ALBUM REVIEWS
November 2019
Free Snacks
Fast Food
Why?
Sometimes fun is in short supply during our daily lives but Free Snacks is here to smear some restorative medicine all over that dull day. With their second record in less than a year the hip hop duo Joshua Virtue and Ruby Watson come out of the gate popping with Fast Food. Introduced by the man everybody calls Uncle, Mr. Rahim Salaam, on opening track “We Like Snacks” before the two emcees launch into a whirlwind lyrical pace that busts through the rest of the record, never taking their foot off the gas. With funky beats created mainly by Watson, backed by a large catalog of samples laying the groundwork for the pairs edgy rhymes containing a political pun one moment before dropping a local artist reference in the midst of a blunt puff as they bend the poetry of the city to their will. Two of the four members of the Why? Footclan (Why? Records), Virtue and Watson both have very different solo careers but come together as Free Snacks to release an addictive lyrical snake of humourous venom to bring some life to the party. With only a few features by Audra Vidal, Salaam, and an unrecognizable skit from Nnamdi Ogbonnaya, the two emcees keep it tight, trading off verses over some of the most hypnotic beats out there. Free Snacks is the new age of Chicago rap through and through: strange, unpredictable, in your face, and very aware of where the art is going and how to get there.
Health&Beauty
Shame Engine / Blood Pleasure
Wichita Recordings
Health&Beauty begin their new album with a track that rewards patience. As a punk, I almost didn't make the cut. Clocking in at over ten minutes, "Saturday Night" takes its time developing. Beginning with a bass guitar plodding out a rhythm, it is joined by guitar, and then by drums. It is a tempo so slow you can't even nod your head to it. Perhaps tap a foot. A second guitar then begins to slowly build a feedback screech. We are eventually rewarded for our patience with a wailing interplay between two blues players that have mastered that voice-like shaping of their notes. This is mostly an instrumental track with the vocals occasionally singing a meditation on Saturday night. It is sultry and dirty, and as the guitars built, I was hooked to listen to the rest of this album. Health&Beauty use it to explore the roots of rock, molding their sound to each with skilled musicianship and clarity of voice. Especially in the guitar work. “Lack” is a dirge, “Recourse” a country waltz, “Bottom Leaves” uses thrashing noise along with gentle floating ballroom jazz that creates a tension I would love to hear live. "Clown" drew me in immediately. The guitar perfectly mirrors the vocals with an almost Irish-folk cadence. It is one of the more verbose tracks on the album. Contemplating, “Guess I was trying to be everything to everyone, and when I opened my eyes, I didn’t know where I was, was I sitting on the edge of a hotel bed, was I acting out the grief, caught in us from childhood, or was I randomly just feeling a little too good?” It goes on in a stream of consciousness that feels like a deep, late-night conversation with a friend. The end of the album mirrors the start. "Love Can Be Kind” is another slow meditative blues guitar piece, this time with glistening tones and heartache pouring off the instruments. The lyrical pain of “so many nights, you sat up crying, so many nights...on the phone screaming, waiting for love, oh my god...what were we doing” is made all the more sharp by the insistent repetition that, “love can be so kind.”
Salvation
Year of the Fly
Forge Again
Blasting through the static of everyday rock comes this local trio of musical malevolence. Salvation turns on the afterburners and slays all comers as they rip through thirty power packed minutes of sonic shredding in Year of the Fly. Jason Sipes’ howl rends the air as his guitar wraps its distorted chords around the fuzz factory of Victor Riley’s bass and Santiago Gurerrero’s drums drive the meteoric wave of auditory hail, pelting the ears with a rain of ripe destruction. The trio’s third rendition of mayhem, Year of the Fly hits on every level, from the lively pain of opener “Slit My Throat” to the melodically inclined instrumental closer “Delusions and Grandeur.” The entire record lives on the end of the plank, ready to jump ship at each breathtaking moment. With only a few gasps for air, the breakneck pace leaves little to question in their intentions, as Salvation leaves you without a single drop of their namesake healing faith. Just balls to the wall noise rock satisfaction at every turn.
Reeds Local - December 5th
Luggage
Shift
Corpse Flower
Shift Is the sophomore album from Chicago’s own Luggage. Luggage is a prolific post-hardcore/noise rock trio that has now released 3 albums in just over 3 years as an active band. They have an unorthodox approach to post-hardcore and noise rock. Shift’s tracks are longer than typical genre conventions with an average length of around 5 minutes. These tracks are also mostly instrumental with vocals and spoken word used very sparingly and are stylistically more typical of post punk than the high-pitched screaming found in most modern post-hardcore bands. The general mood from the tunes is also fairly gloomy which adds to the post-punk presentation. However, there is definetly guitar work that is reminiscent of post-hardcore legends like Drive Like Jehu and Slint. Though Shift does contain some elements of post-rock. This is especially prominent on “Every Day”, which utilizes droning guitar feedback for atmospheric purposes that is played alongside windchimes.
Shift is definitely designed for headphone listening and multiple listens are required to fully appreciate it. The replay value is high due to the complexity of the music and you will discover something new with each and every listen. However, this album does require patience since some passages can be repetitive and some of the tracks can drag on a bit too long. That being said, this is truly an original effort with top notch musicianship.
-Eric Wiersema
Junius Paul
Ism
International Anthem
With his debut album bassist Junius Paul goes far beyond the realm of jazz and transcends the genre. Through an extensive background of playing with extremely talented and creative types, and having a deep appreciation for his idols, Paul combines all of these experiences into a truly unique and well crafted double record. Ism is a labor of love for Paul, as the album is made up of different recording sessions and live performances that stretch back to 2016. The common thread tying the recordings together is that they were all done in Chicago at various places around the city. The improvisation that is apparent throughout the nearly hour and twenty minute journey is spectacular. Even if the song is not directly featuring Paul up front with his bass, he is coming through from the back with powerful lines.
Ism begins with “You Are Free To Choose” with a chaotic feel that makes you think it is out of sorts. As the title indicates, you are free to choose who and what you want to listen to and follow as the instruments swirl. The tune has a “Crisis” by Jaco Pastorius feel and it catches you off guard from the beginning. An influence of Paul’s is Miles Davis and during “Spocky Chainsey Has Re-Emerged,” the Jack Johnson sessions Davis did bleed into the track. Continuing to lend credit to those who inspired him, Paul pays tribute to where he got his start playing live. In “Fred Anderson and a Half” Paul gives a nod to Mr. Fred Anderson, the former owner of the Velvet Lounge down on the South Side. In the next track, “Ma and Dad,” he recognizes where his early musical inspirations came from, and before closing out the album, “Two Minute Warning” (the second to last track) bookends the record with a chaotic mix of swirling individual musicianship that keeps you on your toes.
Buildings
Negative Sound
Gilead Media
Minneapolis noise rock trio Buildings returns with their fourth album, Negative Sound, which follows 2017’s You Are Not One of Us. The record fuses Jesus Lizard-inspired noise rock with various forms of metal and heavy rock. Negative Sound is abrasive, uncompromising, and experimental. At 10 tracks and just over a half hour in length, it is also an extremely tight album as well.
“A Good Hill to Die On” opens with the sound of a metronome and borderline spoken-word lyrics before the menacing guitars erupt at the 1-minute mark. The following track, “Sit With It” moves the album into more of a grunge direction that is highly reminiscent of The Melvins- especially frontman Brian Lake’s bellowing vocals and sludgy guitars. “Piss up a Flagpole” starts off with an agonizing scream before bouncy punk drums kick in alongside black metal-influenced tremolo picking. “Certain Women” continues the tremolo picking and features about 30 seconds of fuzzy guitar noise before the verses begin and it transforms into an odd grunge/post metal hybrid. “Dying Nasa Scientists” follows this track and continues the noisy experimentation.
Overall, Negative Sound is a solid noise rock album that is not afraid to experiment outside genre conventions and should hit the spot for Jesus Lizard fans who have been starving for new material for over 20 years. This record can also serve as an entry point to noise rock for metalheads, particularly fans of black and post metal.
-Eric Wiersema
Carlile
Back Seat
Carlile
Electro pop songstress Carlile captures an ethereal and compelling vibe with debut EP Back Seat. A live solo performer, who loops and pipes her way to twisting spare compositions that get down to the point, Carlile has been on the scene for a few years but has finally got around to recording some of her affecting tracks. If you think only indie, noise, and hip hop is coming out of Chicago be prepared for Carlile to surprise. With bumping, yet spare, backing tracks and production from local producer uuskhy, and her melodic vocals and affecting lyrical style they capture a pop sound that is at once throw-back and wholly new. In a not so surprising turn, scene vet NNAMDÏ features on “Clown, Monkey, Tambourine,” but the rest is purely the songstress, her auditory collaboration, and an unending imagination.
Carlile is involved in Iconic - a Queer Night at Schubas with Emily Blue, Thair, Flora, Superknova, and Girlboifriend this Friday December 6th! This is a must see lineup! Tix are $15.
The Tomblands
Gnaw
Inflatable Garden
Firing up the rock engines at full bore with new EP Gnaw, young Chicago five piece The Tomblands sends their brand of “garage psych surf” into the stratosphere. Following the long line of psych explorers in the local scene, these travelers of the sonic sphere are indeed coming into their own with this new collection of churning explosions. With a lineup as interesting as their shred heavy sound, the trio of Nick Georglos, Danny Stankus, and Liam Burns share guitar, bass, and vocal duties with dual drummers Jimmy Kowalczyk and Joey Buttlar crashing down in the back. A loose, yet focused brand of rock, they would have easily found a place on the radio in the 90s, but unfortunately rock radio no longer plays anything recorded in the last decade. Which is really too bad since standouts like “Constrictor” and “Temporal” would have found large fan bases after a few spins from a radio station; but since this is a digital world, tell your friends, spread it far and wide: The Tomblands hit like the bands of your youth, with complete and utter abandon and pure unadulterated rock rage.
Get to Sleeping Village for a $1 Beer Night featuring Mush, Telethon, and The Tomblands on December 9th. Tix are $5.
And The Band Royale Record Release show at Lincoln Hall with The Tomblands and Plantetsexploder on January 22nd. Tix are $20.
Charles Rumback and Ryley Walker
Little Common Twist
Thrill Jockey
Apart Charles Rumback and Ryley Walker are accomplished and expert musicians. Rumback, a highly sought after drummer in modern jazz circles, and Walker, as attuned to his instrument emotionally as any player out there, able to communicate with plucks and strums the way a singer would with vocal chords. Together their work is euphoric. Little Common Twist, the duo’s second recording together, runs the gamut of musical journeys, from the blissful guitar strum to begin opener “Half Joking,” to the repetitive twists and turns of “Ill Fitting/No Sickness,” to the ethereal notes and brush strokes of “And You, These Sang,” the two masters of their craft wrap a fuzzy drape of sonic illusion across the entire album. Recorded live, for the most part, using minimal overdubs, the sound captures the improvisational vibe the two are distinctly prone to, while keeping a strong pastoral element of songcraft throughout. These are not experimental compositions that fly off into nowhere, but always return to the listener with a fresh perspective or repeated refrain. Mixing elements of jazz, folk, and experimental is nothing new, but these two complete the puzzle in such stimulating ways that it is impossible to ignore their instrumental wonder. It would be no surprise to learn that a psychic connection film reel was playing in their heads while composing these pastorally gorgeous numbers.
Ganser
You Must Be New Here
Ganser
After turning heads with last year’s Odd Talk, four piece post-punk destroyers Ganser return with a four track EP that shows a move to more melodic and sophisticated songwriting without sacrificing the immediacy and raw energy that put them on the radar. You Must Be New Here may go by far too fast, but what it has is plenty of essence at its core, a meaty bite of post-punk chew that must be grinded over and over before it will go down. In other words, it’s so damn good you’ll have no choice but to hit play again, after the final floating synth chords of “Motivational Speaking” fade out. With a potent one-two of songwriters/vocalists Alicia Gaines (bass) and Nadia Garofalo (keys) working in tandem, each taking a portion of the duties; as each song sounds fresh, never getting bogged down in the quagmire of repetition that catches many of the genre. While the human metronome of Brian Cundiff never lets up with the beat and Charlie Landsman (guitar) squeals and rips his way through every tune. The dual songwriter aesthetic allows the two lyricists to cover far more ground, as it seems Gaines pens anthemic political and social narratives whereas Garofalo digs deep into the personal for her emotive numbers. An accomplished combination that lends Ganser it’s powerful punch that just keeps on coming, long after you’ve called mercy.
Ganser is headlining Wednesday November 27th at Empty Bottle with No Men starting off the evening and Luggage and Salvation releasing records! Tix are $8.
Cox’s Army
New Richmond Town
Charles G. Cox
Traditional bluegrass has always had a home in the urban landscape, bringing with it the rural spirit of home and hearth. Cox’s Army, led by Chicago fixture ‘Cousin’ Chuck Cox, is one of the Chicago acts bringing the one mic style to us city heathens that are used to every instrument being miked independently. Recorded in this way, live in the studio, their latest record New Richmond Town holds the warm tone and worn harmonies that are a distinct characteristic of “working the mic.” Surely taking their name from Coxey’s Army that marched on Washington in 1894, during the worst depression till that point, may lead one to conclude they would be political by nature. However, Cox’s Army tackles the subjects that populate most tunes of the genre: nostalgia with “Searching for Home,” murder and love in “No One Steps out on Sarah Jane,” a hard days work blues as “Leather, Wood, and Nails,” the hobo life with “Sleeping in the Car,” and death and misfortune in “You Dug That Hole on the Wrong Side.” Each as entertaining and filled with lush storytelling as the last. Featuring the talents of Cox on guitar, the deft fingers of Laird Patten on banjo, Jeff Burke strumming quick on mandolin, and Jack Campbell keeping the low end bumping on his stand up bass. All clearly accomplished players (you have to be skilled to play bluegrass in this style) Cox’s Army waves the traditional flag with honor and hope for the future. It takes patience and heaps of practice to play this way, and it’s clear they’ve got both down pat.
Cox’s Army is playing at Billy Sunday on December 11th and January 8th. It’s FREE. But if they’ve got a bucket show ‘em your ‘preciation with a couple sawbucks.
Fran
A Private Picture
Fire Talk
Beautiful and dissonance waltz together perfectly in "Now," the opening track of Fran's first full-length album. Even with the opposing musical forces at work, I was pulled into an off-kilter kind of relaxation. So I was completely unprepared for the assault that comes at the end of the track- I jumped! if you think you know Fran, this album shows us that she has many sides to her musical persona. There are elements of Americana/folk, psych, and grunge to the music. Her voice bridges the stylistic changes somersaulting ease. It stands in breathy and fragile relief in the mix of the title track, "A Private Picture." A couple minutes in, she shows her range by singing deep gravelly notes: it is powerful. It is a quick and satisfying evolution from folk to grunge. I'd also recommend giving a listen to the country, broken-hearted ballad, "(I Don't Want You To Think) I've Moved On," but truly this whole album is worth a listen.
Don't miss her official record release November 23rd at The Hideout, $10.
No Men
Hell Was Full So We Came Back
Let’s Pretend Records
Chicago’s own No Men return with their sophomore release Hell Was Full So We Came Back which follows their raw 2016 debut Dear God, Bring The Doom. This album finds the trio perfecting their blend of punk, blues/garage rock, and a hint of doom/sludge metal. The production on Hell Was Full… is cleaner yet the songs are generally heavier resulting from the band utilizing more Sabbath-esque riffs to complement their raw punk energy. A more contemporary comparison would be to the Vancouver garage rock duo The Pack AD. Frontwoman Pursley’s vocals are especially similar to Becky Black’s.
“Evil” kicks things off with the sound of an engine revving, letting the listener know they’re in for a wild ride before bursting into stoner rock riffage that brings early Death From Above 1979 and Queens of the Stone Age to mind. The following track, “Payback” is a bouncy drum-oriented tune that demonstrates Eric H’s technical proficiency behind the kit especially when this track delves into noise rock during the chaotic chorus. “When I’m Dead” melds together blues and doom influences and sounds a bit like a cross between Jack White and early Chelsea Wolfe. Closing Hell Was Full… is the epic 2-part track “New Blood.” “New Blood pt 1” is an instrumental post-metal track that is heavily inspired by doom and sludge metal while “New Blood pt 2” ends the album with a bang. A potent amalgamation of garage and noise rock.
Overall, Hell Was Full… is an excellent follow-up to Dear God, Bring The Doom. This album finds the young band coming into their own and delivering one of the more exciting rock releases this year. Fans of punk, garage rock, noise rock, and metal alike will all find something to enjoy here!
-Eric Wiersema
Catch No Men with Ganser at The Empty Bottle on Wednesday November 27th!
Sugarpulp
Underwater/Outerspace
Sugarpulp
Underwater/Outerspace is a 4-track EP from the Chicago indie quartet Sugarpulp. This EP arrives just 7 months after the release of their full-length debut Teeth back in February. Sugarpulp describes their sound as “reflecting the power of Yeah Yeah Yeahs, the pop undertones of The Kinks, and the sparkle of T Rex.” I can definitely hear all of these iconic influence in their music and more! Opener “New Satellite Animations” combines synth pop with ‘60s and ‘70s psychedelic and prog influences, feeling like a weird cross between Metric, Jefferson Airplane, and Yes. The title track “Underwater/Outerspace” starts off as a calm, trippy Pink-Floyd-esque space rock tune before transitioning into more of a disjointed Yeah Yeah Yeahs feel after the 2-minute mark. “Empty Silos” is a brief instrumental track that incorporates some post-rock soundscapes. Finally, “Glass Desert” ends the EP on a high note with a nearly 5-minute long pop prog opus. Underwater/Outerspace is a solid effort that both acknowledges the sounds of the past and expands upon them to bring prog and psychedelic rock into the 21st century.
-Eric Wiersema
Catch Sugarpulp at Subterranean with Last Import and Lunar Hotel on December 15th!
Bloodshot Records
25th Anniversary Compilation
Too Late to Pray:
Defiant Chicago Roots
Bloodshot
When Chicago is brought up in musical conversations it’s usually the Blues and Jazz scenes that get the attention, but roots music has a long and storied past in our fair metropolis, and Bloodshot Records has been keeping that tradition going for 25 years. While it’s true they’ve wandered far and wide from our windy city for some of the best acts in country, bluegrass, and folk, they’ve always called Chicago home and for their 25th anniversary compilation Too Late to Pray: Defiant Chicago Roots one of the cities most successful labels of the modern era returns to its roots with twenty two local acts contributing to this inspiring collection. There’s established local Bloodshot artists like Jon Langford and Robbie Fulks, upstarts that have made a quick name for themselves in David Quinn and Rookie, entrenched artists of the honky tonk scene such as Wild Earp and the Free for Alls and The Lawrence Peters Outfit, richly layered folk artists Half Gringa, Joybird, and Sima Cunningham, and that’s not even half of the artists featured here. Surprises await around every corner like rockabilly trio The Dyes covering “Liza Jane,” one of David Bowie’s first recordings as Davie Jones & The King Bees, Freakwater’s gorgeously quiet cover of Rolling Stones “Sway,” or long time Bloodshot resident Kelly Hogan with a version of Fred Tillman’s “Gotta Have My Baby Back.” Though this isn’t just a covers album with plenty of originals from bluegrass trio Big Sadie, Half Gringa, Joybird, David Quinn, Los Gallos and more! If you’re unfamiliar with the local roots scene and want a quicker than spit education, pick up a copy of this excellent compilation and start your teachin’ off right.
Djunah
Ex Voto
Triple Eye
As Donna Diane rips into the first riffs and her deep bellow bursts forth it’s clear Djunah’s debut full length Ex Voto is something rare. Right on the edge of control, with Nick Smalkowski’s drums grounding the sound, the machinery of noise that Diane produces with a guitar, bass pedals, and her exceptional vocals is a one person war hammer of sound. It’s hard to believe as they decimate with “Laud” or “Brother” that Djunah is merely a duo;’ but here they are, two individuals producing a wall of sonic demolition that puts many of their four piece contempories to shame. Walking the genre edge between noise, metal, and post-rock, these two are carving a space for themselves right in the middle. Never subscribing to one subset of tropes. Whether it's the intricate guitar work of “Built,” or the beautiful ballad intro to “Kiddo,” or the pure power noise moments of closer “Mirrors for Narcissists,” they split rock hairs with a fine toothed comb of slithering delirium. In her recent interview with us she stated her multitasking musicianship is as much a statement on gender disparity as controlling the “frequnecy spectrum.” Diane told us “It’s no different from what most women I know, especially mothers, do every single day. They do all the jobs at the same time, and they don’t complain about it.” An eloquent and truthful thought that lines up perfectly with the honesty and integrity at the core of Djunah’s sound.
Daymaker
Let the Sun Fall
Diversion
Chicago has been blessed with so many debut full lengths this year and experimental punk quartet Daymaker joins the fray with their excellent Let the Sun Fall on local imprint Diversion Records. Delving into the disparte realms of personal reasoning (“Pepper”), political analysis (“Condos”), modern relationships (“Sun Shine Girl”), identity (“Mask On”), and so much more. Each track takes on a new challenge or ideal that faces a generation embedded in the quagmire of social media, the minute to minute news cycle, and ever shifting norms of gender and social reflection; without falling into self-indulgent trap that can mar many albums of the ilk. The addicting wail of vocalist Erin Delaney effortlessly weaves into the tunes her compatriots provide, as Egon Schiele’s guitar blends with the back end groove of Eric Newmiller’s bass, and Whitney Milikan’s drums ride high in the mix providing a ground in which the songs stand tall. Challenging and thought provoking, while still managing to stay pleasurable is no easy feat and Daymaker has risen to the task with an instantly addicting record.
Daymaker is opening for Free Snacks at The Observatory on December 7th. DM for address.
Not Lovely
matterlightblooming
Not Labely
Blending the rich local nu-jazz tradition with the underground hip hop scene is Not Lovely’s bag, and they’ve laid it down with perfect resolve and skill on debut matterlightblooming. After hip-hop duo Auburn Hills (Jack Clements and Joshua Virtue of Why? Records) were invited to the Wilco loft when Clements remixed the band’s “EKG”, the infamous Jeff Tweedy asked if they had a band, so they gathered some jazz friends together and formed Not Lovely. The result is a distinct departure from any of their previous work, as the two venture with Michael Queenan (Guitar/Vocals), Hannah Fidler (Bass/Vocals), and Taylor Stevenson (Drums/Synth/Vocals) into the depths of their dreams, fears, and reflections for a completely fulfilling journey into their crowded psyches. Weather it’s the breakneck local reference filled romp “I-90,” or the blissful groove of “Swing Majestic,” or the Amiri Baraka channeled intro to political rant “Fate Is Gonna Fk Ya Up,” Not Lovely descends upon the ears and mind with a power that doesn’t come with just jazz or hip-hop alone. But as the two are so effortlessly blended by these five artists (along with a myriad of guests from the scene), it becomes a bewitching listen that defies categorization and explanation.
Counterparts
Nothing Left to Love
Pure Noise
Ontario hardcore veterans Counterparts return with their sixth album, Nothing Left to Love. Counterparts have proven to be one of the most consistent melodic hardcore acts of the past decade and Nothing Left to Love is no exception. Brendan Murphy and co once again deliver an album brutal enough to make you jump into the pit and release pent-up aggression, yet accessible enough to not terrify your normie friends. The album kicks things off with “Love Me”, which begins with 30 seconds of ambient guitar noise before Murphy’s forceful growls and the band’s signature chugging riffs kick in. “Paradise and Plague” maintains the hardcore aggression in its verses, but has a very melodic chorus that would almost allow this track to be played alongside Asking Alexandria on active rock radio. The band displays their technical prowess on “Your Own Knife”, which features syncopated riffs and palm muting commonly found in djent. Closer and title track, “Nothing Left to Love” is a slow burner and the most unique track on the album. For lack of a better description, I’ll dub this one a hardcore power ballad, that gradually builds up tension before Murphy once again releases his cathartic screams.
Overall, Nothing Left to Love is a solid melodic hardcore album that demonstrates Counterparts’ mastery of their craft. While this album may not break any new ground, it aims to please the diehard fans. Recommended for fans of Comeback Kid, Knocked Loose, and Stick to Your Guns.
-Eric Wiersema
Counterparts hit Bottom Lounge back on November 13th.
Mutts
Stuck Together
8eat8
2019 has been of the year of Mutts. Fresh off celebrating their 10th anniversary with Hey, We Are All Mutts at the start of summer, the ultimate Chicago power piano trio return with Stuck Together, taking five years of songs (several of which appear on 2017 EP Stick Together) and boiling them down to a rocking hit of ten glorious soul-filled numbers with lines of influence from all over the musical spectrum: the songwriting chops of ivory pounders like Tom Waits or Ben Folds, to the intensity of grunge rockers such as Mudhoney or the Melvins, to the pop swagger of early Elton John; Mutts takes a snapshot of late twentieth century rock, tears it into a bunch of tiny pieces, and tapes it all back together again to form something very much their own. On Stuck Together, their fifth studio full-length, they dial up the rock with bluesy heaters “Treason” and “Let’s Go,” get down deep with power ballads “Dirt” or “Never Know Now,” show off their weird side with “Better Believe It” and “Stick Together,” and embrace their inner pop hearts with “I’ll Be Around” and “Tin Foil Hat” to create an incredibly cohesive whole out of what appear on the surface as disparate entities. However, front man Mike Maimone is a force of nature behind the piano, his husky drawl fitting perfectly from style to style, and Bob Buckstaff (bass, guitar) has had his back since the beginning, creating a chemistry that can’t be denied. In a scene dominated by indie one-notes, heralders of noise, and synth pop wonders, a classic throwback rock record like Stuck Together is a welcome release.
Mutts is headlining December 7th at Sleeping Village. Tix are $10.
Blacker Face
Distinctive Juju
Sooper
Artists often speak of a post-genre world where no one tries to categorize their work, scooping it into a pile of often homogenized, institutionalized, bargain/basement categories. Usually caught between industry perspective and the need to appeal to the common reader, journalists are often just as guilty as labels and big-wig A&R reps of warping a band into an easily identifiable label. Then along comes Blacker Face, an ensemble of Chicago artists that defies any and all labels. Distinctive Juju is everything and nothing all at once. On first listen, it could seem like chaotic noise with sections of beautiful song craft, but after peeling away the multiple layers on many subsequent tun- ins, it becomes clear that Blacker Face is definitely funk pop indie noise protest folk rap metal. Of course that is a joke, because this powerful work of art cannot be disseminated or defined. It’s a record that is as delicate as it is mighty, as genuine as ironic, as earnest as humorous; in other words Distinctive Juju is an oxymoron of the most massive proportions. Crafted with care by PT Bell (Bass, Sax, Backing Vocals), Louis Clark (Keys), Noah Jones (Drums), Isaac Nicholas (Guitar), and helmed by the incomparable Jolene Whatevr (Vocals), Blacker Face is one of Chicago’s most compelling acts, and they have instantly shot themselves into legendary status with this work of sonic art posed as a record.
Blacker Face are opening for Free Snacks at the Observatory on December 7th. DM for address.
Harvey Fox
Lullabies for the Restless
Midwest Action
An endlessly listenable gem cuts all the elements that work from a multitude of sources and compacts the scraps into a tight, enjoyable journey. Chicago rockers Harvey Fox have hit just the right chord with their newest effort Lullabies for the Restless. From the Beatles-esqe beat of “Pictures of Herself,” to the lounge groove of “Jenessia,” to the Spoon-like kick of “Chasing the Porcupine,” to breakup ballad “May Be Crazy,” songwriter Colin Fox has returned a few years after first effort Party Music for the Sad Kids introduced his eclectic, self-defined psych rock to the world. Backed by the talents of Tom Garvey (Bass/Guitar), Drake Morey (Keys), Dario Velazquez (Drums) and Annalee Hoosen (backing vocals), Fox delivers a sonicly diverse diarama of rock music through the decades with its own distinct flavor and musical textures- one that will hold appeal for a multitude of generational fans. While the collection of influences is certainly clear, the patchwork collage works into a cohesive whole without any effort. By the time the Pink Floyd-styled “Lullabies for the Restless” releases its seven-minute magic to close out the record, Harvey Fox will have sunk in the hooks and beckon you to begin all over again.
Ali Barter
Hello, I’m Doing my Best
Girly Bits
The opening track of Hello, I’m Doing my Best, "Lester," shows off Ali Barter’s pure voice and acoustic guitar playing. The rest of this album turns to rock that embraces her ever so slightly squeaky voice with warmth. The songs revolve around friendship, making mistakes, and taking the things that are fucked up about your life and wearing them like a badge of honor. I was hooked from the ending line of that second song, "Ur a Piece of Shit." You won't let the people who would victimize or belittle or judge you hold you down. No matter the topic, most of the songs are upbeat; they go from bouncy to angry, but always keep you moving. The album ends very strongly with the duo of songs "This Girl" and "I Won't Lie."
Ali Barter played Schubas on November 13th
Ava Lake
The Rise EP
self-released
The body-moving beats don't let up during this EP by local electronic musician and vocalist Ava Lake. The album begins with Lake singing sonorously. It doesn't take long before "Dagger" shows us her range from soaring clarity to deep rumbles. Lake creates a chorus by layering her own vocal harmonies. The production doesn't always put them safely in the background, but lets them stand side by side with the main vocals. Lyrically, I gotta say, "Sue Me" is beyond fun. "Sue me, I'm a lover I'm a hater, I'm a realist, I'm a waiter, I'm a giver, I'm a taker, yeah!" The backing beat on "God's a Ghost" sizzles with so much ASMR crunch, it is definitely worth checking out in headphones for optimized pleasure.
Ava Lake just played the Empty Bottle on November 13th.
1349
The Infernal Pathway
Amoeba Music
The word of the day for this new release from old-time thrashers, 1349 is nasty. I’m not gonna lie, I had a copilot on this album review. The second son of Satan, bass player and vox for Aggrocrag, Wesley Slopsack. He recommended their earlier works to get a good basis for their creativity. On top of that, we spent an afternoon listening to behemoth. So, here goes: “Dødskamp” is a standout on the album with gigantic double bass drum ranges that sew the entire track together. Plus, it riffs between speed and doom in so many unrealistic ways it’s hard to tell if you’re in their head or their heart. I haven’t heard changeups this nasty since Sabbath did “Dirty Women.” Album opener “Abyssos” is reminiscent of those skate thrash days of the late ‘80s and early ’90s. The album doesn’t slouch. Give it a listen, or don’t. But if you pass this up, you’ll sell yourself short. For long time fans, you’ll hear their roots and not in some bullshit, latent way. For the newly indoctrinated, this is what dark metal should sound like: nasty, put progressive. There are still punk influences coursing through this album and a drive to take the genre into the future. Above all, go fucking see them live. That’s where you’ll see 1349’s salt.
-A-A Ron Pylinski
1349 played Cobra Lounge on November 2nd.
Vagabon
Vagabon
Nonesuch Records
Laetitia Tamko (Vagabon) is back with her second album, Vagabon, which takes the next step in growing her sound. While there are some remnants of Infinite Worlds, they show the maturation process of building on Tamko’s voice. Vagabon creates an atmospheric sound that has an all encompassing feeling. With mixtures of string arrangements and drum kits, that is dream like electronic, there is move into more pop than indie rock. Tamko once again produces her own work and acts as a one person band. From the beginning with “Full Moon in Gemini,” Tamko’s voice is the centerpiece and sets up this theme for the album. A carry over from Infinite Worlds, are the personal messages and stances Tamko is laying out there through her lyrics. “Every Woman” which was released a few days before the album was released had a video to accompany the song. “Every Woman” is central to the album’s themes and core beliefs of continuing to fight and to inspire others through perseverance.
Vagabon opened for Angel Olsen at the Riv on November 14th.