It’s always a boisterous bunch that attends a Chicago show by The Brian Jonestown Massacre.

This last one at the Metro, on the Sunday night of Memorial Day weekend, was no exception. BJM plays to a niche audience indeed, but within that niche they can reach demigod-like status that surprises those unfamiliar with the group.

For the most part BJM brings to the table – and has for about 15 years – a brand of edgy, yet mostly traditional, psychedelic rock that has its roots in the mind-altered attitude & energy of the 60’s. Yet the following they have received is not “hippy’ish” in anyway, the people at BJM shows come to rock n’ roll, not to celebrate love. There was a heightened enthusiasm in the crowd that was hard not to feed off of. (Luckily that energy didn’t spill over into an intense fight between spectators, which occurred the last time they played Chicago.)

BJM mostly stuck to that which they have become very well known for, actually steering clear of all the music from their last album (more on this later). They opened with “Super Sonic”, letting the crowd get very used to a dreamy drone-like guitar tone produced by Antwon, the lead singer, continually strumming on 3 guitar strings. Then the swift beat, vocals, tambourine, bass and multiple guitars all surface – but the drone does not cease. BJM leaned heavy upon these hallucinatory whirrs, giving their music a heavy surreal base – upon which they gladly build wonderful rock songs. Yet this technique is not one to be suggested to many bands, for it usually results poorly. But like some sort of weird batting stance that you let slide because the guy can hit – BJM is repeatedly successful in this trippy musical technique.

The Massacre played a lot of their material off of “Strung out in Heaven” and “Give it Back.” Those songs showcase BJM’s ability to create music with ever-present wailing guitars that are put aside a strutting rock n’ roll rhythm section, that sometimes emerges from or into hallucinatory effects. They really shinned on their song “Got my Eye on You”, where their energy really hit a crescendo, and the background talking added by tambourine player Joel Gion created for an kick-ass sonic effect which was verified by an immediate spike in the excitement of the audience. “Not if you were the last Dandy on earth” was another quickly paced song in which BJM really seemed to click and delivered the goods like the weathered pros that they are.

One thing that was conspicuously absent from this show was songs off of BJMs latest album, “Who Killed Sgt Pepper?” – which was a detour of sorts in that it is comprised of mostly electronically-influenced, “rave’ier”, pysch music. Yet it was also a stunning album with a number of stirring songs. True, the full band present on stage may not have been involved in all the recordings of that album, but some of them were… Needless to say it was perplexing and disappointing not to hear how those songs, different as they may be for the band, would have been played and sounded this evening at the Metro. It also marks the first time I have witnessed a band disregard their latest material in a large live show. But then again – it is BJM, and I shouldn’t be surprised at being surprised by them, by now.

Notwithstanding that absence of their freshest material, this show was still a triumph of psychedelic rock n’ roll. The Brian Jonestown Massacre has a way of being unpredictably consistent that few bands can pull off. The sincerity of their rock n’ roll aura, the depth of their desire for a mind-altered state, is tangible when you absorb their live show. It’s why they are one of the most-respected and followed bands – that most haven’t heard of.

By Sean Brna

Sean.brna@OurVinyl.com

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

Crowds formed early last night at a sold-out Metro for male/female duo, Sleigh Bells, who opened for fellow Brooklyn-ites and highly anticipated headliner, Yeasayer.

The lights went down as Sleigh Bells’ Derek Miller took the stage hardly visible in dark pants and a hoodie. The sound of church bells clanged and echoed throughout the venue before lead singer, Alexis Krauss, emphatically made her presence known. They opened with the new single off their debut album Treats (due out in May), “Tell ‘Em”, packed with screeching guitar riffs and thundering beats that mimic heavy artillery being launched, offset by soft vocals. “Beach Girls” followed with a hip-hop hook, while “Infinity Guitars” provided crunchy chords and nonsense lyric shouted almost angrily at the audience. This similar style continued with “A/B Machines”, comparable to a glitch hop club banger, complete with distorted drums, siren guitars, and a loudly exclaimed mantra: “Got my A machines on the table! Got my B machines in the drawer!” Alexis’ in-your-face performance failed to disappoint. While their music vibrated chest-deep, she seduced the crowd, daring all of us to look away, twirling and flailing around violently on stage. If the crowd wasn’t convinced at this point, she shocked them into submission as she about climbed on the speakers and let out shrill banshee-like shrieks over ripping guitar chords and an ever-present thumping. Their set concluded with the more popular, “Crown on the Ground”, recognizable by its epic loudness and its deliberate push to speaker-blowing audio extremes. The song helped solidify the duo’s performance and their unfaltering energy, bringing the crowd’s enthusiasm to a crescendo during this final number. Minor technical difficulties aside, the outlook for Sleigh Bells is more than promising and I think it’s safe to say we can expect great things from them.

Yeasayer’s performance was undeniably electrifying. The three core members, Chris Keating, Anand Wilder and Ira Wolf Tuton, appeared on stage in clashing wardrobes, with Wilder in what appeared to be a patterned robe, Keating in a classic preppy ensemble and Tuton in loose-fitting tank. Offbeat threads, however, couldn’t distract the audience from their hypnotic three-part harmony. Spacey synths and 80s pop drums, layered over added electronic chatter, flowed together seamlessly throughout the group’s falsetto-heavy songs. But it’s too difficult to simplify the band’s sound – a far cry from their fellow indie rockers. The bands repertoire included songs like “O.N.E.”, taking on a more jam band-y feel and “Strange Reunions”, utilizing global influences; to more lulling and almost misty numbers, “Love Me Girl” and “Madder Red”. Watching these principle members, standing atop illuminated platforms, contributing varying vocals and instrumentals to the band’s set wasn’t dissimilar to a Blue Man Group performance – delectable to both the eyes and ears. Fan favorite, “Ambling Alp” – an upbeat number complete with tween pop-like lyrics – proved to be a fitting wrap to their eclectic set. The performance could be described as colorful in every sense of the word, but most prominent overall was this dynamic group’s ability to flawlessly blend all of their sounds that emanated from the stage that night into what could only be recounted as a dreamy, emotive swell.

Review By: Alison Lato

Yeasayer- www.yeasayer.net

Sleigh Bells – www.myspace.com/sleighbellsmusic

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

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

March 14, 2010 As the RJD2 and Break Science tour blew through Chicago’s historic Metro it exuded both refreshing electronica and cunning instrumental arrangements. The night kicked off with a dashing performance by Adam Deitch (drums) and Borahm Lee (Keys and Dj). Deitch’s pocket and kick-ass drum chops got the audience hoppin’ and hip-shakin’ to the dynamic groove. His blend of jazz-funk and hip-hop electronica on acoustic drums is virtually untouched by any other drummer. The geniuses threw in some remixes by Rusko that offered something familiar for the bass faces in the crowd.

And this fairly new project delivered, prompting an exceptional reaction from a crowd there for RJD2. And without a moment’s notice, said RJD2 sneaked on stage in the blink of an eye. He was disguised in a robot outfit with an outrageous spinning beat-machine attached to his belt, wow! As he performed solo by hitting buttons on this ‘magic belt,’ the audience was astonished by this new invention. His solo performance had only lasted a short time, when, without stopping the music, his act transitioned instantaneously into a full band set. It was shocking to see RJD2 up on stage shredding a guitar and singing with a full band. The songs were new and powerful with a jam-soul-funky vibe. After a quick set with the full band, the remaining 90 minute set featured the duo of RJD2 and his drummer, Sam Brown. Not only was RJD2s set full of instrumental skill, but the entire performance was exciting, ever-changing and completely unpredictable. The night was complete with remarkable remixes with an artistry of instrumentation.

By: Shayna Gladstone