interplay between Croft and Sim, alongside a catchy guitar riff and languid bass line, making the track a sure xx standout. “Basic Space” is equally charming, albeit sparse, displaying The xx’s knack for crafting quality songs, without many added instruments for effects. The precocious youngsters even self-produced xx, and joined Florence & the Machine on tour last month.

Visit The xx at myspace.com/thexx and be sure to catch them at Chicago’s Bottom Lounge, December 1; just don’t offer to buy them a drink - they’re not old enough!

Birthday Bourgeois

Ryan Gosling: November 12, 1980

So hot he makes my teeth sweat (thanks, Saved By the Bell), and refreshingly, his music is not half bad, either: myspace.com/deadmansbones

Live Review: Scott Lucas & the Married Men @ Subterranean

For anyone remotely in-the-know of Chicago’s music scene, Local H is a band name that surely rolls off your tongue. But during the rock duo’s downtime, frontman Scott Lucas doesn’t exactly kick his feet up. For the past few years, the singer/songwriter/guitarist has spread his musical aptitude to Chicago electronica group, the Prairie Cartel. Most recently, Lucas has crafted yet another new project—the Married Men—which played Subterranean Friday evening. In his newest musical outfit, Lucas proves himself a rock and roll chameleon, shedding his tough Local H exterior and evoking a tamer sound and stage persona. The sextet, which has just wrapped up work on its forthcoming debut, George Lassos the Moon, set the stage for the Disciplines. Their lineup alone (violin, accordion, guitars, drums) proved not only would they sound nothing like Local H, but chances are they wouldn’t sound much like most contemporary indie bands.

The majority of the band's set consisted of subtle gems, like “What Fools Allow,” a tender and honest reflection of love-lost, complimented by a woeful violin compliment. Songs like “You Put a Spell On Me” are such lyrical standouts, it’s a shame the sound at SubT was muffled at best. Heavier-sounding bands like Local H might flourish behind distortion, but the material on George Lassos the Moon is so raw and beautiful that it thrives when stripped down, showcasing the lyrics and intricate violin and accordion parts. But Lucas showed he hasn’t quite lost his hard-rock edge, as proven in the full-band breakdown of "Extra Special Bitter," or in “Stolen Umbrellas,” as he croons, “I’ll take this communion ‘til things turn black / A glass of Robitussin with a whiskey back / And still I can make the world disappear.” The band dedicated its set to nonstop music, offering little between-song banter, as they pumped out George tracks, including "Angels In the Crowd," and a pleasantly surprising closing cover of David Bowie's "Absolute Beginners."

It was refreshing to witness a Chicago rock staple take the bold step out of the alt-rock confines and into an artistically progressive musical genre, free of the distortion pedal. It’s always interesting when artists reach into another realm in their side-projects—but balancing alt-rock, electronica, and art-rock—that’s just plain intriguing. Look for Scott Lucas & the Married Men’s official debut, George Lassos the Moon sometime next year, and in the meantime, check out video of a solo-acoustic Lucas playing “The Last One” (courtesy of Felix Pineiro, via YouTube)


Published 10/27/09 for the Deli Chicago, at http://www.thedelimagazine.com/chicago/index.php?name=thedelichicago&itemId=226914

Interview: Pretty Good Dance Moves

What do you get when you mix one part Electronica, one part Pop and one part Indie Rock? You get Chicago’s hottest electro-pop duo, Pretty Good Dance Moves. Comprised of founding members, Jimmy Giannopoulos and Aaron Allietta, PGDM has been making considerable waves on the indie-electro scene this year. With its curious inclusion of such instruments as the vibraphone, xylophone, piano and trusty drum-machine, the indie-tronic duo with the infectious name has been turning heads — and not just because they’re hopelessly dreamy, but we’re sure that helps.

Last year’s self-titled debut EP featured none other than Company of Thieves’ Genevieve Schatz (one of our fave Cheeky chicks) on guest vocals. Schatz’s sultry sound blended perfectly with Giannopoulos’, adding charming guy/gal vocal interplay alongside Allietta’s intricate synth loops; this time around, PGDM is delving into a plethora of other talented musicians for their forthcoming full-length (including Peter Bjorn & John’s Björn Yttling), which is slated for release at year’s end. We sat down with 50% of PGDM, electro mastermind Jimmy Giannopoulos, to discuss the group’s evolution, his take on the Chicago music scene, and some juicy details about the group’s anticipated forthcoming record.

Neph Basedow: In 2007, you opted to leave Chicago, migrating east to New York. Since then, you seem to be splitting your time between the two cities, with Aaron holding down the fort in Chicago. How does that situation work for you guys?

Jimmy Giannopoulos: It’s been two years now since I’ve made my residence in NYC permanent and we, as a group, have yet to hit a speed bump. Originally, we did 100% of the recording in Chicago, so I would travel back to Chicago more often. But on this new record I cut a lot of the vocals with collaborators in Brooklyn and Manhattan so Aaron (Allietta) and I would just bounce tracks back and fourth through email. However, I still do come to Chicago often because Lincoln’s Square’s Studio Ballistico remains our recording hub.

NB: How have you found the music scene to be different in New York vs. Chicago?

JG: Well, the Brooklyn scene receives rather strong attention from music lovers and musicians alike. It seems to be a very “supportive scene.” My favorite part of the NYC scene is checking out bands at parties. I run into a lot of other musicians and we start talking music, and I’ve found it usually turns out that I have heard of their group and they have heard of mine. Naturally (and those who know me can expect this), if I dig another artists’ music, I will most likely ask them to play on a new song of ours (hence all the collaborators on our forthcoming record). I suppose the biggest difference I’ve noticed is that NYC is more of a music “industry” town; a little more open to the new and fresh elements of music. But like Sinatra, I love both towns.

NB: The name of your group peaks everyone’s interest. How did you come up with the name Pretty Good Dance Moves?

JG: Aaron and I came up with the band name when we were writing our first songs together for the group. I think we were both in a place where the bands we were in before took themselves so seriously, which made Aaron and I want to reel it back a bit — in other words, we wanted something “pretty good.”

NB: Speaking of your previous bands, Jimmy, PGDM is clearly more electro-pop than your previous group, the Musical Outfits, and Aaron is a vet around the Chicago music scene as well, playing with Oucho Sparks and many others - but neither of you seem to have been in a genre like this before. Did you guys always have a fondness for electro-pop? Had you previously aspired to eventually move toward this genre?

JG: I had just bought a drum machine and Aaron had a ton of cool vintage synthesizers, so we decided to put them to good use. I have always been a huge Kraftwerk fan and Aaron turned me on to groups like Album Leaf, both of which have inspired us, so we took it from there.

NB: We’re excited to feature your latest single, “Leave Me Alone” on CheekyChicago! The song features guest vocals from Björn Yttling, of Peter Bjorn & John - how did this come to fruition and what was that experience like for you both?

JG: I met Bjorn a while back at a bar in the East Village. We became buds and I agreed to pass a song along to him to see if he was interested in collaborating. We ultimately decided on one track (“Leave Me Alone”) since we were emailing with him back and forth between Sweden and the U.S. I would like to get him in the studio as a producer on our next record — that would be interesting.

NB: That does sound interesting! Did Bjorn introduce you to any cool new music in the process?

JG: Actually, yes — you should check out this group of girls from Tokyo, called The Suzan — they’re rad!

NB: You clearly have an affinity toward female vocalists! Your debut singles like “Demons Dancing” feature the sultry vocals of Company of Thieves’ Genevieve Schatz, who we’ve featured on CheekyChicago as well. Do you plan to record anything with her in the future?

JG: When we first started this group, we really wanted to find a female vocalist that can make our music “listenable”, and Genevieve fits that mold! At the same time we released our first EP and started getting press, she was showcasing with her group, Company of Thieves. The fact that we started getting recognition for PGDM at the same time her band got signed to Wind-Up Records is wild! We are so proud of her and the band. Yes, we are looking forward to cutting tracks with Genevieve again; however, our new record features almost a dozen new vocalists.

NB: And one of those vocalists is another talented female artist, Angelina Lucero — can you tell us a little about her?

JG: Sure, Angelina is among the vocalists we’re excited about on our next record. One of our buds told us to check her out and she absolutely blew us away. We originally were only going to do one track with her, but it snowballed into, like, four or five! Angelina is going to be featured at our live shows as well.

NB: What can we expect from your forthcoming full-length later this year, and what’s next for PGDM?

JG: The new record is fresh and almost finished; we plan to drop it by the end of the year. We’ve let guest vocalists Bjorn and Angelina “out of the bag”, but I think folks will be pleasantly surprised when they hear all the other guest vocalists we’ve teamed up with to make this record. We are doing a bunch of CMJ shows in NYC at the end of October and then we will tour in support of the record — the rest is a secret!

You heard the man—the rest is a secret! Meanwhile, we’ll be waiting on the edge of our seats until the album’s release — or maybe even practicing our dance moves.

Birthday Bourgeois

David Lee Roth: October 10, 1955

I'm always shocked my friends and contemporaries don't share my fond thoughts on David Lee Roth. I'm sorry, but I absolutely adore him. Still. Happy birthday, Diamond Dave!

Interview: Genevieve Schatz of Company of Thieves

It’s been a whirlwind year for one of our favorite local bands, Company of Thieves. The Chicago-based pop outfit signed to Wind-Up Records earlier this year, and has since expanded its hometown popularity to the national front. The combination of the band’s catchy pop hooks and relentless onstage energy, paired with the sultry charisma of CoT frontwoman, Genevieve Schatz, has thrust the band into the indie-rock spotlight. We caught up with the charming lead singer/songwriter, to discuss her inspirations, style, and highlights from the band’s exciting year.


Neph Basedow: Which classic and/or contemporary women in music have inspired you over the years?

Genevieve Schatz: I admire and am inspired by Aretha Franklin's power-house soul, Billie Holiday's grace, Nina Simone's headstrong attitude, Joni Mitchell's choice of words, Fiona Apple's honesty, and Bjork's imagination!


NB: You have a unique sense of fashion; I often look forward to seeing what you’ll wear on stage. How would you describe your sense of style and what inspires your fashions?

GS: Thank you! I would describe my style as moody and playful, almost doll-like, but the kind of doll you have had to patch up over the years with all sorts of different patterns, prints, and textures that were lucky to be discovered in your grandmother's old dress-up chest that was hidden away in the attic. Odd color and texture combinations inspire me, as well as emotions and cherished stories that need new life put into them.


NB: Being immersed in the musical world—having recently signed to a record label, joining national tours, fronting an otherwise all-male rock group—do you find that you are approached differently as a female musician? Do people tend to treat frontwomen any differently than men fronting bands?

GS: As a female musician I do feel like there is an obstacle course I have to go through every time I enter a club- the course mostly consisting of people's expectations and pre-conceived notions of what a female performer should be or is. I say “performer” because that is the time to perform the art that has been created. This makes a huge difference in the eyes of the audience. I mean, if they were to listen to the recording only and not see my physical self in the room, things would probably be different. Treatment varies all across the board and crosses the lines that have been drawn on the board.

NB: It has been an exciting year for Company of Thieves—you’ve signed to Wind-Up, toured, and traveled all year. What helps you keep your perspective while on the road?

GS: The happenings within my family, the desire to grow, the stories I read in books, hear in music, and learn from people all over our country, and the physical hunger you naturally get from traveling so much all help to remind me that I am only human.

NB: We Chicagoans were all watching, supporting a favorite local band, when you guys played Carson Daly earlier this year. How surreal and exciting! What was the experience like?

GS: “Surreal” is a perfect way to describe the experience. We spent the entire day getting ready at the station- going through soundcheck, meeting the staff, eating, talking about the show, getting dressed—there was so much build up! We were nervous for hours and then there you are for 4 minutes playing a song you wrote to a camera crew and a live audience who don’t know who you are, but they happened to win tickets, and everyone is standing next to a guy (Carson Daly) who helped introduce via MTV some of our favorite '90s rock groups from when we were little kids. It was completely bizarre!

NB: Many of your songs’ lyrics seem quite personal and seem to capture and express growth and maturation, relationships, and the universal themes of struggle and progress. Is songwriting a cathartic experience for you? Do you write songs from a personal perspective?

GS: I write and sing because if I didn't, I would explode! The process is extremely therapeutic and the material is always personal.

NB: It’s now known that Ordinary Riches is inspired, in part, by writer, Oscar Wilde. Do writers have a big influence on your writing in general? What other aspects of life inspire your writing process?

GS: If I read something that starts to turn the wheels upstairs then I will definitely explore the depths of those thoughts and they will be expressed in my own way. The process that people go through and the way in which they communicate, feel, and change the world- even if it’s their own world- inspires a lot of my writing.

NB: Which of your personal qualities do you think have helped you get where you are today?

GS: Well, for starters, I am a workaholic. I believe that when it comes to love and passion, it is all or nothing. I dive in and I don't turn back.

NB: You played a big part in the popularity of the debut EP of Chicago electro-pop outfit, Pretty Good Dance Moves. How did you venture into such a varied type of music? Do you plan to continue recording with them or are there other musical ventures you might pursue in the near future?

GS: Jimmy Giannopoulos was a friend and supporter of mine for a while and he approached me with the idea of making some music with him. I had always known that he was a very talented go-getter and so I got excited and agreed. He and Aaron Allietta presented me with a few demos to listen to and I instantly felt them. The whole experience was actually quite fast. I remember writing "Demons Dancing" in the studio just minutes before I recorded it with them. They were on a low budget and became crafty in the way they decided to record and where they decided to record- it was fun to be a part of that hunger. I do plan on making more music with them- perhaps when I get a break from the road! (Keep an eye out for their full length coming out soon.) Also, the Chicago band AM (American Taxi) is releasing their first full length early on next year and I am on that project too- what an honor!

NB: What’s next for Company of Thieves?

GS: Company of Thieves will be touring all over the U.S. this fall, spreading the lovin’, stopping over for a quick introduction to Europe, then taking most of December/early January to finish writing the new record, which will be recorded sometime early next year and released for your listening pleasure—yay!



A woman who embodies confidence and wonder simultaneously, Genevieve defines the Cheeky woman. She captures the essence of her own spirit in the words of the Company of Thieves’ song, “Oscar Wilde”—“live like it’s the style… waltz on your front porch.” Our sentiments exactly, Genevieve.


(Interview published at CheekyChicago.com)

Birthday Bourgeois

Annie Clark (St. Vincent): September 28, 1982

Photo: Annabel Mehran

Music's Most Fashionable Women

Gwen Stefani

Earning the title of Music’s Most Fashionable Woman, Gwen Stefani dominates the fusion of fashion and music. As frontwoman for pop-punk outfit, No Doubt, and successful solo artist, Stefani has set herself apart from her contemporaries, thanks to her diverse and innovative personal style. When No Doubt hit the scene in the mid-1990s, Stefani introduced her punk rock-influenced sense of style, which often consisted of plaid pants, tanks and tummy shirts. But as Stefani ventured into her solo career, she became a fashion mogul – even starting her own fashion line, L.A.M.B., which has become a respected fashion staple in many high-end stores. She now mixes classic retro looks, like glamorous dresses, platinum hair and cherry red lipstick, or edgy rock looks, like short-shorts and ankle boots. She is known for her love of cutting-edge Japanese (“Harajuku”) fashion, which has inspired many looks in her L.A.M.B. collections. Stefani’s progressive looks inspire women all over the world. She undoubtedly deserves the title of Music’s Most Fashionable Woman.


Jenny Lewis

As frontwoman for the otherwise all-boy rock band, Rilo Kiley, Jenny Lewis holds her own in terms of rocking the stage, as well as her own style. The child-star turned musician (you might remember her from Troop Beverly Hills) is known for her offbeat sense of fashion. An innovator through and through, Lewis blends her natural girl-next-door look with a retro throwback, and often rocks short-shorts, hot pants and unitards while onstage with her band. When Lewis began her solo career (with the Watson Twins), she often opted for a Loretta Lynn inspired look, donning feminine vintage dresses. The petite songstress proves she can balance a style just as chic as her tunes.


Katy Perry

She may be the newest songstress to the bunch, but the pop vixen has already earned attention for her bold fashion ensembles. Pop’s newest “it” girl often incorporates audacious pieces onstage – remember the outrageous Manish Arora carousel bubble dress she wore to last year’s European Music Awards? Perry oozes confidence and femininity, choosing dresses over pants, and bright splashes of color over drab neutrals. She incorporates her fun, youthful personality into her sense of style, integrating jumpers, rompers and frilly skirts. Although she’s new to the scene, Perry has quickly become an overnight trendsetter – and we can’t wait to see what she wears next.


Karen O

The Yeah Yeah Yeahs’ frontwoman dominates live performances with her fierce onstage persona. Although she oozes ‘androgynous Brooklyn hipster’, this frontwoman is on the cutting-edge of rock and roll fashion. Karen O embraces 80’s style, including tattered tees, torn stockings and token red lipstick. She often enhances her personal style by painting her face with matching color palettes. Karen O’s edgy and confident looks regard her as a style icon for women in rock and roll.


Zooey Deschanel

Perhaps the most fashionably understated of the group, this actress/songstress is known for her corky yet natural beauty and style. Deschanel opts for classic and feminine looks, like vintage-inspired dresses and lace pieces. As 50% of the rock-folk outfit, She & Him (with M Ward), Deschanel pairs her indie music with indie looks, including ribbon headbands and ruffled dresses. The 500 Days of Summer star has been turning heads for her blockbuster hits, mounting music career and her effortless sense of style – she’s our favorite triple threat.


Published at http://www.cheekychicago.com/musics-most-fashionable-women/ for CheekyChicago.com

CD Review for the Deli Chicago: Scotland Yard Gospel Choir, "...and the Horse You Rode In On"

If it’s seemed like Scotland Yard Gospel Choir has been off the local radar the past few months, it’s for due reason. The group (which is signed to Chicago’s Bloodshot Records) has been cooped up in the studio, recording its latest record, …and the Horse You Rode In On. Distraught after a heart-wrenching romantic split, Scotland Yard lead singer and songwriter, Elia Einhorn, retreated to the his family’s farmhouse in North Wales (apparently, Chicago offers no solace for the brokenhearted), where he penned most of what would become …and the Horse You Rode In On. The influence of Einhorn’s British backdrop can certainly be heard on the record, from its very first, crude opening line, “I hope that you catch syphilis and die alone,” and spans the record with recurring themes of heartbreak, pity, and eventual acrimony.

Songs like “One Night Stand” could easily be found on a lost Pulp B-side, as Einhorn and co. make respectful (and shameless) nods to their evident influence, Jarvis Cocker. Lyrics from tracks like “I Pretend She’s You” and “Stop!” seem like they were torn from the private pages of Einhorn’s diary, full of raw confessions, regrets, lamentations, and forced conquests. “Sixteen Is Too Young” and “Praying is Heartache” both feature SYGC’s guitarist/vocalist, Mary Ralph, showcasing the more subdued side of the band, incorporating strings, horns, and welcome harmonies. “Liberty or Somewhere” explores the feeling of betrayal, as heard in Einhorn’s bitter wail, “we promised we’d never ever cheat, then you jumped between the sheets… and here I am with no one who loves me and an STD I caught while trying to get over you.” Einhorn clearly has a lyrical knack for conjuring pity while simultaneously providing comic relief. “Something’s Happening” presents the dichotomy of dark lyrics paired with a singsong chorus and jangly violin part, even making a Chicago-style nod to local haunt, the Music Box.

…and the Horse You Rode In On is largely saturated with catchy hooks and a confident swagger, yet trimmed with dramatic lyrics and morose undertones (Morrissey, anyone?). Scotland Yard Gospel Choir could be as close as some Midwesterners will ever get to bona fide Brit-pop—how lucky for us that they’re locals.


…and the Horse You Rode In On is now available for purchase on iTunes or at Bloodshot Records.



Published on Sat, 19 Sep 2009 for TheDeliMagazineChicago.com:
http://thedelimagazine.com/chicago/index.php?name=thedelichicago&itemId=223428&mode=

Birthday Bourgeois

Fiona Apple: August 13, 1977

Lollapalooza: Something for Everyone

Check out (part) of my Cheeky article on NBCChicago.com :

http://www.nbcchicago.com/around-town/events/Who-Will-Lollapalooza-Launch-Into-Stardom-52448892.html

BMI Cracks Down

Poison’s Bret Michaels is back in the news. No, he’s not getting press for his train wreck dating reality show, Rock of Love, or crafting a lawsuit for his recent injury at the Tony Awards. Michaels is filing a lawsuit, but this time around, he, accompanied by other artists, record labels and BMI, is suing a handful of venues and bars on New York’s Lower East Side - most specifically, they are filling suit against Pianos, a bar/venue on New York’s Ludlow St. It has been discovered that the venue has been playing songs in their establishment, without having the permission to do so. Technically speaking, an establishment is not allowed to play a copywritten song without securing the proper BMI or ASCAP licenses (BMI and ASCAP are performance rights groups that represent songwriters).



BMI, Bret Michaels and co. claim Pianos has caused “great and incalculable damage” for illegally playing copywritten songs, including songs by artists like Weezer, the Rolling Stones, the Bee Gees and, of course, Michael’s 80’s hair-band, Poison. Over the years, many bar and venue owners have been relaxed with securing licenses for songs played, mostly because there have been such few crackdowns on the scene. But there seems to be a heightened awareness of such illegal occurrences and artists and performance rights companies are cracking down.



The question this lawsuit raises is why don’t club owners avoid such legal ramifications and pay the necessary fees - because truthfully, it is not terribly expensive to secure such licenses; the average blanket license from ASCAP or BMI is rumored to cost establishments $1-$2/day, which in the grand scheme of all fees that go into owning a venue, is minimal. The bigger picture here, of course, is protecting and honoring artist rights. These songwriters are the root of these establishments’ business. The venues and bars have sufficient and tangible protection: a bar patron or venue customer enters, buys a cocktail or a concert ticket and hands over the amount due. These establishments make money for the work they do and the products they offer. Why shouldn’t it be the same for songwriters? It is up to BMI and ASCAP to protect their artists’ copywritten songs, and Pianos, as well as any other venue that might be illegally playing these songs, is violating this stance. Artists deserve proper protection and, ultimately, profit for their creations.

One can say a lot about Bret Michaels - but I’ll have to side with him on this one.


Published at http://www.cheekychicago.com/bmi-cracks-down/

West Fest Wrap-Up

Local H, The 1900s, Mucca Pazza

LOCAL H

Chicago alt-darlings, Local H, closed out Saturday evening, playing to a packed and energetic crowd. Fans sang along with singer Scott Lucas’ every word, as he led his band (drummer, Brian St. Clair) in songs like older staples “All the Kids Are Right” and “California Songs”, a newer track from the duo’s latest release, 12 Angry Months, “Michelle (Again)” and 90’s favorite, “Bound for the Floor.” Lucas kept onstage banter to a minimum, but the crowd didn’t seem to mind, as he plowed through hit after hit. (Photo by Sarah Cochran)


THE 1900s

Local outfit, the 1900s, took their seven-piece band to the West Fest stage Sunday evening. The band exuded the epitome of hipster-mod, with a 1970’s throwback touch. Clad in denim, fringe and sunglasses (regardless of it being 6 pm on the stage facing away from the sun), these kids oozed attitude. With rich harmonies, intricate instrumentation and catchy pop beats, the 1900s played songs including “Acutiplanter Dude”, their familiar 2006 hit and “Bring the Good Boys Home”, with a few charming new tunes thrown into the mix as well. They seemed confident and well-rehearsed, as they provided a lighthearted rock set to the West Fest stage. (Photo by Neph)


MUCCA PAZZA

It was impossible not to notice random members of Chicago’s Mucca Pazza meandering through the festival crowd on Saturday afternoon, clad in marching band outfits or lugging cymbals backstage. Mucca Pazza is a 30 piece “circus punk” marching band, led by composer Mark Messing. Accompanied by four dancing cheerleaders, Mucca Pazza features violin, guitar, trumpet, trombone, crash cymbals, drums, saxophone and more. Needless to say, the massive and innovative band demands a crowd’s attention, but their set (and gimmick) lost its novelty as the songs progressed, proving that, although interesting, this glorified marching band might need to change things up from time to time.

Published at http://www.cheekychicago.com/west-fest-wrap-up/

Michael Jackon, 1958-2009

R.I.P., KING OF POP

Jay Bennett's Autopsy Reveals Death From Overdose

Finally, details have developed, giving some closure regarding the sudden May 24 death of former Wilco member, Jay Bennett. An autopsy and a series of tests have been performed since Bennett died in his Urbana home last month. According to the Champaign County Coroner, Bennett died from an overdose of the pain killer Fetanyl, which is most commonly prescribed to treat chronic pain. It's hard to not wonder whether Bennett was abusing said pain killers out of dire necessity-- shortly before his death, Bennett, who still wrote, recorded, and produced music in his studio, found himself needing a hip-replacement surgery, but did not have health insurance to cover the cost of the procedure. Bennett’s death is being investigated as an accident.

Published at www.thedelimagazine.com/chicago for the Deli Magazine, Chicago, 6/23/09.

SXSW Day 4 (Self-Titled Mag, NY)

SXSW, DAY FOUR: PJ Harvey, Beach House, Explosions in the Sky and a Rockabilly Revivalist (as covered for Self-Titled Magazine, New York - text and photos by Neph Basedow)


BEACH HOUSE

Skies were clear and the sun was shining in its high noon spot as Beach House took the stage at Auditorium Shores on Saturday afternoon. Dressed accordingly in a fringed denim shirt and sunglasses, singer Victoria Legrand led the group through key cuts from their sophomore album, Devotion, including “Gila,” “Wedding Bell” and “Heart of Chambers.” All of which relied heavily on reverb-doused riffs, synthesized organ stabs and drum machine beats (as backed by a live time-keeper who mostly stuck to brushed percussion patterns). Not to mention Beach House’s most captivating coup de grâce—Legrand’s deep, breathy vocals. During the set, she humbly acknowledged the honor of sharing a bill with bigger acts like Erykah Badu and Explosions in the Sky, but such modesty was unnecessary—Beach House appeared capable and comfortable on stage, delivering a stellar performance.


JUSTIN TOWNES EARLE

Red Eye Fly was already at capacity as I squeezed into the Bloodshot Records showcase late Saturday night to see rockabilly throwback, Justin Townes Earle (who I later crowned “Most Charming Musician of SXSW”). Earle, who hails from Nashville, TN, was accompanied by a multi-instrumentalist—juggling the mandolin, harmonica, and banjo—as he flaunted his finger-picking skills and ragtime sound. Charming an energetic and attentive crowd with songs from his latest release, Midnight At the Movies, Earle delivered charismatic between-song banter and performed such covers as a greased-up version of the Replacements’ “Can’t Hardly Wait.”


PJ HARVEY & JOHN PARISH

PJ Harvey and John Parish performed an outdoor show at Stubb’s Saturday evening, closing SXSW’s last night with such new A Woman A Man Walked By material as “Pig Will Not” and familiar PJ tunes like “Civil War Correspondent” and crowd favorite, “Taut,” thrown into the mix for good measure. As the singer pointed out, it was not only Harvey’s first appearance at SXSW; it was her first time performing on an Austin stage period. Judging by the lively response she received from the sold-out audience, I wouldn’t be surprised if she was back soon enough.



Published at http://www.self-titledmag.com/home/2009/03/23/sxsw-day-four-pj-harvey-beach-house-explosions-in-the-sky-and-a-rockabilly-revivalist/ for Self-Titled Magazine (NY), 3/23/09.

Interview: Jeremy Bolen of Chin Up Chin Up

Chin Up Chin Up closes out its career as a band at the Empty Bottle tonight. Frontman, Jeremy Bolen, who announced the band’s plans to breakup via their MySpace page last March, took some time with us to discuss his feelings as the show nears, as well as the band members’ future plans. Chin Up Chin Up has been a local staple over the past few years, and we hate to see them go; but Bolen provides some promising details about members’ other musical projects, so it looks like they won’t be out of the limelight for long.


Neph/Deli: What are your thoughts as the final Chin Up Chin Up show draws nearer? Do you have any hesitations? Anxiety? Excitement? Sadness?

Jeremy Bolen: I guess I have a little of all those things, its a strange thing, I’ve never really done anything like it. We’ve had allot of strange and emotional shows over the years so for some reason this just feels kind of normal. I'm thinking it’s going to be a rad night.


Deli: Did you guys know immediately that you'd like to play your final show at the Empty Bottle?

JB: Yeah that’s kind of been the home base for us for quite some time, so there was really no question.


Deli: How has Chin Up Chin Up been received in different parts of the nation/world? Has Chicago proved to be your biggest fan-base?

JB: It really has varied all over, Chicago has been the biggest following, but New York is a close second, and really all the upper east coast has been good to us. Spain was really nice overseas, we only really hit Europe once and sans England it was pretty great. England was really expensive and people like to punch each other in the face and kick you out of clubs swinging chains. But Quentin Tarantino was at one of our shows kind of so I guess that was good.


Deli: Can you tell me a little about your new project, Vacations?

JB: Woghin (bass player of Chin Up/Flameshovel mastermind) wrote this for us and it describes what were doing in far better than I can. ‘In all honesty, Vacations is the sound of three guys making music who just don’t give a fuck anymore, and I mean that in the best of all possible ways. These three have spent years busting their asses trying to make it in music with their old bands (Chin Up, Make Believe, White Savage, Love of Everything, Hertzsprung Gap) and making it just got old. They’ve brought back the whole reason they started making music in the first place: to make fun for themselves, their friends and hopefully their friends’ friends all over the place. It’s good-natured, revelry-inspiring, bizarro camaraderie in song. You can feel it from the first warm and plaintive notes of “I Was Bikini.” It’s something that instantly feels nostalgic and wistful for a good time you can’t even remember having anymore, but you’re pretty sure is still lingering in your bones or your blood stream somewhere. In the end, this is open-endedness enables what the guys in Vacations really want. They want to engage you. They want you to listen to the story they’re spinning in notes and words. They want to make you part of the music they’re making and the fun they’re having. They’re getting back to the roots the never knew and they want to meet you somewhere in the middle of the expanse for the hang of a lifetime.’


Deli: Vacations includes 3 members from Chin Up -- but how does the dynamic of the band and the sound differ from Chin Up?

JB: Well Bobby Burg was really only in chin up as a touring bass player the last few tours, we never really wrote anything with him. But yeah he’s one of my tightest friends and we have been talking about starting our own band since early College, and when we were in Europe at the end of 2007 we decided we should make it happen. Things are happening for us in a really organic way, its really easy for us to write songs. The sound I think is quite different then chin up, we are trying to go in a different direction, I think that will be more evident on our next record probably. Were obviously really influenced by Hawaiian and African music. It feels awesome to do something different. I think were keeping it fun. Our next record will be recorded in a cabin by a lake in October. Also I think we’re going to tour the east coast in August.


Deli: I read in your breakup announcement that you said Chin Up is ending as "naturally" as it began, but is there anything you think you might do differently in your approach to music-making in the future, that your experience (or other members' experiences) in this band has taught you?

JB: It’s hard to say, but one thing I can say is that I'm not interested in the whole rat race anymore, in trying to "make it" etc. That just makes everything not fun. And playing stupid corporate events for money etc. I just want to make things more special than that. I think at a certain point we were trying to really go for it in Chin Up, and doing anything we could to make money so we could do the band full time and for me that started to make things feel generic and less exciting.


Deli: What can we expect from you in the future? Anything you'd like to pursue?

JB: Wow, you’re giving me so many opportunities for plugs—I kind of love it. Besides Vacations I have been spending the last two years working on my photography, and that has been great. Actually two of my photos are in a free show opening May 22nd (www.associateboard.org/artfutura.html). I also have been teaching photography at an amazing after school program called Marwen. Its really nice to be involved in all of it again, I feel really fortunate. And the other Chin Ups are doing rad stuff too. Greg is going to Penn State to get his PHD in Sociology, it’s a pretty big deal, he’s going to be to that world what David Hasselhoff was to Germany. Chris is playing drums in the band Speck Mountain. Nathan has a wonderful 6-month-old daughter. Jesse is playing in a whole lot of bands, most notably Shrimpsss and Ghost Jeans.


Tonight’s show at the Empty Bottle begins at 10PM and tickets are $8. Also playing are Tight Phantomz and Sleepout.



Published @ http://www.thedelimagazine.com/chicago/artists/chinupchinup/ 5/14/09 for the Deli Magazine-Chicago

Lollapalooza 2009

Lollapalooza’s 2009 long-awaited lineup has been released. The once traveling music festival is in its fifth year as a Chicago-based weekend festival, which takes place at Grant Park. This year’s fest is August 7-9, and features such headliners as Depeche Mode, Tool, The Killers and the newly-reunited Jane’s Addiction, featuring Lollapalooza founder, Perry Farrell. What is difficult to ignore, however, is the similarity of this year’s lineup with the lineups of past years. Many of the artists playing on the 2009 stages also played two years ago (Kings of Leon, TV on the Radio, Peter Bjorn and John, Ben Harper, Heartless Bastards, Silversun Pickups, Cold War Kids and Sam Roberts, to name a few), and some of them played in 2006 (Andrew Bird, Thievery Corporation, Of Montreal). The 2009 lineup also bares resemblance to past years of Coachella. The questions raised by the similar lineups is whether these repeats are a matter of narrow booking or whether the music scene has become so limited that there are so few newer and worthy bands from which to choose when booking an event like Lollapalooza. If you are venturing out to Grant Park this August, be sure to check out new artists like Chicago’s own folk singer Joe Pug, new buzz outfit Passion Pit, or songwriting veteran Ben Folds, who will be featuring a cappella songs from his latest album. Since its origin, Lollapalooza has been a festival of big-name headliners, but the beauty of the festival has been its ability to serve as the introduction of new bands, many on smaller side-stages. By now, most music vets have seen Ben Harper, and they’ve probably seen Kings of Leon a handful of times in the past year alone. Taking time to discover new names and faces can often be more rewarding. Obviously, headliners like Lou Reed and Neko Case mustn’t be missed - but be sure to round out your Lollapalooza experience with up-and-comers like the ones below:


Chairlift

Originally formed in Boulder, CO, the now Brooklyn-based trio, Chairlift, formed with the original purpose of creating music for haunted houses. When members Caroline Polacheck, Aaron Pfenning and Patrick Wimberly thought they had more to offer than spooky tunes, the band began crafting its avante-pop sound and booking NYC gigs with the likes of then fellow up-and-comers MGMT.


Blind Pilot

Portland duo, Blind Pilot, offers well-crafted, folky Americana tunes with lulling melodies. Their debut album, 2008’s Rounds and a Sound, has gained them a world tour supporting the likes of such vets as the Counting Crows and Decemberists. Joining such similar musicians as the Fleet Foxes, Blind Pilot opts to craft beautiful, no-nonsense music and proves a band can do just that, with only two members.


Hey Champ

Chicago natives (Rockford, IL to be exact), Hey Champ, introduce their electronic-pop sound at this year’s festival. The trio, Saam Hagshenas, Jon Marks and Pete Dougherty, struck luck (or you might call it gold) last year when they were contacted by Lupe Fiasco to join him on a national tour. Catchy electro-rock songs like “Cold Dust Girl” are sure to get you moving.


Santigold

This Wesleyan-educated, Philadelphian singer-songwriter has compiled an impressive musical resume as of late. With collaborations with N.E.R.D., The Strokes’ Julian Casablancas and Kanye West, co-writing credits for Ashlee Simpson and Lilly Allen and serving as tour support for M.I.A., Bjork, Jay-Z and Coldplay, she has created a well-respected musical persona. Most often compared to M.I.A. or the Yeah Yeah Yeahs, Santigold delivers energetic live performances, backed by catchy pop beats.


More Picks:
Lou Reed
Vampire Weekend
Neko Case
The Decemberists
Fleet Foxes
Passion Pit
Glasvegas
Silversun Pickups
Joe Pug
Gomez
Federico Aubele

As published at http://www.cheekychicago.com/lollapalooza/ for Cheeky Chicago, 05/07/09

R.I.P. Jay Bennett

Farewell to the last creative gasp of Wilco as I've known them...

Former Wilco member, multi-instrumentalist Jay Bennett, died last Sunday morning, in Urbana, Illinois. He was 45-years-old. While the cause of death is still being examined (pending an autopsy), it has been reported that Bennett died in his sleep. Bennett was a driving force behind Wilco’s sound on albums such as A.M., Being There, Summerteeth and Yankee Hotel Foxtrot. Bennett left the band in 2001, after seven years. To listen to Bennett’s previously unreleased forthcoming solo record, entitled Whatever Happened I Apologize, visit www.rockporoper.com, which is now streaming the album for free.

Bennett's contribution to Wilco has been missed on their last three albums. The documentary, I Am Trying to Break Your Heart, surely cast Bennett in a light leading viewers to believe he was difficult to work with; however, his departure (AKA firing) from the band has only led me to believe he was the last member of Wilco to "check" Tweedy. Sky Blue Sky, Wilco (The Album), and even parts of A Ghost is Born, seem to have lacked that "second opinion," not to mention the genius creative ideas and sound engineering, that Bennett seemed to bring to the table.

His death today remains mysterious; but thank you to Jay Bennett for contributing such magic to one of my all-time favorite bands.

Wilco (The Review)

Earlier this week, Wilco (whose seventh studio album, aptly titled Wilco (The Album) is due out June 30th) beat leaks by opting to willingly stream their new album on the Internet. A noble move on Wilco’s part, the record has been a source of constant chatter this week, with fans and curious parties eager to discover what Wilco brings to the (turn)table in 2009.

If Wilco sounds most similar to its direct predecessor, Sky Blue Sky, it’s for due reason - Wilco marks the first time in the band’s history that they’ve maintained the same lineup for two consecutive albums. As expected, the sound of (relative) newbies, frenetic guitarist Nels Cline and multi-instrumentalist Pat Sansone, can be heard sprinkled through the tracks (“Bull Black Nova” recreates the same freakish jam session at the song’s end that we were introduced to on Sky Blue Sky), while again, the absence of former member Jay Bennett is noticed simultaneously as the songs lack his token sonic approach to song-craftsmanship.

The difference in this album is heard in its very first song - “Wilco (The Song).” The debut track is in stark contradiction to former Wilco openers (most notably Being There’s epic “Misunderstood” and the tender confessional “At Least That’s What You Said” from 2004’s A Ghost is Born). Just as Yankee Hotel Foxtrot’s opener, “I Am Trying to Break Your Heart” set the tone for the album’s entirety, Wilco (The Album) introduces its listeners to the record’s disposition in its first song - a shift from poignant poetry and measured build-ups, to breezy lyrics and pop design. The song’s chorus speaks for itself - “Wilco will love you baby, when times are getting rough.” The track immediately reminded me of Paul Westerberg’s “Jingle”, the debut track from Folker - a jocular introduction for a band whose previous albums have been marked with sincerity and sentiment.

Wilco’s songs contain wistful melodies, like Tweedy’s sugary-sweet duet with Feist on “You and I”, and radio-ready singles such as “You Never Know”, whose warm harmony and swanky piano part make the song a standout. “I’ll Fight” is evidently a Sky Blue Sky surplus, as it is so directly similar to the album’s closer, “On and On and On.” What’s noticeable on Wilco is the absence of such emotive lyrics. (With the exception of Sky Blue Sky), Tweedy has been dubbed a modern poet via his songs - Wilco lacks, for the most part, the poignant lyrics as we’ve heard in past records. But it does contain standouts like “One Wing”, whose calculated build-up is backed by Glen Kotche’s tasteful accompaniment, as well as “Deeper Down”, which features the interesting incorporation of a harpsichord and “Bull Black Nova”, which could be comfortably placed on A Ghost is Born. These tracks are destined to be the live standouts as well, as the band tours in support of the album.

There is no magic in a stagnant artist; Wilco, along with colleagues such as Radiohead, has led a category of musicians who have notably progressed with each album released. It’s always difficult to foresee the impact an album will have on a band’s career - Wilco is undoubtedly a different record than its early predecessors, but where does it fall in terms of quality? I foresee Wilco being an overall crowd-pleaser to the masses, while tried and true Wilco fans might struggle to accept the band’s newer, more anodyne sound, as heard on the past two records.

Overall, Wilco is split between a (sparse) handful of worthy tracks (the aforementioned “One Wing”, “Bull Black Nova”, etc.) and the duds that will inevitably be skipped (“Solitaire”, “Sunny Feeling”, etc., etc.). This might be the year to embrace the band’s live performance (thankfully, they now have a plethora of new material to throw into the mix--let's keep our fingers crossed that they won't continue to stick to the same setlist they have for the past 5 years) and look to the future for possibly (and hopefully) yet another lineup alteration, which will again, inevitably modify the Wilco sound. Give the album a listen - mixed feelings or not, Wilco has already promised, either way, they’ll “love you, baby.”


Published at http://www.cheekychicago.com/wilco/ for Cheeky Chicago, 5/21/09

Birthday Bourgeois

Liz Phair: April 16, 1967

YOU could be the next Pumpkins drummer! April Fools...? No, not really.

As reported last week, Smashing Pumpkins' drummer and founding member, Jimmy Chamberlin, left the band. Billy Corgan might be left in the dust, but he isn't making haste. The band (1 original member and a handful of stand-ins) announced they will holding open auditions for a new drummer, on April 10 in Los Angeles. All interested candidates should send their information, photos, and live performance web links to pumpkinsdrummer@gmail.com . So the Pumpkins have apparently opted to not return to its pre-Jimmy roots (a drum machine) or its 3 year period while Chamberlin had been kicked out of the band and was replaced with a handful of drummers who filled in on the Adore tour.

As for Chamberlin, according to a recent post on his blog, the drummer will continue making music with his jazz-infused rock band, the Jimmy Chamberlin Complex (with which he released an album in 2005), and pursuing “other musical interests.” For Chamberlin’s full response to his decision to leave the band, visit his blog at www.jimmychamberlincomplex.com/blog/ .


Published at www.thedelimagazine.com/chicago

Where the Wild Things Are

Beloved children's book, Where the Wild Things Are, has finally been adapted for the big screen. Famed director, Spike Jonze directs, while Karen O flexes her musical talent for the film, which is due out October 16. Check out the teaser below, set to a stripped "Wake Up," courtesy of Arcade Fire, of course.

Jimmy Chamberlin Leaves the Smashing Pumpkins

Drummer and founding member of the newly (and partially) resurrected Smashing Pumpkins, Jimmy Chamberlin, has left the band. According to a press release, singer and Pumpkin songwriter, Billy Corgan, will "continue to write and record as the Smashing Pumpkins with plans to head into the studio this spring." Spare me the argument that Billy Corgan IS and always WAS the Pumpkins. If no other original members are in the band, it is no longer the Smashing Pumpkins.

It's no secret that Corgan was unable to successfully gather his former band back on board in its entirety. Guitarist James Iha and bassist D'Arcy Wretsky had no interest in the reunion, but Chamberlin rejoined Corgan, and has since recorded and toured on support of the Pumpkins' latest release, Zeitgeist. My respect for Chamberlin has been reinstated. And I can't wait for the details to spill...

Tinted Windows' Debut @ SXSW '09

Curious supergroup, Tinted Windows, made its live debut this weekend at SXSW’s Billboard Showcase. As soon as I was able to maneuver through the sea of former Hanson superfans, I took my spot at Austin’s Pangaea and eagerly awaited the first performance from the band that has everyone asking, “what the…?”

The band (Taylor Hanson, James Iha, Adam Schlessinger, and Bun E.) took the stage at midnight, to a mixed crowd: some aforementioned Hanson fans turned older Hanson fans, some curious Pumpkins fans, press, and random Superdrag leftovers, as the band played before the Tinted Windows. Taylor Hanson took the stage sporting a pair of jokester sunglasses that he kept on for the entirety of the band’s performance (causing me to ponder whether this could be a potential metaphor for the band, but I digress). Hanson addressed the crowd with charisma and courtesy, thanking them for choosing to see Tinted Windows over the thousands of others playing the festival, before introducing his varied veteran band.

The group performed songs from its upcoming record, to be released on S-Curve Records, including “Messing With My Head” and the song that stands as the definition of glam-meets-bubblegum pop, “Kind of a Girl.”

Overall, the band didn’t produce much stage presence or onstage excitement, although they seemed pretty comfortable together. It was refreshing to once again hear the nostalgic guitar tones of James Iha, as it’s been a few years, but in the end, the performance proved that although intriguing, Tinted Windows is a band fronted by Taylor Hanson, and listeners and show spectators should expect just that—fueled pop, but other than an interesting lineup, not much more.



Published 3/24/09 at www.thedelimagazine.com/chicago for the Deli Magazine, Chicago.

Ashes of American Flags

Ashes of American Flags, a live performance-based film by directors Brendan Canty (Fugazi) and Christoph Green, made its Chicago debut at the Music Box on Monday night. The film was part of the first annual CIMMfest, and the screening also featured a Q&A session with the directors. Ashes is not the first Wilco film Canty and Green have shot—the pair also directed 2006’s Sunken Treasure, featuring a solo Jeff Tweedy touring the Pacific Northwest. This time around, Canty and Green followed Wilco to such southern cities as Tulsa, New Orleans, Mobile, and Nashville, as well as Washington D.C., all shot during the band’s 2008 tour.

The opening scene of Ashes featured close-ups of Jeff Tweedy, clad in a cowboy hat, set to Yankee Hotel Foxtrot’s (and the film’s namesake song) “Ashes of American Flags,” while shots of landscape and scenery from the road leading to Cain’s Ballroom in Tulsa, OK traveled the screen.

The film is heavy on live performance, with only bits and pieces of interviews with band members (such material seemed to be predominantly focused on Tweedy and guitarist Nels Cline). For anyone hoping to capture such intimate/revealing/emotional/hilarious moments as were created in 2002’s I Am Trying to Break Your Heart, you won’t exactly find them in this film. But for those who are interested in watching back-to-back stellar live performances, look no further than Ashes. The film itself is well-shot, and features subtle, aesthetic shots of nature and life, as viewed from the perspective of a band on a traveling tour bus. Songs performed include “Handshake Drugs,” “Kingpin,” “Impossible Germany,” “Via Chicago,” “Wishful Thinking,” “Heavy Metal Drummer,” and “Shot in the Arm.” It was difficult to ignore that the bulk of the songs played equaled a set list that Wilco has obviously become comfortable with and accustomed to playing. With the exception of a couple of tracks from Sky Blue Sky, there were no rarities thrown into the mix—if you have seen Wilco in the last 5 years, you have heard this set list. However, during the Q&A session, Green revealed that the DVD, which is officially released April 18, will feature bonus material, including footage of 7 bonus songs.

Highlights of the film include the candid moments with the band (including an endearing and funny moment post-credits—so come April 18, remember to watch the DVD in its entirety)!

It was an intimate and special experience, watching the debut of Ashes of American Flags, in such a local staple as the Music Box, and alongside Wilco’s loyal Chicago fans. As the credits rolled, and Wilco members’ names were flashed upon the screen, the packed crowd applauded the musicians, publicly appreciating the magic of a band that Chicago so staunchly supports.

Inchworm @ Subterranean, Chicago

Chicago’s Inchworm performed at Subterranean Thursday evening. The band, which offers a noble throwback to Americana roots music (think Neil Young, CCR), performed songs from its latest release, Sheep in Wolf’s Clothing (Deli’s December Album of the Month), as well as debuted new, unreleased material.

Inchworm started its set off with “Greenhouse,” a standout from Sheep. The song features quirky guitar parts that could be heard in a circus ring (yes, really) while its chorus projects the image of a boozy crowd, singing along in a dusty saloon. “Tangled Web,” a newbie from the band’s forthcoming record, previewed Inchworm’s promising follow-up, as the song was well-crafted, catchy, and received a strong crowd response. But “Silent Observers” seemed to evoke the strongest crowd response of all. “Silent Observers” is to Inchworm as “Effigy” is to CCR: the song is full of build-ups, break-downs, and organic harmonies, displaying respectable nods to the band’s implicit influences—perhaps The Band, and shades of Uncle Tupelo are heard in the mix. Singers, Matthew Baugher and Brian Morrissey, took turns at the mic throughout the set. Having seen Inchworm a handful of times, it was evident to me that over time, the band has progressed in its live set; Baugher has become more assured in his own vocal ability, now displaying a wider range and more confident approach to his singing. Drummer Mike Holtz serves as Inchworm’s secret weapon of sorts. He adds impeccable drumming and has a rare style I can only most closely compare to Wilco’s Glenn Kotche.

Inchworm played a short set, as they supported the evening’s headliners, Retribution Gospel Choir, but in the short time they were on stage, they delivered a slew of worthy rock. Inchworm has presented itself as a sort of musical, or at least regional, dichotomy—personally, each member oozes Chicago, but together they’re able to create a song and mood that has most often been displayed by Southern-bred musicians. But Inchworm pulls it off, as did Tupelo, which not only makes their music enjoyable, but novel in its own way too.

The Pains of Being Pure at Heart

New York band, The Pains of Being Pure at Heart, released its self-titled debut album earlier this month on Slumberland Records. I was in dire need of a worthy rock record, and it's finally arrived.

The band isn't necessarily visionary, as much of its sound is borrowed from their new wave predecessors, but they've utilized it in an impressively novel way. "Stay Alive," a standout from the record, nostalgically sounds like Lush meets the Sundays, while "Everything With You," another highlight, could find itself on any Smiths album. "Come Saturday" fuses noise-drenched, distorted guitar fuzz, a la My Bloody Valentine, with a pop beat and winsome chorus, featuring boy/girl vocal interplay. The band achieves the ideal median of presenting its knack for crafting sunny pop tunes as well as revealing its matched talent for dark, melancholic songs.

The Pains of Being Pure at Heart is a wistful nod to the new wave prototype, but it successfully maintains the innocent charm and infectious melody of pure pop songs.

Visit them at: http://www.myspace.com/thepainsofbeingpureatheart

New Developments for Tinted Windows "Supergroup"

As reported last week, James Iha, Taylor Hanson, Adam Schlesinger, and Bun E. Carlos have formed a new band together, The Tinted Windows. The peculiar yet oh-so-intriguing union has introduced some new developments since the announcement. Casting aside the rumors of this perhaps being a stunt, The Tinted Windows now have a legitimate website, MySpace page, and even Twitter account. The band will appear on The Late Show With David Letterman on April 20th, the day before their self-titled debut album is released (on indie label, S-Curve).

Obviously, opinions on the new supergroup vary—some deem it as a stunt, while others are impressed with the unlikely quartet and eagerly await their sound, but most are simply confused. An uncanny union it may be, but each band member has surely left his imprint on the popular music scene—traversing eras and genres, the members are bound to create a unique sound. Tinted Windows gives us a taste of their glam-pop sound in a short promo on “Rock After Dark.” The songs appear pop-drenched, but with Iha’s unmistakable rock guitar tones resonating through the songs.

Check out the band's “Rock After Dark” promo, which offers a hint of their glam-pop sound (emphasis on pop!) as they play “Kind of a Girl” and “Messing With My Head.” Watch the promo here: http://www.youtube.com/watch?v=ethkTyEfAjU and visit their MySpace here: http://www.myspace.com/tintedwindows

Birthday Bourgeois

Regina Spektor: February 18, 1980

Ummm.....?

When thinking of a title for this post, I was teetering between a simple slew of question marks or "Bemusing, but STILL not as doomed as Billy Corgan." In the end, "Um" seems to suffice.

Billboard.com has announced the arrival of a new, albeit utterly confusing band, called the Tinted Windows. The band features four former members of different buzz groups-- each so vividly varied, it's downright amusing. Tinted Windows, a band whose name basks in its creative glory, features former Pumpkin James Iha, Fountains of Wayne bassist/songwriter Adam Schlesinger, Cheap Trick drummer Bun E. Carlos, and the most surprising twist of all, Taylor Hanson. I understand the Schlesinger tie-- Schlesinger, Chris Collingwood, and FoW company were signed to Iha's label, Scratchie (Atlantic) in 1996. Fountains of Wayne, may have "sold out" post-'96 (think: "Stacy's Mom") but Schlesinger has, over time, proved he can write an infectious pop song. Iha and Schlesinger also co-own a studio together. This union is reasonably understandable. The other two are wild cards- and all I find myself thinking about as I write this is Taylor Hanson's golden locks and his fat-lipped brother, who remains 10 years old in my mind.

The curious quartet has already recorded its debut album, and is set to debut its sound/stage show at SxSW's Billoard showcase in Austin on March 20.

There's something about this combination that intrigues me; I'm sure that's the intended reaction, but each of these members has deemed themselves worthy in some realm of music in the past few decades. There's something to be said with combining four varied pasts, influences, and successes into one band... unless March 20 rolls around and it turns out we've all been had.

Nooooo!!!

We say it all the time- "I watch too much TV..." "I should be more active and not couch-ridden..." "I need to start watching less TV..." Well, the time has come! Your opportunity is here!! March 2nd marks the day when you will begin doing more things outside, you'll take in the fresh air, you'll surrender your addiction to your remote control, or play board games, or just start drinking more heavily, and you won't even realize the fact that the not-so-little band-that-was, ego-maniacal, U2, will perform a 5-night residency on The Late Show with David Letterman. Letterman, I love you, but why couldn't you have pulled a Conan with this one? The White Stripes are light-years cooler. I suppose there could be a couple worse things than U2: the myriad U2-influenced bands, Coldplay obviously among the ranks, and Kings of Leon not far behind. Chris Martin is one grandiose arms-wide-open, mic-in-hand gesture away from being Bono's successor.

I will file this post under "personal/cathartic/un-newsworthy."

Silversun Follow-ups!

Silversun Pickups made its debut in 2006, with Carnavas, a fusion of no-nonsense 90's alternative rock and an acid-induced dream sequence. Sure, this sound has been done before- it was called the Smashing Pumpkins. That said, there have been many attempts at mastering the now quasi-defunct sound, but Silversun Pickups are the champs. Carnavas is home to the Pickups' single, "Lazy Eye," which received generous rotation, albeit the only track that did. The song reinstalled my hope in music upon first hearing it.

So, good news for those who are on the same Silversun page as me: The L.A. based quartet releases its sophomore album, Swoon, on April 14th.

Here's the caveat: If you want an advanced listen to the new songs, you'll have to feed into the Guitar Hero frenzy, as the band will release a few new tracks, including "Panic Switch," and Swoon single, "Well Thought Out Twinkles," (look, they've taken it upon themselves to describe their own sound in four words!) on the Guitar Hero: World Tour downloadable Track Packs. What this really means anymore, I don't know, but if you can't wait until April 14, you'll get the chance for a sneak-peak, gamer-style. And IF you fall into the aforementioned category of someone unable to wait for this (or any) new release, I hope I know you, because that sort of stuff unfortunately just doesn't happen as often anymore.