Double Time Feel

Sybris - Oh Man!

2008-06-04T18:42:59Z

Fresh off the heels of their sophomore release Into the Trees, on Absoltely Kosher Records, Sybris has released a video for their first single, "Oh Man!" This song is catchy as all get out and qualifies as something you'd include on a great summer mixtape. The song also contains my favorite lyrics of 2008 (so far): "Where'd you get those drugs, from a pusher? Where'd you get that pussy, from a hooker?" Yes, Angela Mullenhour, you went there... and more power to you. Anyways, this video is one of the better music videos from a Chicago band that I've seen in quite some time, so lets get to it:

Anthrax @ Double Door 5/28

2008-05-29T18:54:43Z

I think the last arena-rock show I attended was pre-2000, featuring Pantera, Anthrax, and Sebastian Bach (yea, that dude from Skid Row). With outrageous ticket prices, even more outrageous merch costs, and the general douchebaggery that is often associated with a 10,000 seat arena, I think I made an unconscious decision a long time ago to avoid big rock shows at all costs (hey, you stick 10,000 people anywhere, you're bound to have a few personality conflicts so don't just take that as a dig on the general rock concert-going crowd). I guess I'm trying to say I'd take my chances with a small club any day of the week. Unfortunately for me, that means that I've probably missed out on some awesome high profile acts that I still believe to kick a lot of ass. Imagine my surprise when I learned Anthrax was playing at The Double Door (capacity 500...give or take a few). To sweeten the deal (or sour it, depending on your take), this was to be their first show in almost 2 years, and also featuring a new lead singer. Given my aforementioned predisposition, I totally jumped at the chance to check them out once again. After all, Anthrax played a major role in my love for heavy metal in the late 80's, and I'm sure there are millions of others who feel the same way. Previous to last night, I'd seen Anthrax on 4 other occassions, so maybe I'm not what you'd call a super fan, but their records definitely find their way into my rotation on a very regular basis. Before I get into this show review, I'll make it known I'm definitely more of a fan of the Joey Belladonna era of Anthrax over John Bush, but it's not something I'd argue about or am extremely passionate about one way or the other (unlike DLR/Sammy Hagar). So the band opens up (almost 1 hour past the 9pm stated on the tickets, but no biggie... they are Anthrax after all...they can take the stage whenever they damn well please) with a brand new song... strike one. Yea, this is a new lineup and they have been writing new songs for a new record... but come on... you gotta open with a barnburner that people know, especially since you made 'em wait around for so long. However, almost immediately I was struck by the band's new singer, Dan Nelson. Now most new singers are held to the fire when it comes to comparisons between themselves and their counterparts, but honestly I didn't think Nelson sounded much like either Belladonna or Bush. He had his own style that most reminded me of a younger Phil Anselmo more than any Anthrax frontman. Any way you put it, Nelson can flat out belt it out. His range was great and managed to make some of the later era Anthrax songs sound way better than I remember them to be ("Safe Home", for example). Musically, I thought the band was completely on point. There were a few technical glitches here and there, but nothing that was a major detractor to the set. Its pretty obvious that the show was more or less a warm-up for their dates with Iron Maiden, but the energy on stage was intense throughout the night. I've always admired guitarist Scott Ian, and to have the opportunity to see him play in a setting that most people would never get to see Anthrax in was incredible. His banter with the crowd seemed very down to earth and genuine, and given that he is probably the most recognizable face in the band, it's a breath of fresh air to see that some "rock stars" don't act like complete dickheads. Bassist Frank Bello was also fun to watch, as he'd pace back and forth on stage, frequently beckoning and gesturing to the crowd to get into it. I got to see him play with Helmet at the Empty Bottle a few years back, and it seems to me like he's very much at ease with playing in a club setting. Charlie Benante continues to be an insane force on the drums, and his technical prowess after all these years was really something to behold. Rob Caggiano was back on lead guitar, and he seemed the most restrained of the bunch, but had his moments in the spotlight where he delivered some blistering guitar solos. Anthrax powered through about 14 or 15 songs (I can't remember the exact set list), and featured 3 songs from their upcoming record record. The new jams didn't strike me as particularly amazing, but that is pretty typical with most bands I see anyways. Its difficult to fully appreciate a new song when you hear it live for the first time, at least I believe it to be. To their credit, the new stuff was pretty heavy sounding, which seemed like a direction the band was steering away from on some their more recent studio efforts. They didn't reach too far back into the discography, which was kind of a head scratcher for me, but they did play some of my favorites ("Indians", "Antisocial", "Got The Time", "I Am The Law"). What actually impressed me the most was hearing some of their later-era material and thinking that the songs sounded way better this time around, a definite credit to the band and their new singer. I'm not going to make any predictions on how the new lineup is going to fare, but I definitely hope the best for them. I think Anthrax has never fully received the credit they are due, and many of the big name metal bands of today owe a huge debt of gratitude to bands like Anthrax, and are nowhere near as good if you ask me. They have forged on in spite of the various opinions, trends, and bullshit within the music industry (I can't believe i just used that term, guuuuh), and more power to them for doing so.

Shipping News Tonight

2008-05-22T17:03:48Z

If I could somehow figure out a way to enforce it, everyone I know would be required to hear the Shipping News record, Save Everything. Ever since my first listen, they've had a fan for life. The six songs contained on that record really hit me in a way that very few records have ever been able to do. The last time I saw them was at the Hideout Block Party in 2006, curated entirely by Touch and Go Records for their 25th Anniversary. Shipping News kicked off that amazing weekend, and I remember walking up to the stage just as they started into "Books on Trains", the opening track on Save Everything. I don't know what the official status of the band is these days, but they are playing tonight at The Hideout with The Poison Arrows. They haven't released a proper record since 2005 and Chicago shows are very scarce, but regardless... seeing them live is an opportunity you shouldn't pass up, especially at a venue like The Hideout. In addition, here is a free mp3 the band is offering though the Touch and Go site. This is a clip of Shipping News at the T&G 25th Anniversary, along with some interview footage of the band.

Chicago Promoters Ordinance Tabled... For Now

2008-05-16T16:05:42Z

So yeah, this news is sooooo 3 days ago but I haven't had the chance to sit down and write about it yet, but I feel its important enough to mention here. In case you haven't heard, the Chicago City Council had drafted an ordinance that was obviously not well thought out and would adversely affect many of the smaller venues and promoters here in town. Without rehashing the entire ordinance here, I encourage you to check out Jim Derogatis's article from the Chicago Sun Times. While I don't disagree that the safety of patrons attending an event should always be a top priority, if the current ordinance were allowed to pass, the regulations imposed on smaller venues would be enough to shut them down, and leave us with way fewer options in terms of where we choose to hang out on a given night. Chicago thrives on the abundance of smaller, independent venues that don't have the bankroll or resources to withstand what the Council had proposed. Without getting up on my soapbox too much, it would seem that a dialogue between City Hall and the individuals/businesses who host such events would be a good start, but apparently that makes too much sense. However, the vote was postponed as of this past Tuesday, hopefully in response to the flurry of phonecalls and emails sent in by Chicago residents. To learn more about where the ordinance is headed and to stay current, visit the following sites: Chicago Music Commission Chicago Artists Resource Save Chicago Culture ... and to find your alderman and let him/her know how you feel on the issue: find them here

Russian Circles Release Station Today

2008-05-06T19:58:34Z

I've mentioned Russian Circles here before, and today you can stream their entire record from spinner.com. Station is the highly anticipated follow up to their 2006 debut, Enter. I've had the chance to preview the record as well, and for those expecting a similar sounding record, prepare to alter those expectations before you sit down for a listen. Station shies away from the bombastic moments of its predecessor, but creates more jangly, soundscape-y type jams, which is by no means a negative. Drummer Dave Turncrantz really picks and chooses his moments to flex his percussive might, but even the lighter moments of the record are anchored by a tight rhythm section that help the songs flow from one idea to the next. The guitar work of Mike Sullivan is technically complex yet never comes off as sterile or gimmicky. Take a listen to 'Versus', the fourth song on the album, and you'll hear what I mean. I haven't listened to the record enough to make a definitive decision on just how this sophomore effort stacks up to the first record, but on its own, it absolutely makes for a record you should pick up and listen to... like today. If you want to check them out live, come to the Russian Circles Record Release show at Subterranean this Saturday night. Milwaukee favorites Call Me Lightning open, and Tight Phantomz play second (yea, I know... shameless self promotion... so sue me).

The Poison Arrows

2008-04-30T03:50:37Z

Since their first EP released in 2004, The Poison Arrows have evolved from the solo project of ex-Atombombpocketknife vocalist/guitarist Justin Sinkovich into a 3 piece band, and have been building momentum with another EP released in 2007. A a full length record has been written and recorded, but no solid release date has been set as of yet. Early recordings of the band were done by Sinkovich and made available to listeners via the Trailer Park EP, and featured a remix by none other than OG electro-punk hero Martin Rev. He played in this little band called Suicide... you may have heard of them. The EP was a glitchy, electronic based record that undoubtedly saw Sinkovich spending countless hours hunched over a computer, crafting soundscapes quite different than the post-punk/rock undertaking that was Atombombpocketknife. In any case, in 2007 another record was released, the Premix-Remix CD, featuring remixes of Sinkovich's work by other musicians/engineers/bands such as Jonah Sharp, TRS-80, Brother El, Brian Deck, Jonathan Kreinik, Slo-Ro, Mike Lust, DJ? Acucrack, Sterling, and N.LN. 2007 also saw the release of the first EP recorded as a band, Straight Into the Drift. The band included drummer Adam Reach, collaborator with Sinkovich's old bandmate Che Arthur, and bassist Patrick Morris, noted for his stint with Pittsburgh, Pennslyvannia's best instrumental rock band ever: the mighty Don Caballero. The formation of the full band obviously marked a change in direction and sound, and undoubtedly for the better if you ask me. I like a good electronic record just like the next dude, but there is something to be said about the dynamic of a live band and the collaborative recording process that really resonates with me, which is exactly what The Poison Arrows have managed to do over the past year. Through a string of steady live Chicago shows and my long overdue need to own the new EP, I've come to regard The Poison Arrows as one of my favorite Chicago acts. You can check them out on May 22nd at The Hideout with none other than Louisville's Shipping News. Hell yes, I said the Shipping News are going to be in Chicago next month, alongside the Poison Arrows. Be there. In the meantime, check out this video I got at the Empty Bottle of "Lockaway", from The Poison Arrows latest EP:

Indian, Dead Child, and Qualms @ Empty Bottle Tomorrow Night

2008-04-12T02:32:44Z

Let's face it, metal is back. Maybe not on a grand scale, but it seems like the genre is getting a lot more attention these days. Perhaps its a response to the weak, post-punk/emo explosion of recent years that has spawned so many cookie-cutter acts and bad haircuts, but any way you cut it (oh thats bad, I know), you should come see what I mean tomorrow night at the Empty Bottle. Its rare to have a bill comprised entirely of bands I'm genuinely stoked to see, so come on out and see what I'm talking about. Indian is a punishingly heavy band hailing from Chicago. They don't rely on blazing fast riffs or fancy fretboard work to get your attention, but rather they choose to bludgeon listeners into submission with slow, menacing songs. If that doesn't suit your fancy, then get your ass out of the kitchen (isn't that how the quote goes?) When they decide to turn the intensity up a bit, there is nothing like a tasteful blast beat anchoring pummeling riffs. For three dudes, these guys sure make a lot of noise. Bring your earplugs and a clean pair of Depends for this set. Dead Child come from Louisville, KY, and bring quite an impressive resume with them (see: Brothers of Conquest, Shipping News, The For Carnation, Aerial M, Papa M, Tortoise, Early Man, Zwan, and Slint). Do I have your attention now? Good... well... just don't expect to hear anything close to resembling any of these acts. Dead Child remind me of a less technical Anthrax (not a knock to anyone's skill... they just arent quite as thrashy), with nods to other early metal acts like Motorhead and Sir Lord Baltimore. This is really an area that not many bands seem to pay homage to these days, and its great to hear a band like Dead Child offer their take on metal music. Qualms are without question the least metal of the acts, but that absolutely does not take away from the intensity of their live show. I saw them a while back at the Beat Kitchen, opening for the Poison Arrows (petecroke.com feature coming soon!), and I was thoroughly impressed by what I heard. Qualms are definitely a new-er Chicago band that you need to watch out for. Their sound reminds me of early Don Caballero thrown in with the rhythmic sensibility of The Jesus Lizard (although there is no bass in this band, you'll hear what I mean).

Contribute to the Fireside Bowl Project

2008-02-27T00:11:58Z

If you ever attended the Fireside Bowl between 1994-2004, you have a story to tell. Hell, even the jerks who drove by and honked at/harassed a line of punk kids at some sold-out show probably have some funny anecdotes too. Anyways, this myspace site is requesting any story you would be willing to share about your experience at the Fireside. Check it out, and contribute!

Clutch @ The Metro Tomorrow!

2008-02-25T23:03:33Z

Whenever a new Clutch record showed up in the BMG catalogs I used to get, you could bet your ass I was going to buy it. Over the years, they have fallen in and out of my rotation, but most importantly, they remain an option in my musical library. I've owned plenty of of records in the time between my first Clutch purchase (S/T release, 1995) and my last (Pitchfork & Lost Needles, 2005), and many of them have ended up in used record shops or better yet, tools to land me one step closer to my lifelong dream of being an ultimate frisbee champion. I keep my Clutch records around because I have nothing but respect for this Germantown, MD band. Formed in 1991, Clutch marches on to this day, and have shared the stage with so many great metal/punk/rock acts over the years, and have outlived many of their peers as well. What started as a gritty/post-punk sound has evolved into a a group that still remembers their roots, but favors a more rock and roll style. They have a little bit of everything that you can latch onto, which isn't always the best formula for my tastes, but how can you argue with the longevity and the body of work that Clutch has managed to compile? Check 'em out for yourself tomorrow night at The Metro.

Hollywood Holt @ Darkroom Tonight

2008-02-07T17:52:04Z

There haven't been many songs lately that I can incessantly listen to, but ever since I heard Hollywood Holt's "Throw a Kit", there are a few people who have endured my constant attempts at rapping, probably wishing I'd just STFU. Although my rap skills are somewhat lackluster, I can assure you that Hollywood Holt is one Chicago artist that can bring it, and you can count on hearing a lot more about him in the months and years to come. To give you a point of reference as to how little I actually know about rap music today, I had no idea that the song is basically a cover of Rich Boy’s “Throw Some D’s”, but to be perfectly honest, I enjoy Holt's version much more than the original. I guess there is something about the culture of mopeds that I can relate to more than driving a Cadillac, but even that is a serious stretch considering I have never taken a ride in either. Most live hip hop I have ever seen ends up being a serious disappointment. Perhaps its no fault to the artists themselves, but there is something that consistently does not translate from recordings to the stage. However, one night last summer/fall (my memory fails me lately) at the Hideout, I had the pleasure of watching Hollywood Holt perform, and the show ended up being one of the best live acts I saw last year. There is something geniune about his stage presence and delivery that I can really admire. Even though I was surrounded by tons of Chicago hipsters, which completely had me screaming "IRONIC!" in my head, you couldn't deny the energy felt by the entire room that night. Holt had the entire crowd moving along to his beats, a feat that very few artists can lay claim to these days. Hollywood Holt takes the stage tonight at Darkroom, along with Yea Big & Kid Static, Meat Number 5, DJ Johnny Kesh, DJ Mikey Dance Panther, and DJ Trew. More info on Hollywood Holt and the show can be found over at Miles Raymer's great Sharp Darts column which appeared in the Chicago Reader yesterday. Before you head on over there, check out the video for "Throw A Kit" and tell me with a straight face that this song doesn't completely kick ass and you couldn't see yourself listening to it 10 times in a row (not that I have or anything....)

Pinebender @ Ronnys!

2008-02-01T17:29:36Z

The month of January is usually slow in terms of shows and touring bands, but certainly not slow enough to warrant an entire month of not updating my site. There were definitely some great shows that occurred during the month, but I could find neither the time nor the resources to document any of it (my camera decided to break on New Years Eve, not helping matters much). For such negligence, I apologize. I'll try to keep posting on the regular, and February is shaping up to be a great month for music in Chicago, starting off with tonight! Pinebender shows are a lot like my recent posting habits. They just don't happen very often, which is unfortunate considering how great this band is to see live. The dense wall of sound they are able to create, as a trio and no bass player, is something to behold. There are lots of bands in Chicago who go to great lengths to expand the borders of music and push the envelope of creativity, which is obviously a vital element to any music scene. However, as good as that can be, I think sometimes people forget how great it is to see a band get up on stage to play inspiring, dynamic, ass-kicking rock music. Pinebender do this better than many bands here in Chicago, and their straightforward approach to writing riffs and melodic passages is such a breath of fresh air to me because they execute so well. Check out the tunes on their myspace, or this video for "Broadcast All Your Dreams" from Pinebender's 2006 release, Working Nine To Wolf.

Top 10 Records of 2007

2007-12-26T06:26:12Z

I can't say that I'm overly excited with what I've heard this year. 2007 had its moments, but overall the current musical landscape had me wishing for more. Perhaps its due to the fact that I did a lot of looking back and discovering loads of music from years past, and what I heard in that regard outweighed 90% of what was released in 2007, but alas... it's only my opinion. Here is what stuck with me when it comes to 2007: 10) Spoon - Ga Ga Ga Ga Ga (Merge) Spoon is very easy to like. They make simple, well crafted pop songs that lack the layers and layers of production that other bands often employ, often to a fault. Ga Ga Ga Ga Ga is a straightforward look into a band who has finally broken into the national consciousness, and barring a band split, will continue to write great records. It took a while for this record to grow on me, as I pretty much dismissed it after the first listen, but recently gave it another chance when I began compiling my 2007 lists. Admittedly, it was the end of The Underdog that snapped me out of my Spoon-shrug-off. The dropping of the piano top at the very end of the song was quite the slick move, and sounds great in headphones. 9) Pig Destroyer - Phantom Limb (Relapse) If you have quickly glanced at my list, you'll definitely notice I'm a metal fan. However, that wide net is not usually cast over grindcore, which i normally tend to shy away from because of its inherent unintelligible, breakneck pace where actual tones and notes are replaced with more piss and vinegar than anything I can latch onto. Pig Destroyer's Phantom Limb is the first record in quite some time that fits the typical grindcore mold, but comes away as a definitive album of its kind. The riffs are some of the most furious I've heard since, dare I say, Slayer. Although the band does not include a bass player, there is plenty of low end provided by the drums and guitars, and perhaps it is the lack of a bass that keeps the record sounding muddy and convoluted. The usual "chugga chugga" riffs (aka the breakdowns) are present, but they never strike me as cheesy or contrived. Check out Heathen Temple to see what I mean. The middle of the song is a pretty lengthy breakdown, but the listener is rewarded with a fast paced Sabbath-type outtro that packs a serious punch to the gut. 8) El - P - I'll Sleep When You're Dead (Definitive Jux) If I've said it once I've said it a thousand times: most hip hop artists and I don't get along. I think it all boils down to the fact that I feel like I can never relate to it. There are a few artists every so often that can break down that barrier and really make me listen, and El-P is quickly becoming an all time favorite in that category. I'll Sleep When You're Dead is an incredible record that I have really been able to latch onto and move well past the "uhhh, I don't get it" moments that I have when listening to most hip hop. El-P's dark, foreboding take on his music has reached heights that put him right up there with Chuck D of Public Enemy in terms of influence as far as I'm concerned. Check out Habeus Corpses, by far my favorite track on the record, and highlights the sinister production that makes this album one you shouldn't be without this year. It may not be the future of hip hop, but it provides a much needed alternative to the bitches, hos, and bling nonsense that crowds the airwaves today. 7) Baroness - Red Album (Relapse) The Red Album by Baroness is a perfect blend of everything that I like about metal. This quartet from Savannah, Georgia has really refined their sound with their latest release, and the result gives me something I can listen to in just about any situation. The opener, Rays On Pinion begins with an Isis/Mogwai-esque riff that slowly turns into an intense metal jam. The third track, and perhaps my favorite on the record, Isak is carried by a riff that musically harkens back to Kyuss, and the vocals let you know that these guys listen to a lot of Mastodon (there is something pretty amazing going on down in Georgia, for sure). I mention these bands not just to namedrop, but to give you an idea of just how much promise this band has. These guys aren't out to reinvent the wheel, but rather draw from an interesting blend of influences to create a sound that is all their own. On every song, you could draw a specific reference to band xyz, but by the time the record is done you feel like you've just listened to the future of good metal music. Make sure to keep an eye out for Baroness. 6) Dinosaur Jr - Beyond (Fat Possum) J Mascis, Lou Barlow, and Murph. I could just leave it at that, because it's hard to imagine a record with these three dudes being anything short of amazing (ahem... You're Living All Over Me). Ok, I guess it would be easy to give Dinosaur Jr a free pass even if Beyond was a steaming pile of garbage, but I think you'd be hard pressed to find anyone who thought that. In my perusal of other "best of 2007" lists, this record seems to crop up on a healthy amount of them. If you were a Dinosaur Jr fan back in the day, this record will seem like more of the same, but "more of the same" is by no means a bad thing and far outweighs the bummer of hearing an old favorite pump out a reunion record that lacks any shine. J Mascis has some amazing guitar riffs on this record (listen to the guitar solo in Pick Me Up... like whoa!), his lyrics and delivery are true to form, and the rest of the band is right in tow, feeling like they picked up where they left off after Barlow left for Sebadoh. Beyond is a great record that can stand up on its own in the Dinosaur Jr discography, and even surpasses some of its counterparts because, to me, it represents an amalgamation of everything that made Dinosaur Jr a truly thrilling band to listen to. 5) Dirty Projectors - Rise Above (Dead Oceans) When I first heard about this record from a bandmate of mine, it made me want to throw up in my mouth a little bit. In case you aren't familiar with the concept, let me fill you in real quick before I continue. Dave Longstreth, the main force behind the Dirty Projectors, had the idea to record Black Flag's Damaged... from memory. He assembled people who were not familiar with the record and recorded the end result. As someone very familiar with the record, I envisioned a bullshitty, pretentious art project that could only go horribly wrong. Imagine my utter surprise when I heard the opening track, What I See, and was so pleasantly surprised that I really felt bad for having such bad thoughts about it in the first place. I will glady eat my initial words/thoughts on this record, as it was definitely the biggest "where the hell did that come from?" of 2007. I don't particularly love every minute of the record, but there are definitely parts one can discern from the original versions, although these songs bear absolutely no likeness to its visceral predecessor. Howling vocals and screaming guitar lines have been replaced with subdued vocals and lush musical landscapes, and .... strings! I have no idea if Black Flag fans will like this record, but I sure did. Even if you don't particularly care for Blag Flag, the Dirty Projectors version is highly recommended to at least check out. 4) The Eternals - Heavy International (Aesthetics) If you live in Chicago and you haven't checked out The Eternals yet, I seriously feel bad for you. If you live elsewhere and haven't checked out The Eternals, I seriously feel bad for you too. I haven't heard a record as musically diverse as Heavy International in... well... I'm not even sure when. Maybe its just where I'm at when it comes to my musical tastes, but if you are into rock music, dub, afrobeat, punk, reggae, hip hop, whatever it is... Heavy International has something for you. I'll never discredit a band for sticking to what works for them. Not every band feels the need to evolve and make a statement every time they write a record, and they certainly don't have to. On the opposite end of that spectrum, The Eternals seem to evolve with every song that they write, and the results blow me away every time. Take the first two tracks on Heavy International: The Mix Is So Bizarre starts the disc with a rump shakin' bass line over a solid drum groove, and vocalist Damon Locks bursts into a vocal assault that reminds me of a reincarnated Fela Kuti, and he starts singing about gamma rays and laser beams... its very unsettling yet completely raw and powerful at the same time. The next song, Astra 3b does a complete 180, slowing down to a stuttering bass/drum groove over Lock's high pitched howl. More often than not, there is such a diverse mix of influences that come spilling out of every song, and the way it is all fused together makes this a record you need to check out. Now. 3) Battles - Mirrored (Warp) Just when you think that everything has been done before, that bands can't possibly do anything that will make people stop and pay attention... along come Battles. It took the band 3 years and multiple EPs to refine their sound, and Mirrored represents an excellent culmination of those efforts. It still blows my mind that the old guitar player of Don Caballero (Ian Williams) is playing with the old drummer of Helmet (John Stanier), both of whom I considered to have come from 2 completely different worlds as far as music is concerned, but its hard to argue with the results when you listen to Mirrored. I think the key to what makes this record so successful is the band's ability to find a good groove and just run with it. Of course, even the casual listener could identify that there is a lot going on within each song (with all the electronic madness,quirky vocal hijinks, and looping effects on this record, that may just be the understatement of the year). When you sort through all of the layers, each song on this record is carried by a super solid rhythm, and that is what resonates with me more than the glitchy, electro-snap-crackle-pop effects that also dominate Mirrored. Imagine Steve Reich with ADD and you pretty much have Battles. Check out this video of Tonto and you will get an idea of what I mean: 2) Down - III - Over The Under (ILG / Warner Music Group) I heard Down's first record back in high school and I completely loved it. Of course, I was obsessed with Pantera at the time, so anything any of those dudes did I was sure to eat up. Over time, Pantera pretty much dropped off the face of the planet, and so did most good metal music as far as I'm concerned. Their second effort was released in 2002, and that's all the mention I'll ever give that record (side note: don't name your record after a Led Zeppelin lyric... ever. please. especially from Stairway To Heaven. come on dudes.) Fast forward to 2007. Down releases III-Over The Under, and I'm mildly intrigued. I had no expectations when i purchased it, but by the time the 12th song had come to an end, I was officially back on the Down bandwagon. This record is a no frills, wankery-free, ball busting album from beginning to end. The riffs are dark and heavy, and combines the absolute best of what I like about this "supergroup's" previous efforts (Down has members from Pantera, Crowbar, Eyehategod, and Corrosion of Conformity... check 'em all out). This album was written in the aftermath of Hurricane Katrina and the unfortunate circumstances surrounding the death of Pantera guitarist Dimebag Darrell, and the gritty feel of the album lets the listener in on a lot of that anguish. Most of the band lived in New Orleans and were temporarily displaced by the Hurricane, but they regrouped and recorded Over the Under in New Orleans with producer Warren Riker. For my money, the most powerful song on the record is not necessarily the most abrasive or heavy song, but the one that left me feeling like, "ok, even heavy metal dudes have feelings". Although vocalist Phil Anselmo has lost some of the bite and swagger in his voice, it has been replaced by a more strained and bluesy feel, one which almost suits the record better than what he may be better known for. Nothing In Return is perhaps the quintessential metal "slow song" for me, and is about as slow as a metal band should ever get while still kicking ass in the process (maybe like Zep's "No Quarter"?... sorta). The end of the song is particularly haunting, as the last minute and a half contain some haunting lyrics of Phil wailing "and when we walk away there will be no coming home". Whether or not he is talking about Katrina or the tragic falling out with Dimebag Darrell, its a poignant ending to an amazing song, and a killer record. Unfortunately, there is no official video yet for songs from III - Over The Under, but you can peep this "album trailer" that I found, containing a clip of On March The Saints. 1) Big Business - Here Come The Waterworks (Hydra Head) Of all the new music I heard in 2007, no record excited me more than Big Business's Here Come The Waterworks. It's 8 quick-hitting songs that clock in at just over 40 minutes, and every single song on this record is an epic jam. How one drummer and one bass player manage to create such a heavy wall of sound is a testament to how intense this record really is. Whether you want to call it metal, stoner rock, punk, whatever... this is a record that I believe will stand the test of time and be something that I can pull out in 5 years and still be thrilled by it. The vocals on Here Come the Waterworks are also something to behold. Every time I listen to this record I feel as if Jared Warren is towering over me, shouting in my ear, forcing me to pay attention and listen to him as if I were being chastised by my dad for breaking the neighbor's window when I was 8. That immediately puts Big Business into elite company as far as I'm concerned. When a vocalist can make you feel like they are talking directly to you... it makes the listening experience that much more cathartic. Although the bass tones are very sludgy and laden with distortion, the lines are still discernable and played with awe inspiring precision. Listen to Start Your Digging and you'll see what I mean. Even with the solid drumming of Coady Willis, this record would not resonate the way it does if not for the buzz-saw like qualities of the bass guitar. When there are only two instruments to rely on, every note and every beat come under the microscope because there aren't layers of instrumentation that you can just hide parts under, and I can't think of a single part on this record where I thought, "uhh.. really? why?" The payoff on this record comes with the final track, after Big Business has pummeled your ears with 7 heavy songs, they sneak up you with a colossal instrumental jam called Another Day In the Pacific Northwest. The song conjures up all sorts of imagery of being out on some mountainside in Washington, surrounded by an expansive pine forest and a looking upwards to a sky thick with dense fog (or maybe thats just me?) Either way, as soon as I record ends, I find myself starting it over again, and the rush of hearing the first song all the way through to the stoner/sludge ending is an experience that I highly recommend. Here is a video of Big Business playing "Grounds For Divorce". I took some video of them doing the same song at a different venue, but these results turned out much better than mine did.

DTF Guide to Your Weekend Part 2

2007-12-13T17:18:21Z

This is one hell of a weekend for music in Chicago. If you can't find a reason to get off the couch and see some great music, you should really check your pulse. Although we are already into the grips of another brutal Chicago winter, there are plenty of reasons to escape the cold and get to your favorite venue. Russian Circles @ Double Door The Double Door is having a free show tonight, featuring Chicago Instrumental Metal Phenoms, Russian Circles. They have been taking Chicago stages by storm for the past few years, and also have multiple national tours under their belt. They recently had the opportunity to travel across the pond to open for none other than Tool, which gave them exposure to an even larger audience, and now a new record label (Seattle based Suicide Squeeze). They will also be joined tonight by Seattle's These Arms Are Snakes, and Chicago natives Holy Roman Empire . "Death Rides a Horse", Russian Circles: Shellac Does The Hideout Beginning tonight, Shellac is not playing just 1, but 6 shows at the Hideout this weekend. Could it get any better than that? To see Shellac in a setting such as the Hideout is a very rare occurrence, and you can bet those in attendance will be treated to some memorable moments. These shows are extra special for me because I actually have the honor of being in one of the opening bands participating in the weekend (Tight Phantomz, in case you didn't already know). To have the opportunity to play with a band that you have been listening to for so long and have such respect for is an amazing experience in itself. Here's the lineup for the weekend: Thursday: Shellac The Bitter Tears Friday: Shellac Tight Phantomz Saturday (noon) Shellac Allroh Saturday 12/15 (night) Shellac Bearclaw Sunday 12/16 (noon) Shellac Helen Money Sunday 12/16 9:00 Shellac Quatre Tete "Steady As She Goes", by Shellac: Thrill Jockey 15th Anniversary @ Logan Square Auditorium As if the previous two are not enough to keep you busy, legendary Chicago label Thrill Jockey will be hosting a 15th Anniversary party at the Logan Square Auditorium this Friday and Saturday. The bands have been announced for each day, but the set times will remain unannounced until the bands actually take the stage at their respective times. Thrill Jockey has been home to bands that cover virtually all of the musical spectrum, and this weekend promises not to disappoint. Many of the performances this weekend will be jam packed with some of Chicago's finest musicians, so check out the lineup and get there early in case your favorite ends up playing first! Friday December 14th Arbouretum Brokeback Bobby Conn The Fiery Furnaces Archer Prewitt School of Language The Sea and Cake Thalia Zedek Saturday December 15th ADULT. Fred Anderson Trio Califone Eleventh Dream Day Frequency Pit er Pat Trans Am The Zincs

Peter Brötzmann Chicago Tentet

2007-12-05T22:06:27Z

One of life's happy accidents has to involve stumbling into one of your favorite late night haunts and being completely blown away by a musical performance you originally had no intention of going to see (ok, maybe thats just me...). I knew the Hungry Brain had a jazz series on Sunday nights, but I have been completely missing out on them for one reason or another. Fortunately, I caught Peter Brötzmann on Sunday night, and I was so mesmerized by the show that I'm going to see him again at the Hideout tonight. Brötzmann has been making his way around Chicago for the past week, playing with other Chicago jazz luminaries such as Michael Zerang, Ken Vandermark, Fred Lonberg-Holm, Kent Kessler, Tim Daisy, and Frank Rosaly and calling it the Peter Brötzmann Chicago Tentet. This has all been organized through the work of Umbrella Music, a group of Chicago musicians who are slowly but surely gathering talented musicians to perform at various venues around town, most notedly the Hideout Wednesday Immediate Sound Series. I'm not the biggest jazz freak in the world, but I will definitely be making more of a concerted effort to go check out what Umbrella Music has been contributing to the world of jazz music here in Chicago.

Watchers & Antelope @ Empty Bottle Tonight

2007-11-30T16:42:37Z

I have covered both Antelope and Watchers before, and it just so happens they will be playing together at the Empty Bottle tonight. This will be the last show for Watchers, so if you can make it out to catch them one last time, I highly recommend it. Antelope is currently on another US tour in support of their latest full length, Reflector, which is shaping up to be one of my favorite records of 2007.