When one has a “traditional” band comprised of two people, and only 4 hands, it is quite difficult to consistently produce quality songs. This proves even truer within the genre of blues-rock. The sound must be creatively cared for so as not to become repetitively thin, and/or dull to the ears-and-mind. The Black Keys are no novices to this particular challenge, and in their new album “Brothers” we find their 6^thmusical attempt at this difficult test.

“Brothers” starts off with one of the best tracks of the album (which contains a lengthy 15 tracks), Everlasting Light. It is an introduction to the overall sound of the album; a gritty, low-end heavy version of blues-rock in which the drums often take a back seat to the forward moving bass/guitar. The low-end is such that at times one can’t tell if they are listening to bass or an effected guitar. When you can differentiate the two the guitar still leans towards to low-end, and the bass at times sounds like it was DI’ed (not mic’ed from the amp), resulting in a wide, heavy, but oddly in-dynamic low end.

Now aggresive-blues-rock isn’t anything novel for this band, but “Brothers” differs from those before in the way it uses the relationship between drums and guitar/bass. At times in this album it is as if the guitar has mutinied – in addition to becoming sonorously deep – and plunges forward to declare itself the leader. It is songs such as Next Girl, Sinister Kid, and The Go Getter in which this approach works best and produces truly fun songs that contian great movement.

The vocals or supplemental sounds (such as organ, or layered guitar or bass) on this album seem to move forward also, but don’t always choose to supplement the guitar, instead they just seem to move in a similar direction while the drums hold the middle ground. So in the end we find a more stilted, gravelly, atypical blues-rock sound. Tighten Up is a song that displays this quickly punctuated bluesy style well, and is also smartly fortified with a pleasantly rolling breakdown and delightful peripheral sounds.

And while this stilted, gritty blues sound is prevalent throughout the album there are also a couple tracks in which The Black Keys revert to their tried-and-true method of creating catchy, rhythmic, drum+guitar riffs and beats. On Howlin’ for You we find a toe-tapping, head-shaking song that revolves around an unchanging drum beat and a more traditionally emotive guitar. It is classic Black Keys, and it’s one of the albums best.

But then there are other tracks that don’t come off as successful. She’s Long Gone, Black Mud,  Too Afraid to Love You, and Ten Cent Pistol are examples of how easy it is to hit the creative ceiling with two musicians, and we find ourselves with blues-rock that unfortunately comes off as slightly vapid and stock-sounding.

Overall “Brothers” is an album that is best described as a mixed bag. There are indeed quality tracks that showcase The Black Keys ability to push the creative envelope of minimalist blues-rock. Yet, the album probably could have been reduced to 10 songs – as opposed to 15 – focusing more on the novel sounds of this album and cutting the fat of their more “normal” blues-rock numbers. Also, the soulful-swing present in their previous album, “Attack and Release” could probably have been brought in to good effect on a few tracks.

However, for just 2 guys playing the blues, I don’t know if anyone else could continually make such interesting, varying, and successful approaches to what is arguably the most static genre that exists. So while, for The Black Keys, it may be a “good-not-great album”, for the contemporary blues fan, it is still an album worth digesting.

By Sean Brna

The performance commenced with great style. It’s not often that lights and audio begin prior to a band’s appearance, but that’s how Metric took to the stage at Chicago’s Vic Theater. As blue lights pulsed and white ones danced the members of Metric took the slow building hallucinogenic sounds that were already being played and transitioned it into their song “twilight galaxy.” This was a solid show starter that was part electro-psych, part pop/rock, but all class.

Metric is a band that continually attempts to walk the line between rave and rock n’ roll. Of course, their version of rock n’ roll is highly supplemented by the contemporarily popular electrification of indie rock. Their crowd on this spring evening also reflected that balance; it was a very crowded event full of fist-pumping, quasi-dancing “ravers” as well as the more stoic, devil-finger flashing, “rockers.”

Metric then went into 3 of their well-liked numbers from their album; Satellite Mind, Front Row and Help I’m Alive. During these numbers Metric really showed off the capability of their lighting scheme. For being within a mid-size venue it really was top notch, both is the manner the lights were emotionally in-sync with the music and with the way they employed strobes and light curtains to keep their audience intrigued. This greatly added to the atmosphere of their show and definitely helped edge the audience into a heightened level of participation.

Yet musically, these anticipated songs came off slightly sterile. I enjoyed Emily Haines’ voice the most when she sang in a manner that was, for lack of a better term “noticeably live.” Only during Front Row did her voice seem to deviate even slightly from what’s heard on the album. And while this can be viewed as a feat by the vocalist, which it is, it just came off slightly as slightly vapid (though this could have also been due to their being at the end of their American tour, or that the show started considerably early in the evening).

But they also killed. For this author, Metric was at their best when they walked the line between rock and rave completely balanced, or leaned slightly into their rock side. Now don’t misunderstand; because Metric employs swift, strict-in-time, dance-friendly beats in most all of their songs (indeed, it’s what they are known for). Yet they have quite a knack for constructing catchy rock-riffs that interact with the dancing beats in such a frolic-friendly manner, it’s when they are most gripping.

For this reason it was on such songs as Gimme Sympathy, Gold Guns Girls, Stadium Love and a new song (name unknown, was the 5^th one of their set) in which they unleashed their most potent batch of live musical entertainment onto the Chicago crowd. These songs focused more on the guitar and usage of song progression, it addition to incorporating some psychedelic sounds.  On these songs was when Metric stimulated and connected with their audience the most – or at least this particular audience.

Metric does not have an easy job; they are a Canadian indie rock band that plays music which is of similar character to stadium-friendly pop music. They walk that line well, bringing together people of different ages and genre loyalties together in Chicago for a raucously good time. Yet should they discover that sounding sheik can quickly lead to sterility, and that their at their best when they honor their rock side, this is a band that has the talent and the know-how to ride the current wave of interests in glamorously electrified indie music for some time.

By Sean Brna

sean.brna@gmail.com

Reservoir is the newest full-length release from the Chicago band Great Divide. If one desired to generalize the their type of music it could be deemed ‘roots music’, because they seem to amalgamate blues, rock, soul, R & B and funk into something all their own.

The band consists of 7 musicians, so they have no lack of sonic potential. Yet this album’s sound is very crisp & clean, as they employ little effects or reverb and give each of their instruments proper space from each other. They like to play dynamic & toe-tapping blues-rock that takes much from R & B and southern-funk, often infusing their music with that coveted Creole ‘side-step’ groove. In addition they also play few “traditional” blues numbers. In these they seem to focus on slowly building their energy towards the end of the song, really letting their instruments wail in the mean time, before they move together en route to stylish crescendos.

They kick off the album with one of their best, the song Waiting. Here we encounter that energetic funky-blues-rock. The emotive guitar says Chicago, the voice says Nashville, and the rhythm section/horn interaction says New Orleans. And it works. For Fleetwood, another album highlight, we find an upbeat number that transitions from funky R & B to subdued soul and back again, before a great reggae breakdown replete with witty and fun brass involvement. It is clear that song progression is a focus, and a talent, of this band. The average song length is close to 5 minutes, but usually they don’t ever sound the same throughout as they rely on distinct and clear progression/alteration to keep things fresh.

Another song off Reservoir that showcases their talents, and actually counters their usual use of song progression, is Rainy Bethea Blues. This one is more of a straight through Chicago blues number with a fantastic dancing piano and walking rhythm line. On this song we can really hear the lead-singer, Teddy, show off his pipes. They don’t try to re-invent the wheel with this song, its nothing new – just damn good blues music.

Teddy’s voice fits his band’s sound well. It sounds, at times, like a younger and thinner John Popper. It is clean sounding naturally, but he has the ability to get highly emotive and raspy – without sounding too trained or strained.

But what really makes the album even more-so, is the way in which they use their varied instruments. The brass and guitars are the emotional expressers, sometimes in call-and-response, sometimes in tandem, or in contrast. But they are always supplementing each other positively and improving the musical communication of the songs – letting Teddy tell the story (which is what a good blues vocalist does). What also adds positively to the sound is their attention to detail, specifically in always separating their two guitarists – one of whom usually played more yowling sounds while the other kept it more straightforward and “solo-like” – always keeping one completely in the left channel and the other in the right channel.

Giving each instrument a place in the stereo field gave the resulting music a wonderfully uncluttered feeling, even with 7 musicians. This actually is a good description for the album in general; even though there is blending of many genres, with numerous musicians, the result is a nuanced – yet somehow relatively minimal and crisp – collection of roots music songs (let’s just hope the next time they delve into more reggae, as this author really enjoyed the reggae switch-ups in both Fleetwood and in Waters Roll In). Nevertheless, if you are into roots-music, soul, rock or the blues then consider adding Great Divide’s Reservoir to your musical repertoire.

by Sean Brna

seanbrna@gmail.com

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What do you get when you mix a high intensity, heavy bass dubstep legion with an entertaining sing-along act and a backing powerhouse DJ? The crowd at the local Chicago venue, The Metro, can answer just as well as anyone, so why don’t you ask them? With the UK dubstep act, Rusko opening for the highly entertaining electro/hip hop act, Major Lazer, the anticipation was exciting. It was a sold out show and a line stretched halfway down the block. The crowd was in good spirits, awaiting what was sure to be a night to remember.
With patrons pouring in from every doorway and hallway, a full venue it became; and just when it seemed impossible to accommodate another person, the show began. The crowd was constantly pushing for the opportunity to get close enough to see the sweat on Ruskos face and the jump in his step. The energy charged DJ sent the crowd into a dubstep coma of fist pumping and head banging to the heavy bass style of music known as dubstep. There were buildups that gave the crowd just as much energy as the UK DJ did himself, as he is known for his high energy and fast-paced touring schedule. His track choices and transitions left both Rusko lovers and the faint of heart content, and all that remained was the smiles on their faces as they awaited the sexually charged Major Lazer debut.
Major Lazers world wide touring DJ, Diplo, approached the turntables with confidence and ease as he prepared his equipment and the crowd with what was sure to be a show just as energetic as the previous. Major Lazer himself, followed by his two female companions, approached the stage to the mixed sounds of high-pitched screaming and loud roars of excitement. It was their first Chicago appearance since August. They are known for mixing multiple genres that appeal to the diverse crowds looking to dance. Whether your among the crowd that enjoys or despises the generalization of what once used to be an underground genre, and is now taking the shape of big label acts trying to fill arenas, its hard not to bob your head and move your feet to the rhythm. If you’re skeptical, it’s not all bad. With some quality mixes and a well-known DJ backing up the act, there is anything but the lack of talent and energy in this duo.
Whether you’re the electronic/hip hop type, or a heavy bass driven personality, the show was truly a great mix that satisfied both crowds, and their hunger for music. Chicago, drawing inspiration from both the east and west coasts and luring talent from all over the globe, is truly the Mecca of all things music, adding a flavor of its own. Welcome to the true, Taste of Chicago.

Story by, Chris Hemstreet

For more info about the artists playing at the April 10th Metro showcase, check out their MySpace’s for exclusive tracks and future touring dates.

Rusko: Myspace.com/Rusko

Major Lazer: Myspace.com/MajorLazer

It was a wet spring evening in Chicago, one of many in the early months of the spring season. Chicago has extremely unpredictable weather, and gruesome winter months as well. It would be an understatement to say that April 5th was any exception. With even the gloomy weather in account, this did not stop the Swedish three piece, Miike Snow, and their endless amount of supporters from lining up in the rain for what was to be the second day in a sold out visit to Chicago’s Metro.
Some bands have a hard time filling a single venue, while others, as in the case of more recent showcase, sold out 2 back-to-back days of the Swedish group’s most recent and arguably most successful tour to date. With the up and coming group, Delorean starting out the night with a bang, the lineup was an obvious reason for the tours success. “Amazing”, “epic”, “visually spectacular” were just some of the responses to the group’s live show that left spectators wanting more. With multiple live instrumentations and the overall performance mixed with what seemed like an absurd amount of lighting, their live show had a unique feel that is rarely seen in, “smaller scale” venues and more so in arena style performances.
It began with the entrance of each individual band member in white artisan masks that showed anything but any sort of expression. The blank emotions on each of the band member’s faces started the show off with a theatrical bang. Heading up the rear was front man Andrew Wyatt, shoeless, and ready to get down to business, the musically talented singer/song writer/pianist/guitarist wasn’t going to settle for a mediocre show. Seeing him singing his heart filled lines into the microphone like it was the first time playing in front of a live audience was a refreshing change of pace compared to mass touring bands that lose interest and emotion after performing the same songs night after night.
With a talented drummer, and multi faceted dj, their night didn’t end with the end of the show at the Metro as they went on to play a late night DJ set at The Metro’s adjacent nightclub, Smart Bar. This gave the unfortunate Miike Snow fans that were unable to purchase tickets to the sold out show, as well as die hard fans, an epic encore to end the night on. Never leaving the fans feeling as if they didn’t get their moneys worth, yet still leaving them wanting more was the perfect combination for any music fan. Its fairly obvious to see why the group has formed such a strong bond between fan and performer, drawing the line much closer than you would think as they drew off energy from the crowd to fuel their seemingly never ending supply of vigor and the drive to create something musically unique.

Story by, Chris Hemstreet

For a list of shows, and touring schedule and a peek at their tunes, check out the artists MySpace’s:

Miike Snow: MySpace.com/MiikeSnow
Delorean: MySpace.com/DeloreanDanz

Train Company was the first act of three, behind 28 North and Blues Traveler, this past Thursday night at Chicago’s House Of Blues. Many artists might not like it when they are the ones chosen to be the first band on the bill – not Train Company. As their lead signer John Zozarro explained, they “sincerely appreciate the opportunity (and task), of setting the mood for the night, of lifting the tone.”

Well, mission accomplished, set the mood they did. Train Company played a brand of rock that is highly influenced by the blues and jazz. That is a vague description at best, and is one that could be applied to many bands. Yet Train Company’s uniqueness lies in how they amalgamate these genres into their style of rock in such a seamless manner.

Train Company is comprised of 5 Chicagoans, containing one keyboardist and one saxophonist. The additions of these instruments allows them the ability to have the aforesaid blues and jazz undertones present in their music (more times blues than jazz, they are from Chicago), without ever overtly stepping into blues or jazz. On stage it was apparent that as a band, they can really ‘walk together in step’. They are emotionally in sync, all the subtle ebbs and flows are executed in synchronization. This can be accomplished through relentless practicing, sure, but their musical-emotion-congruity came off as a natural occurrence – a product of the musicians really enjoying their music and playing with each other.

On this night it was the songs Leaving and Change in which one could really hear them at their best. Leaving had a fantastic sauntering bass line that was placed within what is a highly energetic blues-rock song; it created for a song with a rock n’ roll drive –yet with a bluesy philosophy. It was also deceptively dynamic as towards the end it even took on a slight jam band groove. Change had more of a funky, slightly R & B flavor to its blues-rock base. There were ear-catching harmonies and a classy, well-executed crescendo.

For this author though, their talent shone through best on their song, Conquistador, which is a smooth and subdued blues number with great sax highlights. And while the rhythm was simple and all 5 musicians were playing, it still held onto a pleasant minimalist sound. And then near the end as the energy picked up momentarily a Hendrix blues riff was discreetly brought into the song, played with briefly, and let go before most people could notice it. It felt like a short-lived inside joke that only the most thorough of rock fans in the audience perceived, and undoubtedly enjoyed.

In their own words Train Company’s philosophy is to play a “new kind of old,” they “like to play the same story, but told a different way.” But there in lies the art of skillfully playing blues-rock; it’s not about being revolutionary, it’s about infusing your unique emotions, outlook or story into established musical frameworks. This is what Train Company understands, and in doing so they definitely set the right mood for the evening, just as they wanted to.

By Sean Brna

Seanbrna@gmail.com

One’s gotta love taking in a Sunday night concert while sipping on draft beer and nibbling on good chicken fingers. Solid Gold was the headliner that evening at Subterranean. Solid Gold is a band that you could accurately deem falls under the umbrella of “glam-rock”, although this author has mixed feelings about that moniker.

They kicked off with two tracks from their album “Bodies of Water”, Calm Down, and Bible Thumper. In both, the beat is unchanging in the slightest, almost unflinching and bordering on sounding quantinized and computer-generated. It’s interesting to take in a band whose appearance is something like 1974, but plays this contemporary electro-rock. It shows you the manner in which the contemporary musical generation has chosen to come full-circle. On both of these tracks the dance sensation their music emitted was palpable, even for those who normally don’t succumb to such sensations, and this is one of their strongest attributes.

Another positive characteristic of their sound was that they seem to understand how one should fit more relaxed, and at times relatively drawn out lyrics, within the pounding or quick beats that lie in the background – it’s that slight sonic juxtaposition which gives them a high level of accessibility.

Another highlight of their set was when they played on of their best songs, Get Over It, but subdued the pace slightly and infused more a rock’ier sound – relative to the album version. It culminated in a great sound, especially as one member had his guitar on his lap infusing a slightly psychedelic slide-guitar sound into the song.

However, the energy and momentum that was established within the first handful of songs did begin to wane as seemingly the tempo and emphasis within the following songs too closely matched those at the beginning. A different track ordering, or some tracks with more noticeable alternating in pace would have been beneficial for them. Also, ending a set with a cover song (Top Gun’s Danger Zone), no matter how well done, was probably a bit kitschy.

That being said, this author still enjoyed taking in Solid Gold’s glam-rock stlyings. They have a grasp of making highly enjoyable electro-rock without it becoming oppressively pop-like. They have an understanding of how to amalgamate yowling, ear-and-mind-catching sounds, with fully danceable percussion. Eventually this band is going to release the right single and their careers will instantly ascend, because they can be extremely catchy while still remaining genuine to this sonic philosophy.

By Sean Brna

seanbrna@gmail.com

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For some peculiar reason it was quite vacant when The Willowz took to the stage this past Thursday evening. Playing at the Double Door, a renowned place to nightly catch good music in Chicago, this seemed an odd occurrence. The weather wasn’t to blame, so it must have been that two other very popular indie-rock bands were playing in Chicago that same night, an unfortunate circumstance for this Californian band just stopping in for the night.

The Willowz are a four-piece band that play what could be considered an contemporary indie version of quasi-southern, blues-based classic rock, although one can also sense a slight punk influence at times. One of the first things this author noticed was their drummer (Loren Humphrey), both because he employed two floor toms – giving their sound extra ‘pounding potential’ – and because with his long hair coupled with an energetic style of play one couldn’t help but be reminded of Animal from the Muppets (who, as we all remember, also played drums).

After taking in the manner in which they played their first few songs it seems that this band has an almost Lynard Skynard feel to their sound, yet with an avid focus on each musician being in perfect emotional time with each other. This means they would add emphasis, deduct energy, or even pause momentarily in perfect syncopation. Also, they use dynamic progression within the course of many of their songs, all the while seemingly staying rooted in the fundamentals of rock n’ roll. This author thought this made them come off as a band with an almost British rock-song sensibility when it comes the writing, which was then coupled with a purely American sound once played.

Richie Follin is the lead singer and he furnishes his band with a very distinct sound. His voice is withdrawn and narrow but full of vigor. It’s almost like a young, excited and more punk’ish version of Neil Young’s voice. It’s one thing that helps to make them distinctly indie. However, it would have helped on this night had the vocals been louder and one been able to discern the words being sung. This is a lesser point with this band than others though, because The Willowz seem to use their vocals more as an instrumental/emotional addition as opposed to a storytelling/explanatory tool within their music.

The Willowz were at their best on such songs as Repetition, Making Certain and Evil Son when they incorporate a good amount of dynamisms within their song progression. Furthermore, they seem to have a superior control over the ability to musically start-and-stop in unison, using momentary silence or a quick reversion to a minimalist sound as a powerful musical tool. Like few other bands I have seen, they have mastered the art of using abruptness to their musical advantage.

Another manner of rock-song The Willowz seem to have a grasp of is that of concise blues-rock songs. Their opener I Know off their most recent album, and the two subsequent songs were great examples of this. In these songs progressive modification wasn’t employed as much, instead they delivered solid blues-rock songs in which this band sat perfectly in the proverbial “pocket”. And best of all they knew when to end these songs, keeping them under 3 min, leaving the audience wanting more before the sound became repetitive.

Where The Willowz were less successful was in a few songs in the middle of their set that didn’t have enough transition within them and then just ran a little long – becoming slightly tiresome to the ears. When they kept to a consistent sound throughout an entire, longer song, it felt like they were getting away from what they do best and their sound was endowed with less of a true rock feel. This author also felt they should have played more than just one song off their album Chautaqua, which might be their best release to date. In addition, using their great lady-bassist (Jessica Reynoza) as a back-up vocalist is something that should be added to more songs, especially when playing live.

Nevertheless, The Willowz overall played a great show with much more energy and gusto than paltry crowds usually receive. It is not easy to get excited and play almost the same music nightly, let alone when you don’t have any audience energy to feed off of. Kudos to them for still providing for a rockin’ good time to the handful of fans in attendance. So if you are a fan of good ole’ rock n’ roll, then please join this author the next time The Willowz grace a Chicago stage – because they deserve your attention and maybe the next time we can earn an encore out of them!

By Sean Brna

Seanbrna@gmail.com

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Dark and eerie, with plumes of smoke lingering on the floor to mask the mass amounts of dancing feet that filled up Smart Bar for their weekly Dubstep/heavy Bass Thursday lineup the Chicago underground music scene has grown to know and love. This week, March 25th was a special day. Although the other events are growing in numbers as the popularity for the bass driven music genre is growing, this week in specific had a special guest. Coming all the way from the UK to blow the speakers and minds of local music enthusiasts, the dubstep DJ, DubPolice and Dubsoldiers founder, Caspa arrived ready to impress.
Spinning some old school classics, along with his personal favorites that he has grown to be known for, the dubstep DJ was a force to be reckoned with. Having done tracks with multiple worldwide artists such as Rusko and Deadmou5. Local favorite, Kid Sister was in the mix adding a guest appearance and vocals to an already mind blowing experience that would not be soon forgotten.
With the twirling of glow sticks, dancing of the full crowd, and sea of smiling faces, its amazing how quickly the new genre that is known for the skull crushing bass, wobble that makes the weak of heart dizzy, and overall mood of the songs, attract the most diverse crowd, from a multitude of different genres of music. All one can truly say is that each and every show is a great experience, accompanied by great people just looking to be moved by music like they have never been moved before. Welcome to the world of Dubstep.

Story by, Chris Hemstreet

Check out the rest of Caspa’s tunes at:
myspace.com/caspadubstep

as well as the local openers and residents for the Smart Bar event at:
Phaded:
myspace.com/sosophaded

Special Guest, MC Zulu:
myspace.com/zulumusic

Colin Giles’ self titled EP (which, marvelously-so, can be downloaded freely at www.colingiles.com) kicks off with “Canyon Green”. It has a dulcet and unwound sound, which seems to be a common trait for Colin and his musical creations. It’s reggae music, but not overtly, as other genres discreetly follow along in each Song. In “Canyon Green” one can hear the integration of a contemporary pop understanding, at other times it’s more of the blues or an R&B interpretation that is infused in.

Colin’s vocals are undoubtedly the preeminent aspect of his music. His voice is smooth and unwrinkled, to the point of almost being consider ‘polished,’ but not quite as it is also quite genuine. His lyrics are fitting to his genre, being life-affirming and anti-anxiety in a way, except for “You’re On My Mind,” which is more of a bluesy-relationship song. His voice takes the lead on each song, he has a distinctly Californian voice yet with a projection of a type of energy that communicates the serene sonic philosophy of reggae, without the traditional use of island language/accent. His voice sounds best when it peaks, as he holds elongated notes and words.

“Go Get It” is probably the prime track of the EP. It has a great infusion of a subtle soulful, funky vibe that undertones the song throughout. The organ that frolics in the right channel really helps to make the song what it is. It also has a jovial sing-along quality to it that fits well. This author feels it best exemplifies the possibilities of Colin’s reggae potential, as it showcases some of the best attributes of two genres.

The objective of this EP is not to re-invent the wheel, but to provide for a smooth ride. Yet while there is a minimalist feel to the sonic philosophy there are also some positive subtle engineering techniques employed; like the keen choice to often spatially separate instruments while keeping the drums and vocals straight up the middle. Complex? No; but one should never be faulted for executing the fundamentals well. And that is what one can glean from this four song EP; that Colin has got the essentials of his genre down, a genre that can be less forgiving than others due to its customary lack of dynamics in song progression.

By Sean Brna

seanbrna@gmail.com

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