I will be on 89.5 fm (Vocalo- a subsidiary of Chicago Public Radio) talking about Chicago’s music scene this afternoon. – well I guess the headline kind of explained it already. Damnit. Note to self – work on more sensational headlines.
Love, Jason
Archive for April, 2009
Starina leans a little bit too hard on her falsetto – and although pretty, it’s sensual whisper wears on your ears after a while and turns you off when, by all rights, it should be turning you on. She, and her band make use of soft, tremelo flavored guitar and slow burning bass lines to amp up the feeling – much like 2008’s under appreciated Canadian chartuese, Feist. Having been featured on NPR’s “All Songs Considered”, you can rest assure that the lyrical quality of her songs will not be lost upon you. The music is a slow leak, running in and out of your consciousness, but sooner or later, you will fall to it’s demand. Her vocals could be pushed a little bit stronger – I can hear her range being stifled a bit – especially on the rockier Janis Joplin ballad, “Pavement”? (I didn’t have a track listing) – I want to hear her reach down to her toes and belt out some vocal cord ripping pain – the pain evident in some of her lyrics, but not necessarily in the performance on the album. She is achingly close to creating something heart wrenching, powerful, and irresistable – and her backing band does a tremendous job helping her out. My only qualm is that the performance on the album could be alot stronger – evoking the emotion the songs deserve. I’ve attached a video of my favorite song on the album, Underdog.
I was hoping you could speak a little bit on “selling out” – I saw that you guys have had some of your songs on advertisements/tv shows – could you explain how this is a viable and great way to make some money/get massive exposure without being signed to a major label?
Yes, we have a few songs that were recently placed on MTV’s Real World and Cribs. This is a first placement, so I am not sure what kind of money to expect quite yet. We have this opportunity because a few years back, I was at a music industry convention in Hollywood, and I was sitting in a film/tv panel with a bunch of music supervisors explaining the film/tv aspect of the music industry. They were playing pieces of songs by various artists. At one point, they played “Sex, Drugs, Rock & Roll”, and the panelists and audience were really impressed by it, so I was offered a number of publishing deals from that point on.
Also, I’d love if you could talk a little bit about your writing process – how you come up with ideas for songs or lyrics or even arrangements?
Well, the songs I’m proudest of are the ones I don’t really remember putting too much effort into writing. This is because my best songs are usually the ones written when I’m losing my mind. It’s more like I pick up the guitar or run to the piano because I HAVE to…I don’t necessarily want to. Ivan, my drummer, wonders why I don’t write happier songs; I just don’t really know how to do that. He’s a great songwriter himself, but he’s a much chipper chap than I am. Don’t get me wrong – I’m a happy person, but I definitely trap my dark side in music. I lock little parts of me away in their own personal jail cells. Recently though, I have had some recent experiences with bliss that spawned a good number of ecstatic songs. I didn’t know I could go there, but it was pretty cool, and I realized that I equate happiness with drugs, and I don’t even do drugs. My mom heard “Rise to the Clouds” and got pissed off, and I had to assure her I don’t need to go to rehab. Making music is just therapy, and often times, I’m so disconnected from reality I become a character in a story, which turns into a song. A lot of the “story” songs have involved vampires, demons, wizards, astronauts, superheroes, electric fields, magical peaches, and much more. As for song arrangements, sometimes I really don’t feel like putting the effort into being inventive or unique and trying to come up with some original chord progression. This is music, seriously. I don’t want to lose touch with what is most important to me, and that is the emotion and making sure it comes across. But sometimes, I’m impressed with how some songs are way more musically intricate than others. It just depends on my day or mood I guess, or how creative I’m feeling.
Is it a one guy writes, and the rest fill in? or a completely collaborative effort?
Up until now, it has been a “one guy writes” and the rest fill in situation. But , I know I have found very special people who have chosen to be a part of Incredible Shrinking Boy, and my goal at this point is to shed my singer/songwriter identity. I really want to share everything with these guys. We are recording a new album this year, and even though I’m so used to going into the studio to finalize a song with the help of my producer/engineer who has collaborated with me for years, this time I want to complete the songs in my living room, where we practice, with my band mates. I think everyone will feel that any new ideas will be a part of them if they are influential in how the songs end up on the record.
Words I will not use in this review: revolutionary, raw, and rocking. These are possibly the most overused and wrought words in rock critic history – and unfortunately, rarely do they convey any meaning about a band or its music. Anyway, Hollus is a strictly analog band. You won’t hear any synthesizers, drum machines, or overzealous string arrangements on “Joker and the Queen”. You are much more likely to hear poetic lyrics mixed with a road worn, Tennessean, Kings of Leon/Band of Horses – guitar- rock with a southern drawl. Rugged production values add to the mystique here – it isn’t without flaw – but gets the job done and does it well for a self recorded album. They do sometimes fall into Dave Matthews’ territory – not musically, but within the confines of lyric revelry; as shown on “One More Road” – ‘Getting high just passing the time/Watching girls above/All the time to drink up your wine/I feel sick with love’; but such digressions are forgiven when one begins to understand that Hollus is not a city slicker band trying to make it big in the urban jungle. Instead, they are rural dreamers, allowing the imprint of their lush, created, environments made up of river beds, foreign fogs and other assorted portraits of a true American landscape to shape their sound. Blues inflected rock music that dynamically moves between acoustic and electric guitars; blends the real with the surreal; comes together, wrapping us in a cocoon of heartache. This is Hollus.
Acoustic Singer/Songwriter Todd Murray is special. Not the “I eat paste” special – quite the opposite actually – his is the first local, acoustic music I’ve heard that melds folk and blues stylings successfully. It’s like a fried Twinkie – it really shouldn’t work together, but it does – and it is tasty. This man knows his way around an acoustic guitar, whether playing lead or rhythm he does so tastefully and in full control. Todd knows each songs destiny and puts his best foot forward presenting them on his recently recorded effort, Headlight Sonata. Although some might groan at the thought of some ass clown playing an acoustic guitar around a campfire (again, sigh) – Todd’s music moves, dynamically through different strum patterns, hard and soft exchanges, and some KT Tunstall-like chicka chicka’s to infuse what is normally left for the coffee house set with a new and unique sounding vibe. When you think of blues/folk you have to conjure bits and pieces of rock and roll history; ie, the Rolling Stones, Led Zeppelin, and the Who – these bands knew how to steal successfully. They took music; new to the mainstream audience, and put into words and melodies that we could all understand. It takes a special ear and a yearning for what is inside one’s soul to connect with the blues and it takes a wordsmith with an observant mind to put honesty and articulation on top of these attributes. Now I’m not saying that Toddy Murray is the next Jimmy Page – actually far from it – but what I am saying is that Sincerely, Iris has found a way to create music that bites on these predecessors without sounding whiney or too over the top (see Greg Reed) – or being too steeped in traditional acoustic guitar playing. His album is missing drums – and that can make or break my comparisons really easily – but for what it is, it accomplishes everything the music is going for. He’s not afraid to get a little experimental – check out the bridge on “Diggin” – almost sounds like a guest spot from Andrew Bird. Also be sure to listen to the haunting, minor key song, “Don’t Let the Man Get You Down” – the production value here really surprised me, what sounded like a crappily recorded piano eventually attached to my mind like a Zebra Mussel and in the end had me saying ‘wow, that actually fit really good.’ All in all, with Sincerely, Iris, Todd Murray has tapped into a nice niche, the only question is, can he push it further? Is he strictly an acoustic guitar guy, or is this album simply an introduction to a stronger more powerful artist, backed by a real band and plugged in? I’m hoping for the latter.
“An epic battle of precision and chaos” – it seems that most of the time on this album from Chicago band, Camera, the chaos takes over. Although their sound is very full for a three piece band – it sounds like they are riding the ‘New Wave’ genre right into the sand on this EP. An overly dramatic vocal mix sits too far back or too far up front from song to song on the album, and this lack of consistency lead to some aural confusion from time to time. The bass could be a bit heavier, and louder – and the drums are good – but rock beats take hold the entire EP. Alas, I was hoping to hear a break-beat so bad the whole time, but this wish was never granted. The rest of the sounds on the album sound very claustrophobic to me, and in this case, a little eq could go a long way. The sound falls squarely in the same aisle as Modest Mouse (less dynamic), the Killers (less dance-friendly) and Franz Ferdinand (but less artsy). Despite these qualms, the guys are talented with their use of reverb – this much is obvious on the song “Wicked Wicked Games” – the stand out on the EP – slathering copious amounts of spring-reverb on the lead guitar and keeping feet tapping with a solid, chugging rhythm section. Unfortunately the song stands about a minute too long and contains an unnecessary distorted solo at the end. Now I’m sure the live show probably defies what’s presented on this album, but it seems to me that this is a rehashing of music that is just getting past its prime – pushed a little bit more in a new direction and Camera could probably shine, but sitting where they are now, although pretty, isn’t very impressive. Here’s to looking forward to hearing their new EP which is in the mixing process now.
Incredible Shrinking Boy took some notes from the Nirvana song-book, especially evident in the first song of their Timebomb EP, “Sex, Drugs, and Rock & Roll”. Alternative styled power chords and charging guitars provide the melodic backdrop for Paul’s unique voice. It prides me to listen to bands and singers that may lack in classical, “beautiful” tone – but more than make up for it in the feeling and tenacity in their lyrics and the recorded performance. This is an interesting EP instrumentally – the mixture of electronic pads and rhythmic beds with acoustic guitars and lightly effected vocals come together nicely and pulls it away from any Postal Service comparisons. The highlight of the EP is “Incapable of Love” – it has enough delay on the lead guitar to make it a ballad that pulls on the heart strings in that U2/Death Cab for Cutie kind of way and its anthemic chorus is a forlorn teens dream come true. “Made of Steel” has a sneaking synth popping in and out of it, giving the song – although this is also indicative of the entire EP – a cinematic quality – full of depth and density. It’s been said that a good song equals the sum of words and melody. A great song is the sum of those parts added with emotion. It is the emotive quality of The Incredible Shrinking Boy’s music that pushes it over the edge. Check them out at www.incredibleshrinkingboy.com.
Alternative rock had its heyday. Electro has been infiltrating our musical infrastructure for the past year or two, and pop melody has been snaking its way through the speakers since the Beatles graced us with their presence. BlackJack Rover comes from a royal blood line by the name of AC/DC. Their songs are straight up, whiskey on the rocks, kilt-wearing, I don’t give a shit what you think of me, rock and roll. Straight forward guitar riffs and cymbal heavy chorus drumming, backed by in the box bass lines all come together nicely and succinctly in the debut EP, Back to Chicago.
Although it is refreshing to hearken back to an era before synthesizers, drum machines, and tear your throat open screaming, these songs sound like a rehashing of ideas that have been played out and done better by those who’ve come before BJR. I do appreciate the simple structure of their songs, although I was left hoping for some variation between the verses, or an off key bridge, of even some bass/drum breakdowns that could give the listener an opportunity to say, “Hey, what was that? I need to rewind that part.” Alas, such is the plight of the independent musician. I’m finding more and more that tried and true dynamics, more than talent, and in some cases, more than songwriting can be the difference between bands, as I’ve said before, causing them to go from, “meh” to “holy crap that was great”. “Ghost in the Sun” takes giant leaps forward in this respect, but clocking in at just under 6 minutes, is a bit too long for something that isn’t progressing towards some type of anthemic finish.
BlackJack Rover are a rock band built on foundations already laid. They have the ability, but could use a small push in the way of some more popular music today, once they figure out how to tie their devil may care swagger and pop-rock sensibilities they’ll be radio ready.
Makeshift Prodigy, a friend of CIMR and one of the better acts coming out of Chicago these days has been previously reviewed by us here. Their 5 piece hybrid rock band has a little something for all genre lovers – punk inspired rhythm, hip-hop synths, Radiohead effected piano, and rock guitar infused with tasteful, and original sounding riffs. They’ll be playing at Metro this Saturday, April 18th for an all ages show. They are headlining and judging from some of the videos on Youtube from their last show, you might want to show up early. None the less, the lead singer, Anthony, and lead guitar player, Jake, have been gracious enough to take the time to provide us with 20 things musical they enjoy:
20 Things from Makeshift Prodigy:
Top 5 songs out Right now:
Anthony:
Radiohead – 15 Step
Incubus – Dig
Kings of Leon – Use Somebody
One day as a lion – Wild International
N.E.R.D. – Spaz
Jake:
Kings of Leon – Sex is on Fire
Killers (new single)
Jason Mraz – Lucky
Katie Perry – Thinking of you
Top 5 Singers of all time:
Anthony:
This is a tough one due to the differences in pure talent and being innovative… but these work:
Ray Charles – One of the most unique & credible voices of all time. The people Ray Charles influenced throughout his long-lasting carreer are countless, and alot of our favorite artists wouldn’t have been without Ray’s influence.
Nina Simone – Nina Simone was quite possibly THE musical voice of the civil rights movement, her unique tone and powerful voice conveys the pain and beauty that many people we’re unable to channel during this time. Single-handedly changed my opinion on what makes a great singer.
Robert Plant – Granted, Robert Plant was also part of arguably THE greatest rock band ever, he was and still remains one of the most innovative and powerful voices throughout music. Led Zeppelin’s range from blues to rock and roll was always perfectly complemented and driven by the wailing and soaring vocals of Robert Plant.
Freddie Mercury – The flamboyant and ever present Freddie Mercury’s vocals we’re and forever will be one of the most powerful and moving influences in music history. The vibrato in Freddie’s voice is so strong it’s impossible not to recognize upon listening matched with his stunning stage presence in live performance he seemed unstoppable. However he would indeed be stopped by a losing fight with HIV/AIDS.
Janis Joplin – Aretha Franklin, Etta James, Patsy Cline could all be at the top of this list, but the voice that stands out in music more uniquely and untouched to this day is Janis Joplin. It’s not in the most beautiful voice, but the most remarkable tone. The heart and passion that Janis put into her voice was something that will echo throughout history forever.
Jake:
John Lennon (Beatles)
Paul McCartney (Beatles)
Thom Yorke (Radiohead)
Robert Plant (Led Zepplin)
Bono (U2)
Top 2 unsigned local bands (besides yourself)
Anthony:
Hmm I would have to say Everett Thomas & Owl City
Jake:
Empires (Chicago)
American Taxi…i know i know they just got signed
Top 3 Places to play in Chicago
Anthony:
The Metro
The Chicago Theatre
Aragon Ballroom
Jake:
Top 3 places to play
Metro
Subterreanen
Enclave
Top 5 Reasons We should come to the show Saturday
Anthony:
If you’re looking for something that is innovative and thought inspiring and if your want to hear something genuine and out of the ordinary, Impulsive, radiant, passionate, and an unforgettable live experience, then you need to come out.
Jake:
It’s our first Headlining gig @ Metro and we’ll be debuting some new material from our new EP Mathmatica. Also, the music is far more articulate then we could ever be. Not to mention hitchhiking is dangerous & Radiohead just isn’t in town. Besides all of this, would be honored to have you.
I’ll definitely be there at the show, if you are there, seek me out, I’ll buy ya a beer while we enjoy an emotionally driven rock show.
Hey all – we’re going tonight to see a singer/songwriter previously featured as one of our Top 5 to watch for March…Drew Danburry. He’s from Utah and is swinging through Chicago tonight – I would highly recommend checking him out as it should be a great show. The Whistler is located at Milwaukee and Fullerton and Drew goes on at 9.
