Wolfgang Amadeus Phoenix is the fourth studio release from the French group Phoenix. In this release they return to the dance floor ways after their last album Its Never Been Like That was more of a guitar lead “traditional” expression. One of the best aspects of this group is that each album is a distinctive style with varied goals and it really showcases their talents to sound first-rate in different genres. With this album we hear strong echoes of the 80’s, mixed in well with contemporary synthpop but executed with originality. At its best this album can make one either want to dance or to chill out (maybe that’s why it’s a good driving album?). Yet, unlike in the 80’s, Phoenix knows the songs need to shift and change even if the tempo doesn’t so as not to stagnate. In Girlfriend, one can maybe hear their take on neo new-wave best (The Killers should be jealous). On Lasso the drums are reminiscent of The Cars and they use old school-like rhythm guitar behind modern leads. The highlight, and future encore song I am sure, is the almost 8 minuet Love Like A Sunset. It starts off like something from Pink Floyd in the 80’s and then builds up into something dissimilar and fierce before a mellow climax with uplifting vocals and acoustic guitar. Its wild, highly talented, and you have no idea where it is headed; it’s exactly what makes Phoenix the band they are.

By Sean Poynton Brna (as originally written for Chicagoindie.com in 09/09)

Armistice is the second full-length album from the New Orleans based group known as Mute Math. This album is, at its base, a pop/rock album that employs a plethora of sounds and effects along with traditional instruments. At times this makes them sound something like Radiohead or Coldplay, added to their own definite American alternative sound. To be quite general this album is not good nor is it bad, it is a little of both. In Armistice, Mute Math likes to present us with interesting beats and sounds at the beginning of each track but then doesn’t always correctly finish the song out. It seems as if they desire to appeal to the pop sense in each of us, without being classified as such, and this is problematic. The song Clipping starts off with a great aggressive synth sound with fast paced high hat and a great low end, coupled with moments of great string interaction, but the song is lost when they transition to the louder, poppy lyric-lead chorus that is repeated to boredom. They are at their best on tracks like Odds, Lost Years and Valium when they embrace their mellower tempo and give us discernable lyrics with pleasant melodies. But on others like Goodbye and Burden they seem to attempt these pop-like crescendos that just repeat too many times and become lackluster. On the whole, Armistice might appeal to Mute Math’s specific niche but its doubtful it will expand their popularity to others.

Written by Sean Poynton Brna

Right off the bat, without coyness, The Arctic Monkey’s new album Humbug presents itself as a change of pace for these rising Brit-rockers. Whether they have matured, or just attempting something novel only once, I am not sure. Yet I do know that they surprised me with an altered musical-philosophy this time around. Note: if you are an Arctic Monkeys fan solely because you find their music an enjoyable stimulant for workouts this album might not be for you. However, I believe the majority of fans will find their latest creation quite enjoyable.

The first track, My Propeller, is an announcement of the uncharacteristic album; instead of a get-on-your-feet rousing rock song we are handed an unusual placid drum beat along a more discernable, yet withheld, vocal styling. The following song, Crying Lightning, reiterates the band’s mood for this album with a more conserved beat flanked by a heavy focus on a gritty bass line and more present vocals. With Humbug The Arctic Monkeys traded their signature consistent high energy rock for more dynamic songs that are not afraid to raise the energy and then let it recede, never getting too high or too low. The album on a whole also flows like this, the energy moving up and down. To be sure, they haven’t abandoned old fashioned high pace rock n’ roll, but when you hear them doing an acoustically lead slow song in Cornerstone you know a change has occurred. While their careers are surely still on the upswing The Arctic Monkeys no doubt seem to be aware that for longevity one cannot become typecast into one way of writing songs. That or they got bored. Either way we are the benefactors.

The freshness of this album is not confined to a reduction of beats per minute; it reveals that the band would like to establish they are acquainted with other styles of rock. On this authors favorite track from the album, Fire and the Thud, we are presented with a steady driving blues-like beat with reverb laden vocals and ringing guitars that make one think of The Doors initially only to climax into overdriven guitars with echoing vocals and then die down again. The employment of subtle psychedelic effects on the guitars and vocals within many of this album’s tracks help to expand their sound and offers them more musical potential. This is also apparent on the rowdy track Pretty Visitors (which might also best showcase the overall new style of the album), as it opens with an echoing organ only to move into the well executed high paced fury that defined the band until now only to skillfully decay into effects again, but not without one more punch of excitement toward the end.

All in all Humbug should be a pleasant and welcomed album for most Arctic Monkey fans and should surprise many who were not won over by their first two albums. For those fans that enjoy the band merely because of the mosh pit friendly tempo of their previous releases, it may be a disappointment. However any band worth their salt needs to show progression, dynamism and maturity as they themselves age. The Arctic Monkeys did this and gave us their most well-rounded & superlative album yet.

by Sean Poynton Brna (originally written for Chicagoindie.com in 09/09)

Chicago.com/Music

Features Local Bands and Businesses in CHICAGO

Chicago.com/Music hosts many shows featuring local acts at various venues throughout Chicago and is now proud to present monthly networking events at La Salle Power Co. to inspire the local community to connect through the power of music.

La Salle Power Co.

SUNDAY NOVEMBER 22, 2009

6:00 pm – 1:00 am

$10.00

21+

in efforts to help chicago.com/music bring you more local music

PERFORMANCES BY LOCAL ACTS:

YAWN

A LULL

This is Cinema

Louis & the Hunt

Claire Stahlecker

Matt Kelly

Kevin Andrew Prchal

Venna

Kellen and Me

Warren Buckler

Sincerely, Iris

Remington Pettygrove

DID YOU KNOW?

• Cell phones contain toxic substances such as lead, nickel, arsenic, mercury and cadmium that enter the ecosystem when phones are taken to landfills or incinerated.

• There are over one billion out of use cell phones in the US alone. That’s more than 3 out of use phones for every person in the US!

• Less than 10% of cell phones are ever recycled. most enter landfills or incinerators, among other environmentally unsound destinations.

• Average life span of mobile phone is now only 13 months!

PLEASE HELP US RAISE PUBLIC AWARENESS ABOUT THE NEGATIVE CONSEQUENCES OF NOT RECYCLING MOBILE PHONES

Rock the Earth is calling on all CHICAGO BLUEGRASS & BLUES FESTIVAL attendees to gather up as many old, unwanted mobile phones as possible and bring them to the Rock the Earth booth at Chicago Bluegrass & Blues Festival for recycling.

Each person recycling a phone will receive 20% Off a future Musictoday purchases, AND each phone is worth one entry into the on-site sweepstakes drawing for cool prizes like – Festival T-shirts, Posters, Digital Download Cards, CDs, DVDs, Plus Artist meet & Greet Passes!

What are you waiting for?!
Start collecting phones today from all your friends and family, at work, school and from around your community.

The more phones you bring to the Chicago Bluegrass & Blues Festival for recycling. The less toxic chemicals we put in our landfills – the bigger your positive impact on the environment while also increasing your chances of winning one of these fantastic prizes!

All phones are purged of information, with working phones re-distributed via non-profits, domestic violence shelters, and other positive community-based support groups. outdated phones have all the toxic chemicals and heavy metals removed for re-use and all other components disposed of properly.

If you are not attending Chicago Bluegrass & Blues Festival but want to recycle your cell phone properly while also receiving the terrific Musictoday discount, you can recycle your phone (with free shipping) via the following avenue: www.rtephonedrive.com
Rock the Earth:
Rock the Earth, a 501(c)(3) not-for-profit, national public interest environmental advocacy organization, is committed to protecting and defending America’s natural resources through partnerships with the music industry and the world-wide environmental community. Thanks to the support and generosity of music artists such as: Dave Matthews Band, Incubus, Tom Petty & the Heartbreakers, Bonnie Raitt, Jack Johnson, The Pretenders, Michael Franti & Spearhead, Gov’t. Mule, Sheryl Crow and the Allman Brothers, among others, Rock the Earth serves as a fan engagement platform and advocates to help ensure the existence of a sustainable and healthy environment for all.

This wonderful band, The Shams Band, will be playing the Chicago Bluegrass and Blues Festival. Here they play live for WGN radio and the whole event is recorded well. So please acquaint yourself with their styles, and let yourself get excited for Dec 12th and Chicago’s only winter festival!

When it comes to “walk it like you talk it,” few bands can credibly claim to top the Giving Tree Band in that department. It would be enough that its new album, Great Possessions, is one of the best long players of the year by dint of its stirring musicianship, exemplary songwriting and emotionally engaged performances. But while this inspired quartet (Eric Fink, brother Todd Fink, Philip Roach, and Patrick Burke, supplemented on disc and in concert by a few other players) is crafting powerful, moving music, so is it making a complete (or near-complete) stand for environmental stewardship, living every day with a heightened concern for the effects of their lifestyle choices on the world around them. This sensibility even extended to the logistics of recording Great Possessions, in ways that would humble other, similarly eco-conscious aggregates.

For starters, the GTB holed up from June 23 to July 19 at the Aldo Leopold Legacy Center in Bariboo, Wisconsin—not a recording studio, but a…

to read the rest click here: http://thebluegrassspecial.com/archive/2009/november2009/givingtreenov09.php

November 16, 2009. Chicago, IL. The Chicago Bluegrass and Blues Festival’s Last Banjo Standing tallied over 20,000 votes from Midwest music fans in the last month, yet a mere 7 votes separated 1^st and 2^nd place when voting ended at midnight on 11/16. Two bands earned it, so, two winners were crowned, as the Festival announced that both Sexfist and Great Divide will appear on the main stage with Bela Fleck & The Fleckstones, Dr. Dog and the Emmitt-Nershi Band this 12/12.

They’ll split the cash prize and share in the opportunity to repay their loyal followings with back-to-back sets to commence the day’s Main Stage lineup.  Blues fusion extraordinaires Great Divide will kickoff the mainstage event, followed immediately by the hootenanny that is Sexfist.  ADDED BONUS: Sexfist has invited its fans to enjoy “Break-Fist w/ Sexfist” while taking in the Great Divide set.  More to come on what the boys will serve.

Sexfist, Chicago’s most politically incorrect band name, started as a duo in 2001 and has since become the five-man band spawned in May 2003.  Recently, Sexfist has found themselves comfortably alongside Cornmeal as one of Chicago’s two most popular bluegrass acts.   On tour since 2004, you can find them every Tuesday night at the Red Line Tap.

Don't worry, Sexfist is just the name of the band

Greta Divide, originally from Ann Arbor, MI, is a seven-piece band with two guitarists, drums, keyboards, bass and horns. Much like the festival itself, they are greatly influenced by the traditional roots of rock n roll, blues, country, funk and soul.

Great Divide

As our friends at Jambase so eloquently put, they’ll  “set the tone for the night with tight, soulful horns, keys and a great jazz guitar bass combo.”

Chicago Bluegrass and Blues and Kingtello Presents want to congratulate both bands on their efforts in the contest as well as all the fans for participating.

Until Wednesday, November 18^th at NOON, fans can visit www.ticketweb.com and use the Access Code “LBS” to save $5 celebrate the successful completion of the Last Banjo Standing contest.

Learn more about the righteous celebration at www.cbbfestival.com

In these tough economic times, it’s hard to find a silver lining.  Local arts especially have taken a hit, and that includes venues and performers alike.  The reality is that bands everywhere are struggling to find ways to convince their fans that it is well worth it to spend a few bucks on an evening of live music.

Enter The Chicago Roots Collective.

The Chicago roots Collective (CRC) is a group of ten highly motivated, independent, local bands who have defied the urge to step on the other guy to get ahead.  Though their genres range from reggae to pop to Americana, the CRC has banded together to form a community of musicians.  The premise is simple: by working together, each individual band and more importantly their fans, benefit.

The history of the CRC traces back to last year’s Chicago Bluegrass and Blues Festival, where members of the collective preformed at the Congress Theater along with The David Grisman Quintet and The Avett Brothers.  Mike Raspatello, one of the founders of the festival, and current friend of the collective, explains how it all started: “It was a really exciting night for local music.  We had independently thrown this festival, and it allowed area bands who had been carving out separate niches in the Chicago music scene to connect with each other and realize there was a shared experience among them.”

Donnie Biggins of The Shams Band, initially proposed the idea of playing Pre-Chicago Bluegrass and Blues Festival shows throughout the summer to promote the 2009 festival in December.  When proposing the idea to Tate Troelstrup of How Far To Austin and Danny Surico of The Future Laureates, the three brainstormed and realized that they could take the idea even further.

Once setting initial goals and extending the offer to 7 other Chicago bands, the reaction was more than receptive.  Everyone that heard the idea wanted to get involved.

Peter Manhart of Molehill explains: “We share the struggle of independent musicians, but we also share the dream.  And in that sense, there is a genuine respect and appreciation among the bands for each other’s music, and desire to help each other along the journey to success.”

The CRC recently put on their first show, an ambitious affair that included performances from all 10 CRC member bands at the well known Cubby Bear across the street from the historic Wrigley Field.  Charging a wallet friendly $10 for the evening, the CRC put on an affordable night of music for their individual fans.  With each act preforming a short set throughout the evening, and going so far as to share drum set and guitar amps, the showcase allowed for fans of all ten bands to see performances from bands they may not otherwise have seen.  With over 200 tickets sold in pre-sale, and a total of over 500 excited live music supporters in attendance, the collective exceeded their expectations.  Bands worked one anothers merch table, and supported each other throughout the evening – hanging out in the audience rather than hiding out backstage.  Chicago Acoustic Underground founder and CRC supporter Michael Teach summed it up best – “The experience overall was so positive and encouraging, the bands all had a great time preforming, and the audience saw that and it built their excitement – there was a feeling of community and that was what we wanted people to walk away with”.

Written By:
Harmonica Dunn
Blueberry Hill

5 Reasons why the Chicago Bluegrass & Blues Festival is a friend to the concertgoer…

1. All children 12 years and under will be admitted to the festival free of charge.

NOTE TO ALL YOU YOUNG PARENTS, OR PARENTS OF SOME YOUNG ONES.. Not only does the CBB Festival help children by donating to both the Saving Tiny Hearts Society and Prevent Child Abuse America, we treat them to free music as well! That’s one less excuse for you concert-hungry caregivers not to come. Some please come bring your young ones and expose them to some wonderful, kid-friendly, tunes at CBB Festival.

2. Pickin’ and Playin’ from above. When the curtain goes down on the big stage at the end of each set, the spotlight goes up on the balcony. Check out Van Ghost, Tangleweed, Majors Junction, and Environmental Encroachment from the Congress’ main stage balcony. Not only will this expose you to a number of bands you’ll want to hear (trust us..), but also this guarantees that you will not have to deal with annoying set breaks on the main stage. The music will never stop! We thought you would like that.

3. Re-Entry Like You’ve Never Seen it Before: Why, yes, you can come and go freely to and from the theater until 6pm. AFTER 6PM YOU CAN STILL ARRIVE. All that this means is that once you’ve left the building after 6pm, you can’t come back in. As in, if you leave at 5:59 you can still get stamped and come back any time throughout the night. However a minute later that would not be an option. We know you may want to step out of the festival, for whatever reason, and we are not going to take that option away from you. We are music goers as well, and know how to treat our guests.

4. Two Things Everyone Should Bring: A Chair & An Instarument. It’s a long day, so bring your camping chairs or lawn chairs or couches to pop a squat on when your dogs are barkin’, and there’ll be an open jam session and picking circle from the second the doors open. Musicians are all invited to bring their instruments and participate. There’ll be an “instrument check” along with the coat check so that you don’t have to lug your noisemaker around with you all day. How many festivals let you do this?

5. You can smoke.  Indoors, Sorta. There’ll be a smoking lounge that does not require you to leave the building.  It’s covered and at least 75% indoors. See what we’ve done here?  A huge favor for you, and a huge necessity in making this as close to the true summer festivals we all know and love.  Tricky, yes, but awesome and necessary in the harsh Chicago winter. I told you we were on your side!