Kirstiecat | Blog

I know I know…I haven’t posted in forever have I? Let me tell you about how I’ve felt he last few weeks. Coughing until I was in danger of fracturing ribs, four medications including two different inhalers, bandaging up my rib cage every day and night, soreness, nausea…such is the world of Pertussis AKA Whooping Cough and if you are going to just laugh it off and think you’re immune because it’s something only children get and you were immunized way back when as a wee thing, think again. Apparently, those immunizations for Pertussis that we all are so very fond of as children don’t really extend their protection into adulthood. And, if you’re an old woman like me (I’m 28), you missed out on the adolescent booster shot.

But now, I am much better and thinking of the summer….I have no idea why really as it’s freezing cold and snowing like a madman speaks tonight. I am curled up like a cat drinking chamomile tea and editing photos from Lollapalooza. It’s a Wonderful Life, people and I don’t mean the Jimmy Stewart film. I mean Sparklehorse. I’m feeling it…I don’t have Cancer and I’ve gotten so much better. I hope your life is going just as well.

Sparklehorse at Lolla on flickr

Cabaret Metro
11/8/07

There are a few times in a year when I see a band and come away from it inspired and changed. The experience is transcendent and visceral and has taken me to another place. Such is the case of last Thursday’s Caribou set and even though I’ve seen well over a hundred different live sets of bands this year, Caribou’s was easily ahead of all of them. Though this is the fourth time I’ve seen this band, it was by far the best. Caribou has perfected an art form and learned how to hone in on their skills in terms of bringing the songs to a live audience in a way that at times is almost a psychedelic assault that makes you fall in love with music all over again. In addition, their most recent release, Andorra, is their best to date and ranks #2 in my top albums of this year (second only to PJ Harvey’s brilliant White Chalk.) It’s an album that highlights the utmost creativity of human existence and is one I’d surely bring to any desert island.

Canada’s Caribou performs as a four piece but is mainly the work of Daniel V. Snaith who has taken the band across the name change from originally Manitoba and put out four full length albums, two tour cds, and a remarkably creative video collection entitled Marino. On previous tours, Caribou performed with videos from this collection behind them, which I think enhanced their live performance. For this recent set, Caribou used psychedelic projection patterns to make the experience more visual, perhaps because they haven’t yet put out a second video collection for songs from Andorra. The colors and lights they chose really added to the melodic psychedelic sounds of the record in this case. The only weakness visually was the stage setup that placed two of the band members (bassist Andy Lloyd guitarist Ryan Smith) to the immediate back of Snaith and drummer Brad Weber. Clearly, the music of the set was placed at higher priority than seeing all of the band members, which is acceptable in that many of the songs are flawless and would be an excellent an example of why all the humans on this Earth should not at any point be obliterated.

Though Snaith has a PhD in Mathematics from the Imperial College London, Caribou is anything but Math rock. Steeped in a sense of the 60s but showing a certain sense of postmodern growth, Caribou’s only calculations are in formulating phenomenal pop songs. If one had the ability to take everything that is good about the world, finding each small and large creative nugget from all remote hiding places, it would sound like Caribou. I rarely use the term brilliant but I will use it to describe Snaith as well as Andorra. The flawlessness in the way these songs were composed and performed is undeniable. Highlights from Andorra during Thursday’s set include “Melody Day,” “She’s the One,” and “Sandy.” I should not downplay their previous release 2005’s The Milk of Human Kindness, a more electronic based and less psychedelic influenced work of beauty. Perhaps the best gem of this one, which came across beautifully live is “Hello Hammerheads,” which has an undeniable ethereal quality despite the fact that the video for it off of Marino features a drowning man being rescued by a giant seahorse.

Admittedly, their 45 minute long set seemed to go by too soon from a band who deserves to be headlining. Further tour dates haven’t been announced yet but hopefully the band will tour again or atleast come back to Chicago next spring with a headlining gig. Until then, satisfy yourself by picking up Andorra. I promise it will help remove some of the bleakness of this world.

View the complete photoset with Born Ruffians on flickr

If outside of Chicago, click to see remaining live shows for this tour: Read the rest of this entry »

Well, of course I do….I mean, having lived for so long so close to the border, I learned to love the finer cultured things in life (which also means Canada) I even went as a Canadian to a Halloween party…ok, ok you got me. That just meant I put on my Besnard Lakes shirt and said “eh” a couple times more than usual. Anyhow, my love for Canada should be obvious considering there’s a whole category for the country on this blog.

I’ve been doing some work for Venus Zine for about a year now (go check out their site!) It focuses on women in music and the arts in general and they are a great group of people there. That being said, some of my reviews appear there instead of here now. The best way to keep up with shows I’ve seen is to subscribe to the RSS feed or just keep checking my flickr site

Three great Canadian bands I’ve seen lately (besides The Weakerthans below and Caribou, which I’ll put up tomorrow) are Stars and Broken Social Scene. If you’re so inclined, feel free to follow the links below.

Stars at Chicago’s Vic Theater Nov. 2cnd, 2007

Review here

Complete photoset here

Kevin Drew/Broken Social Scene at Chicago’s Cabaret Metro Nov. 3rd, 2007

Review here

Complete photoset here

Also, check out Laura Leebove’s New Pornographers review from Chicago’s Cabaret Metro on Oct. 19th on Venus here

Complete photoset with Emma Pollack of The Delgados here

Last but not least, if you’re obsessed with Canadian music in general as much as I am, feel free to check out my set of Canadian bands only on flickr

11/1/7
Logan Square Auditorium in Chicago

This is the second time I’ve had the opportunity to see Tom Brosseau, the talented singer songwriter who was born and raised in North Dakota and swoons with a tenor to accompany his acoustic guitar finger plucking (and occasional harmonica playing) in a more traditional folk style. Perhaps the best reference point to describe his sound would be Joel Thibodeau of Death Vessel. It’s delicate unnerving stuff and at times Tom’s vocals climb to various heights as if desperately alive and preparing to jump from the top of a skyscraper.

Though I feel very strongly that Tom Brosseau deserves larger audiences, the acoustics at Logan Square Auditorium did not suit him as well as Schubas. Mainly, the club tends to become echoey towards the back and the farther the distance from the stage, the greater the distortion no matter who is playing. I’ve had issues there before (once, in particular when I arrived a little late to an Andrew Bird concert.) Tom should really have a captive audience for his songs because, though he’s not going to knock you over the head with any wailing electric guitar solo, he provides a certain intellectual stimulation that is really rewarding.

Why am I mentioning this? Mainly, because if you choose to see Tom Brosseau the next time he’s in town, and I would recommend it, make sure you gather near to the stage while you’re lending a respectful ear. Although you’re sure to come across many singer songwriters playing in various Chicago clubs on any given night, there’s something that makes seeing Tom Brosseau more worthwhile than all the rest. Primarily, it’s the fact that he puts everything he is into his songs. In an honesty about the world and its people, there are no put ons or deliberations for effect. The fact that we all exist is inconsequential. Tom Brosseau is utterly himself in a way that any human being rarely shows another and it’s disarming. Just listen to him sing “How To Grow A Woman From The Ground,” easily his strongest song of the night, and you’ll see what I mean.

Though I don’t know much personal information about this towering blonde folk hero, I should mention that I’ve noticed he’s a fan of John Fante and the prose of his blog can at times be as poetic as his lyrics. Furthermore, I can recommend his newest and 6th album to date, Grand Forks which varies from the plucky on tracks like “I Fly Wherever I Go” to the downright somber on “Down on Skidrow” with some nice violin and pedal steel accompaniment. Though he hasn’t had these instruments joining him on stage either time I’ve seen him, witnessing Brosseau in the flesh is something altogether amazing in it’s own way.

View the complete photoset on flickr

10/25/07

Cabaret Metro in Chicago

Man, oh man what happened to this band? The last time I saw them, they were playing with raw intensity inside The Empty Bottle about four years ago. What I remember most back then was all of the politically liberal literature they had for sale, not surprising considering John K. Samson was previously a member of the political punk band Propagandhi. In any case, considering the band was promoting human and animal rights, I agreed with their message and was all too happy to support them by hearing them play and buying their records.

Moving ahead to 2007, The Weakerthans are now headlining a sold out (or nearly sold out) Metro show. Two albums have passed since then (both 2003’s Reconstruction Site and their most recent release 2007’s Reunion Tour. And yet, even though four long years were inbetween these two releases, the fan base for this band apparently grew wholeheartedly within this time period. That’s not to say that their Empty Bottle show wasn’t crowded or that fans weren’t devoted. However, the sheer magnitude and volume has increased ten fold in that time.

What do Canada’s Weakerthans owe this great pleasure to? They haven’t signed with Capitol, if that’s what you’re wondering. Their newest album and upcoming re-releases of theri first two albums are on the indie punk and hardcore label “Epitaph Records”http://www.epitaph.com/ So what else? Did they star on some TV program I don’t happen to watch? Though I’m not certain this isn’t the case, I think it’s just that all of a sudden kids started listening and what they heard is something that could become their personal anthem. The fact that it was an all ages show helped as well. Many of the devoted fans up front were teenagers viewing Samson as a more handsome Canadian version of Built to Spill’s Doug Martsch. A friend of mine also had the right idea when he compared this show with seeing Death Cab for Cutie at the Metro and the way the younger crowd reacted. Of course, at that time I was only 22 myself so I remember feeling that young passion.

This isn’t to say that the Weakerthans aren’t worthy of that fervor. In fact, they played a great set that included songs from their newest and previous albums. Though their songs have become slightly more sing songy and polished, you don’t get the sense that they have sacrificed too much of their ideals. The fact that the crowd was all too eager to sing along to every song, knowing the lyrics fully by heart without any sort of prompting, enhanced the feeling of greatness emanating from them. While it is true that it may have been more enjoyable to hear more banter from Samson, who clearly has many things he could say about the world, the set had a nice flow to it that I could really appreciate.

View the complete photoset

Cabaret Metro in Chicago
10/25/07

Though she played with a backup acoustic guitarist, Last Town Chorus is all about Megan Hickey and what wonders she can create with her lap steel. I had seen Last Town Chorus play a couple of years ago at Schubas Tavern and was excited to see Megan garner some critical and commercial acclaim in this time. Megan Hickey now has two albums behind her, a self titled album as well as Wire Waltz and undoubtedly has sustained an ability to captivate an audience while expressing herself.

Though she is based in Brooklyn, it’s difficult to picture Megan living in such an urban environment. One imagines her in a cabin surrounded by wildlife and untamed animals. She comes off as a bit wild and unpredictable herself, much in a way Chan Marshall of Cat Power does. At the same time, she keeps it together for her songs and the pedal steel resonates deeply. She is not quite country and her music falls closer in terms of genre to folk. She makes each note seem part of a stark landscape while her vocals have a sense of rawness to them. The experience puts you on edge, as if you are waiting for anything to happen.

Megan played many of her own songs with her cover of David Bowie’s “Modern Love” thrown in there (a much slower and sadder toned version which made the original difficult to recognize.) As a special treat, members of The Weakerthans joined her for the last song. It may have seemed to be a strange choice for her to open for this band, as their songs sound more sing-songy and polished than ever before, but lyrically there is a sense of the vulnerable individual that many songs of the two bands have in common. Overall, it made for a great night of music, though I could easily see Megan Hickey headlining The Metro in the future as her future releases continue to gain momentum.

View the complete photoset

10/24/07
Schubas Tavern in Chicago

There are a few times each year when I realize how great it is to live in Chicago. Think of it, we have bands coming all the way from Australia and Denmark and we get to experience them in clubs that are most definitely smaller and more intimate than the ones they must be playing to in their native countries. It’s a privilege, really, and I was sure I wasn’t the only one who appreciated it while standing in the crowded area of Schubas music room listening on Wednesday to hear both Dappled Cities Fly and The Figurines.

Though Australia’s Dappled Cities Fly (sometimes shortened to Dappled Cities) was technically the opener, they gave a performance more akin to a headliner with each of the five members creating a dynamic nothing short of wonderful. (It didn’t hurt that the keyboard player also looked like a younger and blonder version of Angus Andrew.) The band appeared happy on stage between songs, insisting this Chicago show was much better than other tour and cities dates they had played. The jangled tempos and vocal changes between three of its members really gave those songs an energy that can be felt thoroughly on their newest album Granddance which I would recommend. The crescendos such on “Colour Coding” are incredibly blissful. Though, the one song that can floor you beyond all others both on album and live is easily “Within Hours.”

setlist:

Furthering a sense of melodrama, The Figurines from Denmark played with a clear passion. Much like the lead singer of Modest Mouse (Isaac Brock), the vocals came out in a sort of tumultuous anguish from a man who looked a bit like a clever elf. Touring to promote the release of their newest album When the Deer Wore Blue, The Figurines songs proved catchy in an unpredictable way. Much as in the case of Dappled Cities Fly, the keyboards added an extra sense of melody. However, The Figurines come off as more of an acquired taste with some of the albeit more subdued melodrama that fellow Danes Mew have.

Setlist:

View the complete photset on flickr

” alt=”Yeah yeah yeahs” />

Lollapalooza
Grant Park in Chicago
8/4/7

These have been a long time coming but the Yeah Yeah Yeahs set was one of the best performances I’ve seen all year. It was pure entertainment to see Karen O dance around the stage, first coming out in a giant white cape and then a pleathery black bodice. It was a sight that certainly held attention and the crowd adored her. This is definitely one live show I would recommend seeing.

View the complete photoset on flickr

10/12/07

Schubas Tavern in Chicago

It was with joy and a bit of relief that I saw Owen Pallett who is Toronto, Canada’s Final Fantasy. About two years ago, a Canadian friend told me about the wonder of Owen and I had to special order Has a Good Home from a Canadian distributor as I was unable to find it anywhere in the states. I was, of course, amazed by the very essence of it. Owen’s violin playing combined with his insightful and sensitive lyrics transformed me into a true Final Fantasy believer that only deepened farther with the release of last year’s unfortunaly named but just as glorious He Poos Clouds.

Unfortunately, when Final Fantasy came before I had relatives up and I remember that grim July 1st night rather well as it was the longest night on Earth while I dreamt of what songs Owen was coming up with to mesmerize the audience and break Chicago’s hearts. I was filled with anguish about what I was missing. Thankfully, Owen Pallett came back to visit in a very special intimate setting. Switching between violin and piano, he played some of my favorite songs from both of my favorite albums and his voice was just a full of tenorous delicacy as I’d imagined. Owen was really well received as well. Playing to a sold out crowd of adorers, he looped his vocals and violin parts in a way to create a one man orchestra with original and arty projections coming from Stephanie Comulang. (Projections varied between everything from very personal letters written to his father to silhouettes filled with faces, horses, and hearts around a birthday cake.) His set up was similar to when I’d seen Andrew Bird play at Schubas in years past. Though it may be interesting to see Owen play with a full band as accompaniment, there’s something entirely innocent and pure about the way he is now. In addition to his stellar setlist that included his own songs, as a special treat Owen played a cover of Joanna Newsom’s “Peach Plum Pear” which I found a great deal more enchanting that the original.

See a utube video that includes two Final Fantasy song and concludes with his cover of Peach Plum Pear

Listen to Final Fantasy on myspace

Setlist:

Basia Bulat from London, Ontario opened up prior to Final Fantasy and played country-esque songs that included guitar, ukelele, autoharp, drums, and violin. With three beautiful young woman situated up front and at times harmonizing in key spots, they showed a great deal of promise and talent. Country music has always beenea challenging music genre for me to love but I think if you happen to like it, I’d recommend seeing Basia Bulat the next time they come around to Chicago.

Listen to songs on myspace

View the complete photoset

Portage Theater in Chicago
10/4/07

I’m going to keep this relatively short but refer anyone reading to my friend Nicole’s longer and detailed review posted on Radio Free Chicago of this show. I’ve reviewed Beirut before and, though I find their songs pleasant enough, I can’t help feeling the shock of them being able to sell out such a huge venue when I was just seeing them at the Empty Bottle not even a year ago. Though Beirut is largely the world of the very young Zach Condon, they are a rather large ensemble using a multitude of instruments to create a full and well rounded sound. It’s a little bit Balkan styled and can be rather fun live but I am not sure I feel a large setting suits them. This show didn’t seem as engaging to me as their smaller venue show that I attended (They also didn’t play their cover of the Terry Gilliam theme song to Brazil which was a huge disappointment to me.) Overall, though I feel I seemed to be in the minority, I found their performance lacking despite the fact that they are very talented musicians. Considering Zach’s young age of a mere 21 yrs, he most likely has many many years of life to work on perfecting his art.

View the complete photoset on flickr

setlist: