Kirstiecat | Blog

6/13/8

Schubas Tavern in Chicago

It was a big night at Schubas with the premiere of local band Allá’s Es Tiempo now seven years in the making. Brothers Jorge and Angel Ledezma brought a large ensemble with a psychedelic backdrop to visually enhance the exact presentation of their music. I’ll let Garin discuss this more in depth, however, and will cover opener Liam Hayes in all his folk glory.

Liam Hayes is also a local musician but, beyond that, it’s somewhat difficult to find out much more information about him. His two solo albums outside of band Plush, 1998’s More You Becomes You on Drag City and 2002’s Fed seem to be lost gems with little reason why. The songs are soft and gentle where they need to be and styled in a classic folk way that make you think of timeless folk pieces. Stripped down on stage, the songs let Liam’s voice and guitar playing be their guide as eased into just the right amount of gentleness to keep them from rocking out but with finger plucking intricacies that made them more interesting. These would be the perfect inserts to everything from pale winter mornings all the way to sunny summer Sundays. They have a sense of light, of an open window and streams of brightness flowing through them.

What discourages me is how little I know Liam Hayes, a folk artist who lives in my own city. Between a poor skeleton of a wikipedia entry and a too short interview on Pop Matters, there is not too much out there I can even find. Perhaps, he’s somewhat reclusive though that wouldn’t fit in the profile of someone who appeared on indie cult film High Fidelity as himself (Note to self: rewatch High Fidelity for the Liam Hayes appearance)

Still, Liam Hayes is definitely not seeking publicity out as he hasn’t seemed to jump on the myspace music bandwagon and in seven years of seeing frequent shows in this city, I haven’t seen him once yet. Yet, Liam’s music obviously runs far and deep. Not a minute after I posted photos of him on flickr, for instance, one of my fellow photographer contacts from France had favorited all of the photos of him and asked/wrote achingly: “Liam Hayes!! When will he come back? When will “Fed” be properly released outside of Japan?”

Liam, if you’re reading, know this..people love your music so keep making it!

View the complete photoset on flickr

6/6/08

Schubas Tavern

I wasn’t quite sure where the night would end up this time, having no prior experience seeing headliners Cryptacize or openers Thin Hymns. I was mainly interested in Chicago locals Speck Mountain, who I’d seen at the last CHIRP record fair at Pulaski Field House. I must say, I was intrigued by the songs I heard on Oakland’s trio Cryptacize’s myspace page. Lackadaisical with just a hint of psych rock, songs like “We’ll Never Dream Again” and “Cosmic Sing-along” seemed like they could be sure winners.

I don’t normally make a habit of imagining what Miranda July as a 15 year old in a band would be like but Cryptacize would fit that description rather adeptly. Lead singer Nedelle Torrisi has to be at least 21 but she looks incredibly young and innocent. Her presentation is also reminiscent of what I’d expect of a younger version of Miranda July and I felt she was a little too spacy. After a couple of songs, she remarked “Ok, we’re going to have to take it down a notch.” “Down a notch?” I thought…how could it get any slower? Yet, it proved possible. What should have been a lingering loveliness turned into a loss of enchantment with these songs rather quickly. This is unfortunate, as they really do have potential. However. Cryptacize really needs to work on their stage presence if they are going to hold an audience’s attention. The songs drift and seem purposeless when they could be much richer in layers and livelier. Cryptacize played for less than 45 minutes but it still felt like a rather long set, unfortunately.

Thankfully, Speck Mountain really redeemed the night and provided for a more satisfying opening set. The four piece plays psychedelic folk music that seems just right. Though Marie-Claire Balabanian may have been just as understated at Cryptacize’s Nedelle Torrisi, she cast a much more profound presence with her vocals. The layers of sound created by the keyboard and bass helped bring out the repetitively melodic guitar parts from the lead singer. Her beauty was enhanced by a Mazzy Starr like sound in her vocals that made one relish the moments they were on stage.

Consistent with a purer sort of indie sound, Thin Hymns played as a three piece but seem to really be the work of Michael Hilger and Joe Starita. The keyboards and guitar were nice while the drums filled in some of the ambient space but the cello by far was the highlight of most of the songs. It felt emotional at times without being overbearing or too obvious…but somehow personal and intimate within the context of the lyrics. Their set felt a bit subdued but still very engaging in the way each instrument worked together in the context of the songs. They may be still figuring out their sound and directions if the band is in it’s early incarnation but they definitely have a good start.

View the complete photoset on flickr

5/13/08
Reggies in Chicago

I wasn’t quite so sure about seeing The Liars, mainly because I don’t even own their latest self titled release from 2007. The songs I’ve heard from that sound like they’ve lost something quite frankly…as if they’ve sacrificed some of their edge to be thought of as more of a slicker and more accessible pop band (relatively, people. I’m not going to compare Angus to Prince or Michael Jackson any time in this millennium.) Still, due to Reggie’s more intimate size, I felt that there was the definite potential for this to be a great show and I was right…Angus was the tour de force I remembered…speeding ahead in a perfect glory and holding nothing back.

I have to backtrack a little and say that it is actually difficult for me to think of the Liars as anything other than a headlining band. That’s how I saw them a couple of times when they played Logan Square Auditorium and even when they played Pitchfork Music Festival a couple of years back, I seemed to forget about the other bands playing afterwards for awhile….Angus’s presence has a definite residue of permanence that makes him sort of unforgettable. He presents as a little possessed when he’s talking about the Salem witches. Though, I can imagine him sounding intense with a touch of demonic flair if he was singing about running out of toilet paper if he really wanted to. In other words, the man has a talent in terms of his live performance that doesn’t fully hit you on the records even on the earlier rougher ones like 2001’s They Threw Us All in a Trench and Stuck a Monument on Top . Yes, Angus is from the same country that brought the world Nick Cave and he’s unpredictable, a one man storm that can bring about some beautiful disasters.

For this show, I was impressed with so many old songs as I felt worried Angus may be trying to gain new fans between their last tour opening for Interpol and this tour opening for Radiohead. This show, however, was all about the fans and centered on quite a bit of old material. Angus also eluded to being more comfortable with this headlining spot and with devoted fans he didn’t need to tone down the set for at all. For all his maelstrom when he was singing, I noticed he looked completely at ease and truly happy underneath on stage. This was an enjoyable experience. The audience wanted him and it was like he was able to channel this energy and not let any bit of the set suffered. I’ll also say that it’s not every day that you get to see a bunch of people all united in shouting out as passionately as can be imagined, “We’re Doomed!”

View the complete photoset on flickr

5/12/8 Schubas Tavern in Chicago

What a blissful night of heavenly Swedish musicians! Last Monday at Schubas was loveliness personified. Not only was it Sarah Assbring’s (El Perro Del Mar’s) triumphant return after way too many months away from Chicago (I swear I aged ten years just waiting for her to come back in these past 12 months…) but it was also a glimpse of some other Swedish musicians for many fans. The interest in Lykke Li was definitely piqued as she was recommended by the Chicago Reader but Anna Ternheim had a subtle grace and beauty that drew many people in from even neighboring cities who jumped at the chance to see the Swedish beauty in such a perfectly intimate setting.

Starting the night off, Anna Ternheim used some samples but overall played a much more stripped down version of some of her songs than the way they appear on her album Halfway to Fivepointsin which there is more of an orchestration presence on many of the songs. Anna reminded me a bit of fellow Swede Frida Hyvönen at times though overall less vulnerable seeming. Of course, playing solo in a more stripped setting alternating with her guitar and keyboard made me think of the similarities between the two easier than when listening to their recorded material. In any case, Anna had a certain peculiar elegance even when wearing an oversized striped shirt. Her style may have been understated but it certainly left an impression.

Lykke Li, in contrast, was a bit flashier from the get go. Coming out in a jacket full of sequins and backed up by a full band, she moved and shaked with a much more intense energy. The arrangements of the songs themselves were very strong and engaging, besides being so much fun, but it seemed to be missing the emotional level garnered by Anna Ternheim. Having Sarah Assbring come on stage and sing a couple of songs with her helped but ultimately, I longed for the loveliness of El Perro Del Mar that I had been waiting so long for.

Of course, I was not to wait for too long. Sarah emerged, as her her usual, looking like she could be the beautiful female lead in a 1930s silent horror film. She’d be the girl that tempts the vampires…that drifts up and down grainy black and white staircases without her feet ever showing. She opened up the set perfectly with “Party” and “Dog,” two of my favorite songs and, though she didn’t play “This Loneliness,” I enjoyed the entire set immensely. Touring to support her newest album, 2008’s From the Valley to the Stars, this time around her time in Chicago seemed a little less bleak (an audience member even asked Sarah if he could dance on the stage while she sang!) Though this did seem out of place, her backing band really did seem to remove a sense of total despair or the anticlimactic feelings that come from hearing lyrics like “Come on over baby there’s a party going on” being sung so sadly. Let’s hope Sarah doesn’t stay away too long before coming back next time….

View the complete photoset on flickr

4/26/08
Schubas Tavern in Chicago

Of course, everyone knows of the world famous Peter Morén of Sweden’s Peter, Bjorn, and John but what they don’t know is that he may just be the main man behind all those glorious pop songs and, if isolated from his other two bandmates, he has the capability to put on a swell show full of not only his own songs but songs from PB&J and fun covers to boot. He’s clearly not going to disappoint anyone who sees him on this tour.

The night began with Tobias Fröberg, a fellow musician friend of Peter’s who is also from Sweden. Tobias is a songwriter and, like Jens Lekman, can be a little melancholy at times but the songs are a little less meandering than some of my favorites of Lekman’s and they have a certain sensibility to them that may be why he (as he explained) ended up “selling out in Sweden” by allowing one of them to be played in a Panasonic commercial. Tobias had a rich sense of humor and was rather engaging but the songs really come off better when played on his record Turn Heads than when he’s singing them solo. This was a stripped down more personal affair that would have been great except I longed for the layers he creates when he records. That said, the best part of his set was when Peter and Doug Marvin from Dirty on Purpose filled in some of the missing sounds. (Peter played guitar while Marvin played drums)

After Tobias’s set, the three took a short break and ,when they returned, switched to Peter on lead vocals playing his solo stuff and PB&J songs. The best by far of his set was “The Object of My Affection” and I can’t help but choke right up when I hear the lyrics, “I laugh more often now. I cry more often now. I am more me.” Peter played for at least an hour but he often complained about having a curfew for the show and how he liked to play three hour sets whereas bandmate Björn Yttling liked to play for only thirty minutes. Though the time passed quickly, I’d say it was a happy medium between the two extremes and he finished it off well with a few very amusing covers, including A-Ha’s “Take on Me” (remember them) and Richard Hell’s “Time.”

I could talk more about every song in the setlist (none written down that I saw unfortunately) but I think I’ll wrap up talking about the music component by saying that I had seen the double Empty Bottle show of Peter, Bjorn, and John about a year ago and wasn’t all that impressed (though the later show was greatly superior to the earlier.) This time around, Peter proved he has his act together and wasn’t as sloppy. The songs themselves just seem to come alive more and come across as the engaging gems they truly are so this was really a treat.

But actually, what I really wanted to talk about was Peter’s stage banter so indulge me if you will and keep reading. I think when you really love someone’s music, it’s natural to want to know more about that person as an actual human being. Schubas is, of course, the perfect intimate setting for this naturally. However, I have seen some singers at Schubas that just didn’t really open up and divulge any more than the bare minimum. It could have been that Peter was in an especially chatty mood but he talked more than I can remember him doing at the Empty Bottle shows, which is what really made the whole thing special for me. I wanted to take a minute for those who love the music to relay some of that.

First, perhaps you’ll be relieved as I am to know that Peter Morén is a pacifist. That isn’t completely shocking of course but he told us the story of having to fake a hearing test for the Swedish army and also having a psychologist. In a very Arlo Guthrie fashion (though he didn’t start singing or insist he wanted to kill), he acted depressed, looked at the floor, said he’d had difficulty with a girl and (now this is where it gets interesting) talked about his reoccurring nightmares about Hitler. This, of course, made him exempt from serving in the Swedish army.

He also spoke about being a music teacher and the awkwardness that comes with teaching young students how to all play the same notes at the same time. In addition, he expressed the difficulty of growing up and going through being a teenager as a boy and having to deal with all the grossness that comes with it…which ended up just coming off as really sweet and honest to me. Overall, what I really learned from it is that Peter Morén is a rather charming fellow but that he doesn’t seem to be setting out to be this way. I came prepared for a little arrogance, to be honest, considering the success of PB&J and what I found most of all was sincerity. That’s a nice thing to know for the next time you pop in Writer’s Block.

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4/25/08
The Note in Chicago

Although it’s technically true to say that Earth is a drone band, this genre doesn’t fully describe their sound. There are many drone bands that tend to come off as just downright noise based or trying to be more experimental than anything else. Though this instrumental four piece from Seattle definitely offers an alternative to your standard American pop band, they’ve created music that is effective in eliciting an emotion as well.

It’s somewhat redundant to describe this band as earthy after all but there is a sort of grounded and organic feel to their dark sound. They come off halfway between John Fahey on morphine and a Rothko painting. The feminine presence of drummer Adrienne Davies also gives the overall sound a slightly gentler feel, especially with their most recent album. In fact, their recently released sixth studio album on Southern Lord Records The Bees Made Honey in the Lion’s Skullis their most accessible to date. Though it still maintains a heavy density, it is filled with many warm tones and gradual progressions that ease into their melodies. “Rise to Glory” “Omens and Portents II: Carrion Crow,” and “Engine of Ruin” were definite highlights of their set Friday night. Though the listening experience is somewhat akin to living life in slow motion, it ends up feeling at times monumental. It’s easy to find yourself wondering if all life should be slowed down for a few moments to increase its ability to make an impact.

Local musician Helen Money, which is the moniker for Alison Chesley, opened up for Earth with a set that felt as if it slipped away much too fast. Playing an intense cello that was looped and fed through various pedal effects, she was at times sincere and sentimental in her playing and at other times playing as if she was in a heavier sort of metal band. In this way, she proved that the cello can be as much as an instrument as a weapon and it was truly amazing to witness this. In fact, she was the best cellist I’ve ever seen/heard live and definitely not only due to her talent but her ability to be creative and, perhaps above all things, truly memorable in a world that has 6.5 billion people and growing.

View the complete photoset on flickr

Empty Bottle in Chicago
4/11/08

I already wrote an essay on Caribou back when I blogged about them in November of 2007 here so I will keep this short. Back at that show, I had Pertussis and did not even realize it (my Dr. was also clueless) and spent the majority of their set throwing up in the bathroom after taking photos for the first three sets. (I apologize if that’s a little vivid but the fact that I was incredibly ill and still went should atleast give you a pretty good idea of how much I adore Caribou and, to be honest, it sounded absolutely amazing even from the bathroom floor I was lying on.) The main differences between the set they played then and the two sets they played at the Empty Bottle were regarding the length and the use of replacement drummer Ahmed Gallab of Sinkane after the previous drummer Brad Weber hurt his wrist. Though I think both are adept at drumming, Gallab was definitely more forceful and intense in his drumming and gave the songs a bit of a push and a heaviness. They played a much longer set as headliners and again included many of my favorite songs: “Hello Hammerheads” and “Melody Day” being perhaps my top two. I could tell Dan Snaith’s voice may have been hurting a bit after such touring but they were still very energetic with beautiful psychedelic patterns strewn across their faces.

You can view the complete photoset on flickr

Remaining tour dates:

1. 14th: Amigo’s, Saskatoon, Saskatchewan, Canada
2. 15th: Starlite Room, Edmonton, Alberta, Canada
3. 16th: Grand Theatre, Calgary, Alberta, Canada
4. 18th: Biltmore Cabaret, Vancouver, BC, Canada
5. 18th: Biltmore Cabaret, Vancouver, BC, Canada
6. 19th: Sugar, Victoria, BC, Canada
7. 20th: Chop Suey, Seattle, WA, USA
8. 21st: Doug Fir Lounge, Portland, OR, USA
9. 23rd: Independent, San Francisco, CA, USA
10. 24th: El Ray, Los Angeles, CA, USA
11. 25th: Plush, Tucson, AZ, USA
12. 26th: Club 101, El Paso, TX, USA
13. 27th: Emo’s, Austin, TX, USA
14. 28th: Palladium Loft, Dallas, TX, USA
15. 29th: The Continental, Tulsa, OK, USA
16. 30th: The Record Bar, Kansas City, MO, USA

#
May

1. 1st: The Billiken Club, St. Louis, MO, USA
2. 2nd: Waldron Auditorium, Bloomington, IN, USA
3. 3rd: Oberlin College, Oberlin, OH, USA
4. 4th: Big Orbit’s Soundlab, Buffalo, NY, USA

4/1/08
Congress Theater in Chicago

The genre of post rock has always been a curious one… It’s almost as if it implies that rock music has disappeared off of the face of the Earth. I always feel like I’ve missed some catastrophic event, as if I was in a coma the day the aliens came and informed every man and woman playing a guitar “Rock is over. Now, begin the next stage of your life!” Explosions in the Sky have often been labeled with the post rock moniker and it feels ill fitting to me. For example, though they are not by any means a standard rock band, their guitar playing builds and intensifies throughout many of their songs as the very name of the band suggests. It’s not exactly rock music but it has its roots based in the genre. Perhaps, it just uses some of this and can take it farther. It would be fair to call the band experimental and instrumental. They are also incredibly creative in their use of musical frameworks that develop over the course of each song. Though it’s not a specific genre, I’d also call them experiential because it’s the sort of music that fills you up and, at its best, takes away the emptiness inside.

I’ve always been fascinated with the idea of a universal language. I’m not talking about something specific like English, French, or Italian, here, either. I’m talking about what I think instrumental bands like Explosions in the Sky have the ability to do, which is to bridge a gap between two people who can have a shared experience through music that doesn’t relate to specific lyrics. In some ways, though I’m particularly fond of so many bands that use lyrics well, it’s more of a challenge to find those commonalities between people and place then in a musical equation that can be experienced by both.

To backtrack, Explosions in the Sky is a four piece band based in Austin, Texas who use primarily guitars to achieve their message (with some drum and bass as well). They have four studio albums and an EP to their credit and they put on a really accomplished live set. Playing a little over and hour, it somehow felt right when they didn’t play an encore even when the audience begged for more. Even more importantly than what seems like mere logistics is how much more effective the band is at reaching the audience and a diverse crowd than other instrumental bands, like Ratatat for instance. Instead of aiming to impress the crowd, Explosions in the Sky show the crowd their insides and allow the people present to come along for that ride. It’s such a different thing altogether. It’s like being a child at the beach, picking up a shell, and what you hear inside is all your lost memories instead of emptiness and air.

Lichens AKA Rob Lowe proved to be a perfect opener for Explosions in the Sky. I’ve seen Lichens before a couple of times and each time I’ve found the experience to be incredibly ethereal. It’s almost like the music is the Earth. Sometimes, it cries out and sometimes it groans while spinning on its precarious axis. At other times, the Earth is singing and praying to us from within. If you’re really listening to Lowe perform, you may find it impossible not to tremble.

Click to view the complete photoset on flickr

3/28/08
Schubas Tavern

It’s always something to be ecstatic about when you run into a lineup as exceptional as this one last Friday night at Schubas Tavern. The Ruby Suns dimmed the lights but brought out some fantastic psychedelic melodies. Le Loup played a joyfully energetic set as well, definitely not disappointing the crowd in the least while headliners Bodies of Water sang as if their lives might depend on it!

The Ruby Suns, a four piece hailing from New Zealand have an immediately striking sound. It’s based in psychedelic on both their album Sea Lion and in a live setting but it seems based more in psych pop than psych rock, at least on their recorded material. They rocked out a bit more on stage with a definite presence. They may have lost some momentum moving to and fro during their set but they gained it back quickly when the song started playing. In some ways, they remind me of Animal Collective’s side project Panda Bear and in some ways Caribou. They are definitely not the kiwi twee New Zealand is known for, though, Ryan McPhun has connections to The Brunettes. Regardless, there are beautiful female and male vocals between Ryan, Amee Robinson and Imogen Taylor with a sound best described as if Brian Wilson of the Beach Boys were to have gotten lost in 1960s New Zealand on a psychedelic beach and found some lovely women to sing along with him. Look forward to seeing this band play this summer at the Pitchfork Music Festival.

Le Loup (“The Wolf”) was a fantastic follow up to Ruby Suns. The large eight piece based in Washington, D.C. crowded the stage with all kinds of real and toy instruments. I was pretty impressed with their record, The Throne of the Third Heaven of the Nations’ Millenium General Assembly upon hearing it the beginning of this year and was excited to see they were playing Schubas. Their 45 minute set felt like it was a in a steady state of motion with so many different sounds emerging from the stage. The band created multiple layers of vocals and instrumentation in a way that really re-created the songs off their album and, indeed, made some of them even richer. Though both live and on their album they have some really sweet and slower tracks such as “To the Stars! To the Night!” their live performance especially shined with the more upbeat indiepop of songs like “We are Gods! We are Wolves!”

I wasn’t familiar with Los Angeles four piece Bodies of Water before seeing them and I wasn’t sure what to expect but it soon became clear that they were, indeed, headlining material, and were incredibly talented as well as engaging musically. What sets Bodies of Water apart from most bands is the focus on vocals more than anything else. It’s as if you are hearing a constant forceful chorus. It’s a chorus that seems passionate and rarely dwindles. At times, their songs even recall the passion of Arcade Fire as in “These are The Eyes” Though they are only four in number, their spirit of vocals alone puts them almost equal to the daunting cast of Sweden’s “I’m From Barcelona” The vocals are reassuring, climactic, and climbing to impossibly high octaves on songs like “It Moves.” Though Bodies of Water had a pretty standard setup instrument wise (drums, guitar, bass, and keyboard) the songs were interesting mainly because of the unusual vocal delivery. It was unfortunate that not as many people were present for them as there were for Le Loup but those who stayed were definitely rewarded. Their album, Ears Will Pop~Eyes Will Blink which I purchased the night of the show and have listened to several times since Friday night comes highly recommended. You can also check out their songs on myspace

View the complete photoset on flickr

3/26/o8
Schubas Tavern in Chicago

Headlining a sold out show at Schubas, Beach House fans surely echoed the Devotion. Though I’d seen them two previous times, once opening for The Clientele at the Subterranean and another time playing Pitchfork music festival last summer, this third time at Schubas felt more right than either of the previous. With it’s warmth and hard wood floors, the languid and enveloping tones of the music was brought out perfectly. It shouldn’t also be understated that Beach House’s live performance has shown some improvement as well in the last year. Both with the release of their second album and with touring, their sound has really come to fruition. The super melodic songs of this Baltimore two piece seem altogether more self assured and capable of filling the void of emptiness within any human space.

Heavily based in both Victoria Legrand’s main vocals with Alex Scally providing occasional harmonizing, Beach House creates a dream pop landscape that is both heavy and light at the same time. It is rich and textured and seems well beyond what could possible be produced by two people. At this show, they were also joined by Jason Robert Queve from The Papercuts for the drums, which can be described as minimalist. There is something altogether comforting with both their albums and their live performance. Even as Victoria’s vocals climb to new heights on “Turtle Island,” they refrain from being too shrill. Her lush organ sounding keyboard notes surrounded the crowd and mingled with Alex’s lackadaisical guitar playing perfectly.

Very appropriate for their name, Beach House decorated the stage with shimmery palm trees. However, fitting with a sense of a music focused show, Beach House turned off the lights of the club to sing with only the revolving lights of two disco balls. This created a greater emphasis on the music component and allowed audience members to concentrate fully on what they were hearing. It might be easy for some to be lulled asleep in the darkness of the Hawaiian-esque lullaby if it wasn’t so enchanting to listen to. Though they only played for about an hour, it felt complete and utterly fulfilling.

Click to view the complete photoset with Papercuts and Night Owl Choir on flickr