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

I can not believe that March is upon us that means only one thing… It’s SXSW time again! Undoubtedly it will be just as full-on as last year with over 100,000 attendees expected to flood the venues and streets of Austin downing (free) Dixie and (free) BBQ and soaking up the music and the mayhem….

If you are packing your bags for Austin Here are my tips for you (This guide is not just for SXSW; it’s also for any music conference out there!)

Envision What You Want Before You Arrive

My first bit of advice: Arrive prepared. Know who will be attending and create some goals before you get there.

Attend at Least One Music Conference Each Year

I believe all serious musicians should make it part of their job to attend at least one conference a year. They can be expensive to get to, but think abut it this way: Music lessons were at one time expensive, and so was your equipment and those things are also vital for your career. Conferences are the best place to meet people who work in and around the music industry and are a relaxed environment to connect with people in it who can change the course of your career.

Austin, Texas, a wonderful city, and its distractions are many. But, keep in mind that this is not a vacation. It’s a work-related learning experience, and with a little planning and foresight you can have a million-dollar conference.

Before You Go, Get Connected!

SXSW Social Media:

Facebook: http://www.facebook.com/SXSWFestival

MySpace:www.myspace.com/sxsw

Twitter: www.twitter.com/sxsw

Get registered to the South by Southwest Directory

Go through the site, which is VERY user friendly and links to your Twitter and Facebook seamlessly to determine whom you may want to meet before you arrive. Drop them a personal e-mail using their interface.

Bring Business Cards, Fizzkicks Cards & Postcards

Yes, You should have a business card and your card should not just have your name and number. It should have good information about what you or your band sounds like (your pitch) , your Twitter handle, Myspace & Facebook URLS, and links to any other places people might be able to find you online. A photo of you or a band logo would also be highly recommended.

Don’t Haul A Ton Of CDs

I do not recommend bringing a lot of CDs. People are overwhelmed with free CDs and they won’t want to carry them home so it’s better to get people’s business cards and mail them a CD or better yet send your music digitally through Bandcamp of Soundcloud as a follow-up after you get home.

Talk To Strangers

Don’t be scared to take risks and meet people. Conferences are friendly places. Just walk right up and ask “So, what brings you here?” You’ll have a new BFF in no time.

Attend Panels – You Will Learn Something J

It’s tempting to blow the panels off and hit all of the free day parties but I encourage you to make an effort to sit in on at least one or two panels per day, on any topic that interests you, and take notes.

Get Mentored!

Most conferences have amazing mentoring sessions where you can sign up to have one-on-one face time with the industry peeps. Some of the most important people in the music business will be sitting there ready to meet with you.

When you do go to a one-on-one mentoring panel, be prepared to meet these people, and make sure that you have done your research and have specific questions to ask them.

Follow Up!

The moment you get home, make sure to send thank you notes, e-mails and follow up with every single person that you met. If appropriate, add them to your e-mail list. Never send your pitch or talk about business in the first initial e-mail. Get people to respond to your follow up by just being friendly. If you do not follow up your trip and hard work will have been a waste of your time. So, don’t rip yourself off here!

By far the hottest party I’ve seen yet at The Kinetic Playground! A stacked lineup heavy with electro-womp-womp, Savoy and Vibesquad threw it down like there was no tomorrow. My night started off with The Coop, organic yet electronic their instruments memorized the audience with ease. The chimes and conga drums were the highlight of their live performance. The Coop perfectly transitioned to our favorite Didgy Slacker who threw down some dirty mixes, rapping and even beat boxing followed by Gemini Club. To add the experience, artist John Franchi was posted up live painting to the music, while Adeline Kreis was making some of her famous funky colorful new era caps. Finally the long awaited Vibesqaud entered the main stage.His excitement filled the room as he drilled the audience into the floor with his grimey bass and dub heavy rhythms. The crowd went wild. Savoy blew everyone off their feet; from Boulder, Colorado these guys do it big with two dj’s and a live drummer. Their impressive house crescendo built up to an explosion of electro-dub step was unlike anything I’ve ever heard before. Savoy raged through The Kinetic Playground and took Chicago by storm. Big thumbs up to the crisp sound system at Kinetic, and intimate atmosphere and could’t have been a better venue to jump off these amazing artists. An epic show that will resonate with the already awesome reputation of the  playground for years to come.

Photos: Scott Bittinger

Review By: Shayna Gladstone

We’re returning to the legendary Fitzgerald’s on Friday, 10/16  for a CBB Pre-Festival Event, featuring The Giving Tree Band, The Henhouse Prowlers, and The Liberty Bluegrass Band.  Show starts @ 9pm.  Come join us for a dust kickin’ good time.

The Giving Tree Band – Early To Bed

The Giving Tree Band – Circles

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 artists alike.  The reality is that local bands across the city are struggling to bring their fans out to support live music.

Enter the Chicago Roots Collective.

The collective—also known as the 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 benefits.

The history of the CRC traces back to last year’s Chicago Bluegrass and Blues Festival, where members of the collective performed 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 got 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.”

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 a desire to help each other along the journey to success.”

Matt Hartgering of Cobalt and the Hired Guns agrees. “The spirit of the CRC is really about collaboration and a cooperative spirit, and when you’ve got ten bands who are highly talented and driven, it’s easy to embrace those qualities.”

“When you have ten bands attending each others shows, there is a large group of supporters in the audience that wouldn’t have been there otherwise.” says Donnie Biggins of The Shams Band.

In fact, the next CRC show will feature all ten bands for $10.  The event will take place at 6pm on Saturday, September 19 at The Cubby Bear – Wrigleyville.  While the undertaking is ambitious, there are no mysterious benefactors, booking agents, or promotional companies funding or organizing the show.

“It’s just us.  We’re a group of bands that believe our destiny is in our own hands, and the only way we reach our goals is by working our butts off,” says Danny Surico of The Future Laureates.

In planning for events such as this, band representatives meet once a month to discuss ideas and share resources.  It’s a sort of “tribal council” of local indie bands, where veterans like Mike Mangione, How Far to Austin, and Todd Kessler have become mentors for upstarts like Goodbyehome, The Future Laureates, and Band Called Catch.

How to book a tour, strategies for contacting media outlets, networking resources, and promotional ideas are all being shared.

One recent product of these brainstorming sessions was the CRC logo design contest. Local artists were given the chance to submit designs and choose from prizes including $200, 4 tickets to the 2009 Chicago Bluegrass and Blues Festival, and a merchandise package from all ten bands.  The contest was held as a way to spark interest in the collective, but it was also pragmatic.

“In the most basic sense, we needed a logo for the CRC,” says TateTroelstrup of How Far to Austin.  “But at the same time, we were able to develop relationships with other area artists that, long term, can benefit both parties.”

One such artist is Amy Olchowski, a recently graduated graphic design major from Loyola University Chicago.  While her logo designs ultimately didn’t earn the top prize, she was asked to use her ideas to make a poster for the upcoming CRC show at the  Cubby Bear. “The Chicago Roots Collective gives not only local musicians, but all kinds of artists the opportunity to showcase their talents, and therefore, creating a full community collaborative effort.”

Brian Wise of Jackpot Donnie sums it up “We feel like the world is at out fingertips.  Our collective potential is there and we’re moving forward toward the same goal, on the same journey.”
Click here to hear the Chicago Roots Collective

Here are some pictures of Lorin “Bassnectar” Ashton at the Detroit Electronic Music Festival! I was totally bass-faced, front row! I thanked him before the show for coming to my hometown electro festival. I wished for him to come to DEMF in 2008 and my wish came true! It is so obvious that he thrives off his audience so much during his performance. He needs our energy and excitement to throw down a great performance just as we need him to create a memorable show for us and dance our asses off! If you have never been to DEMF I highly recommend it!

One thing that was absolutely hilarious that happened during his show: everyone started jumping off the stage and crowd surfing and this extremely overweight sweaty, e-tard, raver dude gets up on stage. I am front row and this man is getting ready to literally jump right on top of me. Everyone in the audience is yelling NO! don’t do it! and shaking their heads NO! NO! This guy would have obviously seriously injured multiple people if he were to jump. Anyways, HE JUMPS! and everyone clears out of the way and this guy just falls !SMACK! flat on his face on the floor! It was seriously something that you would see in a movie, it even made Lorin laugh. At least he didn’t injure anyone but himself. Haha.

Enjoy!

INNOVATIVE TRADITIONALISTS THE GIVING TREE BAND AND TANGLEWEED TO TREAT FESTIVALGOERS WITH POP-UP SETS FROM THE HISTORIC CONGRESS THEATER BALCONY

When each of the main stage acts finish their set at the Chicago Bluegrass & Blues Festival, fans won’t have to wait a half-hour for a continuation of their musical fix.  They’ll merely have to turn around.

Festival organizers have finally announced a poorly-kept surprise long in the making, and confirmed that two of Chicago’s leading bluegrass acts will in fact be part of the day’s festivities.  When the lights go down on each main stage set, the spotlight will immediately shift to the boys of Tangleweed, stationed around a sole mic up in the wings of the historic Congress Theater balcony.

After a few pop-up sets by Tangleweed, they’ll pas the torch to The Giving Tree Band, who’ll entertain fans from above leading up to David Grisman and The Avett Brothers’ headlining sets.

ABOUT THE GIVING TREE BAND (WWW.THEGIVINGTREEBAND.COM):
The Giving Tree Band is a four-piece group of versatile Chicago musicians. Their sound is all acoustic, expanding from a variety of folk and roots traditions. The band has a very dynamic and inventive approach to songwriting and music-making, which they use as a tool for exploring the mystery of life and serving the needs of the community and environment. These troubadours creatively chronicle their own experiences, random thoughts, and deep feelings into a musical diary. By opening it freely, they hope to bring a little joy and inspiration to the lives of the listeners.

The Giving Tree Band’s eclectic and unique brand of soulful folk is the collaboration of four friendly multi-instrumentalists. Bob Salihar adds appeal on guitar. Pat Burke brings brightness on mandolin. Todd Fink contributes color on banjo. Eric Fink delivers depth on upright bass. The members also perform with other instruments such as the classical guitar, slide dobro, dulcimer, ukulele, violin, harmonica, and harmonium. The band sings in four part harmony with each member taking his turn as lead vocalist.

ABOUT TANGLEWEED (WWW.TANGLEWEED.ORG):

Formed in 2004 on Chicago’s north side, Tangleweed is rapidly developing their own innovative slice of Acoustic Americana.  Their first two cd’s have received positive press and frequent radio play in over 20 countries, and they have just released their third, “Most Folk Heroes Started Out As Criminals.”

In 2008, Tangleweed was named “Traditional Musicians of the Year” by the Rural Roots Commission, heard their music featured on the PBS series “Roadtrip Nation”, and performed warmly-received debut shows in Tennessee, North Carolina, Pennsylvania and Colorado.

The band features four very different lead vocalists, and is just as nimble with classic bluegrass, folk, mountain music, hot jazz, western swing, and Irish rebel songs as they are re-interpreting the occasional Pere Ubu or Velvet Underground cover.  And yes, their bassist custom-built his own instrument out of a de-commissioned Howitzer Shell.

ABOUT THE CHICAGO BLUEGRASS & BLUES FESTIVAL:

On November 22nd, 2008, the Congress Theater will host the inaugural Chicago Bluegrass & Blues Festival (cbbfestival.com). While rooted in the foot-stomping influences of bluegrass and blues, the festival will transport the concertgoer through the genre-defying evolution of music today.  The one-day event will serve as a tribute to two schools of music that continue to shape and inspire contemporary rock, jamband, funk, folk, roots, Americana, and indie cultures, while allowing festivalgoers to save a heart.  A portion of each $31 ticket will be donated to the Saving tiny Hearts Society (www.savingtinyhearts.org), an non-profit organization that raises money for America’s #1 birth defect, congenital heart defects (CHD).

THE ELUSIVE AND UNEXPOSED DONNIE BIGGINS EMERGES FROM PACK TO SATIATE HIS HOMEGROWN FOLLOWING AT THE INAUGURAL CHICAGO BLUEGRASS & BLUES FESTIVAL

Unexpected to festival organizers, the Chicago Bluegrass & Blues Festival’s “Last Banjo Standing” play-in contest has been a hit.  With over 75 bands entered and over 25,000 votes cast, it’s clear that the indie roots music scene is far from dormant. Midwest musicians, don’t fret, as there’s clearly no need to include a DJ Set in your repertoire to move the masses.

After 15 grueling days of viral voting and myspace pleas, the votes have been tallied and the festival organizers and artists have spoken.  Picking out of the Top 5 vote-getters caused more duress than one could ever ask for, but…… Donnie Biggins, an unpolished and unapologetic singer/songwriter that swears by the inspiration provided by solitude and a Dylan poster, will be opening up the Chicago Bluegrass & Blues Festival on the Main Stage this November.

Alongside an array of acts far more established and polished, Donnie sang like no one was listening and provided an artist bio that read like a journal entry you’d be embarrassed for your friends to read.  While he’s surely not the first songwriter to pen a song about Barak Obama, he might be the first to avoid sounding contrived or trite in doing so.

So with a MySpace page void of videos showcasing his talents and a mere handful of public appearances under his belt, it’s hard to say what we can expect come November 22nd.   But whatever Donnie has to say that day, you can count on the fact that he’ll mean it.

And for fans of Squeeze-Bot, Josh Phillips Folk Festival, Holy Ghost Tent Revival, and Off the Wagon Bluegrass Band, there’s good news around the horizon.  Too good to turn down, and a bill too full to add to this year, each of the four fellow top-five finishers have been offered a spot on the 2009 Chicago Bluegrass & Blues Festival lineup.  And thus far, Squeeze-Bot and Josh Phillips have already accepted our offer and joined on for next year.  So if you know the rest of these great artists, make sure they don’t turn it down!

FITZGERALD’S CONTINUES TO BE A FAVORITE DESTINATION FOR ARTISTS AND FANS ALIKE

Chicago, IL – October 9, 2008. For years, when many of music’s greatest talents and biggest names came to Chicago, they’ve insisted on playing FitzGerald’s.  With its unpretentious décor and roadhouse appeal, the legendary venue has become synonymous with Chicago’s live music scene. Representing a haven for a long list of musical genres, the intimate space has frequently played host to countless acts that chose the opportunity to play FitzGerald’s over much larger venues they’d easily fill.

One look into the venue’s photo album will reveal Dan Akroyd sharing the stage with Koko Taylor, and Robbie Fulks alongside the Waco Brothers.

On November 7th, FitzGerald’s will host the official Chicago Bluegrass & Blues Festival pre-party, co-presented by Chicago music website FANFOUND.COM and Templeton Rye Whiskey.

The event will feature Chicago Bluegrass & Blues festival VIP package and gas-card giveaways, inviting concertgoers the opportunity to top off their tanks with a little help from their favorite bands. Raucous Chicago rockers HOW FAR TO AUSTIN headline the night on stage and will surely join you at the bar for a shot of Templeton Rye Whiskey while the soulful ELI JONES, local singer-songwriter MATTHEW FRANCIS ANDERSEN, and rock experimentalists E-ZEL, hold down the fort.

Doors are at 8pm, and tickets are $8, redeemable for a discount off of the Chicago Bluegrass & Blues Festival ticket price.

About the Chicago Bluegrass & Blues Festival:

On November 22nd, 2008, the Congress Theater will host the inaugural Chicago Bluegrass & Blues Festival (www.cbbfestival.com), featuring the David Grisman Quintet, The Avett Brothers, and 14 other leading Chicago and national acts. While rooted in the foot-stomping influences of bluegrass and blues, the Chicago Bluegrass & Blues Festival will transport the concertgoer through the genre-defying evolution of music today.  The one-day event, with music from noon ‘til midnight, will serve as a tribute to two schools of music that continue to shape and inspire contemporary rock, jam band, funk, folk, roots, Americana, and indie cultures, while allowing festival goers to save a heart.  A portion of each $31 ticket will be donated to the Saving Tiny Hearts Society (www.savingtinyhearts.org), an non-profit organization that raises money for America’s #1 birth defect, congenital heart defects (CHD).