22 minute read
Shows and Records of Note
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b ALL AGES F
PICK OF THE WEEK Doom Flower enrich their new album with trip-hop mystique
COLLIN BUNTING
DOOM FLOWER, CHRIS SUTTER (MEAT WAVE), DEEPDOG DJS (MEMBERS OF DEEPER)
Thu 5, 8:30 PM, California Clipper, 1002 N. California, $5. 21+
WHILE CHICAGO INDIE SUPERGROUP Doom Flower were getting to work on their new second album, Limestone Ritual (Record Label), they hit a speedbump that would’ve killed a lesser band’s momentum. As Tribune critic Britt Julious reported in a November profi le, drummer Areif SlessKitain couldn’t make it to the recording sessions, and because he’s such a cool, intuitive, in-the-pocket player (with a list of credits that includes the Eternals and Brokeback), he’s di cult if not impossible to replace. Front woman Jess Price (of Campdogzz) and bassist Bobby Burg (Love of Everything, Joan of Arc) made the best of the situation by lifting drum tracks from a breakbeat record, which gives Limestone Ritual a distinct trip-hop e ervescence. Matt Lemke (Wedding Dress) embellishes the spartan sampled percussion with svelte synths that give the songs a futuristic lounge mystique. Limestone Ritual doesn’t have a single focal point—the interplay between Price’s tendrils of guitar and Burg’s resonant, minimal bass is as engrossing as Price’s half-mumbled singing. The sublime, easygoing guitar melody of “Break Cycle” exudes a sleepy optimism, which is exactly the tone I’d like to see for the music of 2023. —LEOR GALIL
CONCERT PREVIEWS
WEDNESDAY21
Hamid Drake & Michael Zerang winter
solstice duos See also Thu 12/22 and Fri 12/23. 6 AM, Links Hall, 3111 N. Western, $35. b
Hamid Drake & Michael Zerang winter
solstice evening concerts See also Thu 12/22. First set, Zerang solo (the Velvet Bell) and with the Velvet Bell Ensemble (Kioto Aoki, Tyler Damon, and Janet Bean). Second set, Drake with Indigenous Mind (Expanse), aka Lisa Alvarado, Zahra Glenda Baker, Shanta Nurullah, Joshua Abrams, and Jason Adasiewicz. 8 PM, Constellation, 3111 N. Western, $20. 18+
The end of the year is a time for traditions that affi rm social and spiritual priorities, and one of Chicago’s most enduring annual rituals comes from its music community. Since 1990, local percussionists Hamid Drake and Michael Zerang have convened at Links Hall to perform a concert that celebrates the season but doesn’t align with any single faith. Each year on the winter solstice, the duo and their audience gather before sunrise in a space lit only by candles. Drawing upon their knowledge of world drumming traditions as well as from the improvised music that they perform in other settings, Drake and Zerang play until sunlight streams in through the windows, and then pause for a moment of silence. With their frankly ceremonial aspects, the concerts acknowledge the cross-cultural significance of the end of the year, signaling farewells and renewal, but they also aff ord an opportunity to hear two of Chicago’s greatest percussionists sharing the essence of their art.
While no two solstice concerts are alike, they all immerse listeners in a spontaneous manifestation of intricate polyrhythms and overwhelming sound. The number of sunrise concerts varies from year to year, and this month they’ll occur on three mornings, from December 21 till 23. On two of those evenings, Drake and Zerang will gather in Constellation for concerts that present their new and ongoing projects. On Wednesday, Drake will play with Indigenous Mind (Expanse), a six-member ensemble that presents spiritual jazz and multidisciplinary performance in the vein of Don Cherry’s Organic Music Theatre and Alice Coltrane. Zerang will perform solo and introduce the Velvet Bell Ensemble, his quartet featuring Kioto Aoki, Tyler Damon, and Janet Bean; they’ll play new music he’s devised for large bells. On Thursday, the percussionists will colead the Solstice After Hours Large Ensemble, a ten-piece band that includes some of their new friends as well as their most enduring. —BILL MEYER
THURSDAY22
Hamid Drake & Michael Zerang winter
solstice duos See Wed 12/21. 6 AM, Links Hall, 3111 N. Western, $35. b
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12/21. Solstice A er Hours Large Ensemble with Drake, Zerang, Jeb Bishop, Zahra Glenda Baker, Molly Jones, Ed Wilkerson Jr., Ben LaMar Gay, Mark Feldman, Johanna Brock, Kent Kessler, and Mabel Kwan. 8 PM, Constellation, 3111 N. Western, $20. 18+
FRIDAY23
Hamid Drake & Michael Zerang winter
solstice duos See Wed 12/21. Dawn duo concert: 6 AM, Links Hall, 3111 N. Western, $35. b
THURSDAY29
Bonelang See also Fri 12/30. Aaron Day and friends open. 8 PM, Schubas, 3159 N. Southport, $20 in advance, two-day passes sold out. 18+
Chicago alternative hip-hop group Bonelang seem to want to make hip-hop that sounds like anything but hip-hop. The core duo, MC Samy.Language and producer-vocalist Matt Bones, both split the difference between rapping and singing—they often enunciate their pristine, staccato verses like they’re delivering a solo in choir or talk-singing in a Broadway musical. They also embellish their complex beats with percussion fl ourishes—vibraphone, hand claps, marching-band drums—fit for a symphonic indie-rock album. Bonelang temper this creative audacity with urbane polish, so that even when an idea doesn’t quite hit the mark they at least sound good trying to make it work. Their chutzpah comes through clearly on May’s self-released Nervous Oracle EP, which opens with an appearance from former G-Unit rapper the Game; Bonelang catalyze a strange joy by combining his grizzled voice with their twisted Beach Boys harmonizing on the hook for “Gluten-Free Gluttony,” though the rest of the song doesn’t always clear that very high bar. Bonelang sometimes get distracted by silly wordplay, which is bound to happen with a group more interested in sound than sense, but their songwriting always has a profound emotional core. Even as they dazzle you with bold stylistic acrobatics, they don’t forget what it’s all for. The bittersweet, cinematic “Sleepy Lion” demonstrates this directly, stripping away the ostentatious touches so you can feel the heartbeat in their music. —LEOR GALIL
Outronaut The Nubile Thangs headline. 8 PM, Beat Kitchen, 2100 W. Belmont, $12. 21+
Outronaut bandleader and guitarist Steve Gerlach probably reaches more ears as a sideman than he does with his own outfi t. For nearly a decade he’s played in Sons of the Silent Age, Matt Walker and Chris Connelly’s nine-member David Bowie tribute group; that gig got Gerlach work on Connelly’s solo material. In a 2021 interview with It’s Psychedelic Baby Magazine, he unpacked his impressive resumé, which includes collaborations with John Cale and Tommy Keene—opportunities that came his way because he’d earned the respect of so many other musicians. “Needless to say, there are no job applications,” he said. “Not much money changes
Hamid Drake PAWEL OWCZARCZYK Michael Zerang COURTESY THE ARTIST artist Lisa Alvarado. Natural Information Society are joined on the bill by the Separatist Party, a newer band that combines two local trios: synth magicians Bitchin Bajas (Cooper Crain, Rob Frye, and Dan Quinlivan) and a recurring unit comprising vocalist Marvin Tate, multi-instrumentalist Ben LaMar Gay, and drummer and composer Mike Reed (who also runs Constellation). The sites of cross-pollination between these musicians are too numerous to list, but to name two for your preshow listening pleasure: NIS and Bitchin Bajas put out the yearning, mystical Automaginary together in 2015, and Gay played cornet and Wurlitzer on Frye’s Exoplanet, one of my favorite albums of 2021. The same year, the Bajas threw it back to Constellation’s previous NYE headliners with Switched on Ra, a joyous synth retooling of Arkestra standards. New Year’s Eve might come just once a year, but the good vibes coming out of this show will surely have no expiration date. —HANNAH EDGAR
FRIDAY5
Volcandra SHAUN CHRISTOPHER
hands anyway.” But the music Gerlach makes with Outronaut deserves to be widely heard too. Their trippy, proggy, mostly instrumental surf-rock songs would make a fi ne score for a big-screen western, though I’m hard-pressed to think of a fi lm director who could match the cosmic scope and cheeky rambunctiousness of their most recent release, the August EP Godfi nger. The thundering psych of “Poison Hero” could fi ll a canyon, but it should go down at least as well on the Beat Kitchen’s modest stage. —LEOR GALIL
FRIDAY30
Bonelang See Thu 12/29. Kweku Collins and Carlile open. 9 PM, Schubas, 3159 N. Southport, $20 in advance, two-day passes sold out. 18+
SATURDAY31
Natural Information Society, the Sep-
aratist Party 9 PM, Constellation, 3111 N. Western, $25. 18+
Constellation hasn’t hosted a New Year’s Eve bash since the Sun Ra Arkestra’s legendary fete in 2017. This year, the intimate venue ushers in 2023 with homegrown talents who could be considered Constellation all-stars. The evening is headlined by Natural Information Society, led by multi-instrumentalist Joshua Abrams; the fi ve-piece ensemble realizes his teeming compositions (o en prominently featuring the bandleader on guimbri, a Gnawa three-string bass lute) against a backdrop of largescale paintings by harmonium player and visual Doom Flower See pick of the week, page 54. Chris Sutter (Meat Wave) and the Deepdogs DJs (members of Deeper) open. 8:30 PM, California Clipper, 1002 N. California, $5. 21+
SATURDAY6
VOlcandra Amiensus, Toxic Ruin, Pulchra Morte, and Flesher open. 8 PM, Reggies Music Joint, 2105 S. State, $15. 21+
Louisville melodic black-metal quintet Volcandra announced their arrival in style in the winter of 2020 with a striking debut, Into the Azure. Brimming with versatility and creative energy, the record blended some of the best elements of Scandinavian and American black metal with a progressive lightness of being that gave a certain radiance to their tales of epic fantasy battles. Their timing wasn’t the best, of course, but they kept their hand in the game, and later that year they gave us a holiday present in the form of a December single—a brooding cover of Opeth’s “Demon of the Fall.”
In May, Volcandra announced that they’d signed to Prosthetic Records, and in June they released a four-song EP, Border World. A lockdown baby, the EP celebrates an art form that saved many people’s sanity in those long, isolated days: video games. Opener “Tallon IV” is an homage to Metroid, and the EP’s title is inspired by Half-Life, as is its cornerstone track and fi rst single, “Resonance Cascade.” In an interview with Echoes and Dust, front man Dave Palenske says that Volcandra want to provide an escape for fans—and here they show that the key to escapism is less about understanding what your audience is escaping from and more about what they want to escape to.
“Resonance Cascade” is a gripping quest that plunges you into the protagonist’s point of view. It features a guest solo by guitarist Mike Low of Nashville metal outfit Inferi, and its winsome guitar heroics and martial surges cascade into thrash and speed metal. “Colossi” is more harsh and raw, with respites when a fi ghter can catch their breath few and far between—the breakdown around the
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Find more music listings at chicagoreader.com/musicreviews.
continued from p. 55
three-minute mark would be sweet if it didn’t off er false relief. “Guardian” closes out the EP on a heroic note with a beautiful guitar solo and a hopeful, aspirational vibe.
You don’t have to be a gamer (I’m not) to relate to Volcandra’s strong sense of narrative, but those who are might fi nd this music even harder to resist— especially given the obvious joy the band took in making the video for “Resonance Cascade,” which also includes Mike Low. Volcandra did a short, scattershot U.S. tour this fall, but this will be their fi rst Chicago show. —MONICA KENDRICK
SUNDAY7
Royal Thunder 8 PM, Cobra Lounge, 235 N. Ashland, $17. 17+
For many of us, the early days of the pandemic meant lost time and opportunities, but for Royal Thunder, that long, lonely period sparked a rebirth. Formed in 2004, the Atlanta band had made a name for themselves with a mix of heavy psych, bluesy hard rock, prog, and more—but they’d split up just before COVID gut-punched the States. In the months that followed, vocalist and bassist Mlny Parsonz and guitarist Josh Weaver reconnected with the band’s original drummer, Evan Diprima, and reconvened as a trio. “We decided to get the band back together and do things right,” Parsonz told me over email. “It was a huge void in our lives, and we really missed our family Royal Thunder and the outlet it provided all of us.” The process of rebuilding the band from the ground up helped inspire a wealth of new material, including the new single “The Knife,” their fi rst release since the 2017 album Wick. The thundering rock banger draws on a 90s alt-rock sensibility, an infl uence the band credits to having come of age during the early part of that decade. (In the same email, Weaver recalled that hearing “Smells Like Teen Spirit” for the fi rst time as a 12-year-old skate punk inspired him to go home and pick up the guitar he’d received as a Christmas present years before.) Parsonz makes this compact three-and-a-half minute nugget feel vulnerable and personal with her powerhouse vocals, though its themes—confronting the ways we subconsciously sabotage ourselves, tapping into inner strength to fi ght for something better—are universally relatable. Though the band have been elusive about whether they’ll release a full album in the new year, they’ve dropped hints that they’ve got fun stuff in the works. So anyone who makes it out to this show at Cobra Lounge—part of a three-city jaunt—might just be treated to a preview of what Royal Thunder have in store for us as they rise from their own ashes.
—JAMIE LUDWIG
ALBUM REVIEWS
Shipwrecked Industries chrisconnelly.bandcamp.com/album/eulogy-tochrista
Chicago singer-songwriter Chris Connelly regularly releases an album of new material on his November birthday. For his latest record, Eulogy to Christa: A Tribute to the Music and Mystique of Nico, he hit that annual deadline with the digital version on Bandcamp, but the physical edition (a deluxe double CD) didn’t ship till early December. Connelly originally planned the project to be a covers album of songs by Nico, the German model, singer, and composer (born Christa Päff gen in 1938) who’s best known, albeit unjustly, for her brief stint fronting the Velvet Underground in 1966 and ’67. But Connelly was inspired instead to write a song cycle based on Nico’s life a er reading You Are Beautiful and You Are Alone, a 2021 Nico biography by rock historian Jennifer Otter Bickerdike (who titled the book a er a lyric from Nico’s “Alone” and contributed liner notes to the CD version of the album). The subjects he addresses include the teenage Nico’s claim that she was raped by a U.S. air force sergeant, her impressive roster of love aff airs, and her struggles to be taken seriously as an artist.
Thirteen tracks on Eulogy to Christa are by Connelly, while eight are at least in part by Nico. Connelly is particularly well-suited to take on this material. His David Bowie tribute project, Sons of the Silent Age, has included guest stars portraying Lou Reed, Iggy Pop, and other key figures of the late-60s and early 70s proto-punk scene. Reed is a character in Eulogy for Christa too, and he’s not always cast in a favorable light. “Andy, Incidentally” and “Union Square West” evoke the Velvet Underground, and “A Slow Jones in New York” emphasizes Reed’s cruelty, like a dark mirror of Reed and John Cale’s 1990 record Songs for Drella with 90 percent less hagiography. But Connelly’s take on Nico is hagiographic in its own way—most notably, it glosses over her history of racism, including an alleged violent attack on a Black woman at the Chelsea Hotel in the early 70s.
Connelly’s greatest strength here lies in how he handles the traumas that informed Nico’s life. “I Cannot Care for You” is about parental absence, including the death of her father, the illness of her mother, and her own yearslong struggle to play a role in raising her son, Ari, who was never acknowledged by his father, French actor Alain Delon (though he was mostly raised by Delon’s parents). Other tracks touch on Nico’s struggles with addiction and poverty: “80s Beat Boys” is a melancholy snapshot from her Brixton period that’s evocative of her fi ght to survive, while “The Black Rooms of Richelieu” is a dark, hallucinatory tale of drugfueled desperation in Paris.
Connelly’s stylistic shi s between episodes and personae are masterful, but what really makes this album outstanding is the kindness, even tenderness, that he shows his subject. The album’s compassion comes through especially strongly when it touches on her later career and the life she’d tried to build in Brixton and Manchester before her untimely (and likely preventable) 1988 death due to a brain hemorrhage caused by a cycling accident. “Fa Massa Calor” (“It’s Too Hot”), for instance, foreshadows the extreme heat of the day, which may have played a role in her demise. But perhaps Connelly’s greatest tributes to Nico are his many covers of her haunting, distinctive songs (“Frozen Warnings,” “The Falconer,” and “Valley of the Kings” are standouts), which underscore why her work remains vital decades a er her death. —MONICA KENDRICK
Crosses JONATHAN WEINER
Crosses, Permanent.Radiant
Warner crossescult.com/collections/media
If you love the Deftones as much as I do, you’ve undoubtedly passionately defended them to a nu-metal naysayer. “They’re not really nu-metal,” you might argue. “Sure, they had some rap parts on their fi rst record, but they’ve actually spent most of their career leaning into dream-pop and shoegaze infl uences.” (I can’t be the only person out there going to bat for the band on a fairly regular basis, can I?)
Deftones front man Chino Moreno has been open about his love of classic shoegaze, goth, and dream pop since the band broke out in the mid90s, and they’ve pushed those elements further and further to the forefront of their alt-metal with each release. Over the years, Moreno has also used various side projects (including the trip-hoppy Team Sleep and his collaboration with former members of Isis, Palms) to explore his fascination with these styles. But he straight-up dives into them with Crosses, his mostly electronic duo with former Far guitarist Shaun Lopez. They’ve been putting out slick, catchy, industrial-tinged dream pop and witch house since 2011, and their love for those dreary, mysterious sounds runs so deep that last year they released a cover of Q Lazzarus’s dark synth-pop classic, “Goodbye Horses.” On their brand-new EP, Permanent.Radiant, gorgeous tracks of slick, airy synths and cloudy soundscapes serve as a foundation for Moreno’s signature yearning croon. These songs are deep, heavy, and beyond smooth; if your favorite parts of Deftones records are the sweet spots, then you defi nitely shouldn’t miss this release.
—LUCA CIMARUSTI
Foule Monk & Davis, PLum Whisky
Why? Records dorchesterbully.bandcamp.com/track/depressionera-deutschmarks
Davis the Dorchester Bully isn’t rapping too fast— you’re listening too slow. As the Chicagoan says on “Virginia,” a track from his new album with Detroit producer Foule Monk, “Life is as simple as it seems.” And so are his rhymes, even when he serves them up with moments of head-whipping banter. That collaborative album is called Plum Whisky, and it’s Davis’s second release this year, following May’s four-part single Portrait (Why? Records). It’s a quick listen; its tracks are fast, sturdy, and memorable. Given Monk’s many collaborations with up-and-coming artists, including Defcee and Jackie Scan, it seems he’s able to create quality tracks at warp speed—and that’s a good thing. He places samples knowingly, and his work carries on the tradition of producers who weave thick layers of texture and meaning, such as Madlib and Alchemist.
Monk mostly plays exploratory and whimsical, deliberately building on foundational samples that often make it sound like a background vocalist is sharing the track with Davis. This keeps things interesting across 13 songs; the buried samples have you listening closer to hear their deeper significance and alignment with Davis’s lyrics. The album’s lone guest is Chicago rapper and Why? cofounder Joshua Virtue, who pops up with imaginative quips and quotables on two features, including a fabulous verse on “Astroblack.” (Davis and Virtue are former roommates who also make delightful music as Udababy.)
The record is peppered with Monk’s instrumentals, which could easily stand on their own, but here they add greatly to a densely satisfying ride, painting in coats of jazz and gospel where you least expect them. The album ends with the infamous “I drink your milkshake!” line from There Will Be Blood, capping off the project with a braggadocious chef’s kiss. People who find honesty and poetry in the mundane bits of life will surely enjoy Plum Whisky.
—CRISTALLE BOWEN
Gomorra, Dealer of Souls
Noble Demon gomorraband.bandcamp.com/album/dealer-ofsouls
As soon as you see the ridiculous “Iron Maiden meets fantasy novel with skulls” cover art for Dealer of Souls (Noble Demon) and hear the demi-classical opening, you know what Gomorra have to off er. And these German metalheads do not disappoint. Guitarists Damir Eskic and Dominic Blum blast out adrenaline-pumping, assault-by-lightning thrash riffs, while drummer Stefan Hösli sets the pace
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Go morra COURTESY THE ARTIST
somewhere between “fast” and “absolutely ludicrous.” Vocalist Jonas Ambühl alternates between a gravelly bottom and a Rob Halford-style heaven-scraping operatic challenge to the gods. The hooks are exuberantly bombastic, as are the harmonies, and Ambühl belts his way through the Sturm und Drang so ferociously that you can just about ignore his vague messages of self-help uplift: “A chance for the better / You know it’s all right,” from “A Chance for the Better,” won’t make anyone’s list of greatest all-time metal couplets. Neither will “You are my light / I’m lost in darkness,” from “Lost in Darkness.” But perversely, the lyrical fl abbiness only makes that track an even more perfectly overwrought power ballad, ideal for headbanging and giggling as a single tear rolls down your face. Dealer of Souls is trashy, heartfelt, and more than a little glorious. Prepare to raise your lighters knowing that these guys love the heavy brontosaurs of metal past at least as much as you do. —NOAH BERLATSKY
Harvey Mandel, Who’s Calling
Tompkins Square tompkinssquare.bandcamp.com/album/whoscalling
Harvey “the Snake” Mandel is a guitarist’s guitarist. Born in Detroit in 1945 and raised in Morton Grove, he moved to the west coast in his early 20s to launch his career. He never became a household name like Stevie Ray Vaughan or Eric Crapton, but beginning with his debut LP, 1968’s funky fuzz classic Christo Redentor, his eclectic, seismic take on electric blues earned him the admiration of his peers—and it’s made fans of generations of musicians to come. Boogie legends Canned Heat recruited him in 1969 (his third show with them was at Woodstock), and in the mid-70s the Rolling Stones auditioned him as a replacement for Mick Taylor. (He later appeared as a session musician on the Stones’ underrated 1976 LP, Black and Blue.) Mandel was also tapped to play with rock and blues greats such as John Mayall, Charlie Musselwhite, and Love—and speaking of “tapping,” he helped popularize that two-handed fretboard technique among rock musicians. It features prominently on his 1973 fusion LP, Shangrenade, and he famously inspired Eddie Van Halen.
I’m happy to report that on Mandel’s new 16th album, Who’s Calling (his second on Tompkins Square), his adeptly amplified sound is alive and well. The fi rst heavily distorted ax notes on opening cut “Last Rites” display his classic sizzling tone and the sinuous pitch bending that helped earn him his nickname. The rhythm section is sympathetically laid-back and funky, giving Mandel room to spread out and display his six-string fireworks. Drummer Ryan Jewell, who also coproduces, has played with underground musicians such as Ryley Walker and Laraaji as well as on Mandel’s excellent 2016 comeback, Snake Pit. On Who’s Calling he expertly works the skins on the polyrhythmic, danceable “Moon Talk” and “Lucky Sevens,” while Mandel blazes away with delay-treated psychedelic shredding that aims for the heavens. Bassist Andy Hess (formerly of Gov’t Mule and the Black Crowes) is no slouch either, holding down the slinky, dirty shuffl e groove of the title track while Harvey’s unearthly sustain cascades over the top. The mutant blues sounds of “See You Around” and “Love You Forever” exhibit Mandel’s ability to subject that primordial music to guitargasmic new transmogrifi cations. Who’s Calling is an astonishing and fresh-sounding album from the 77-years-young guitarist, who beat long odds just to record it—he’s been fi ghting a recurring battle with cancer for a decade, and like basically every other musician in the world, he’s had to work around the dangers and lockdowns of the COVID pandemic. These past few years have taken way too many of my musical heroes, so I’m happy I can celebrate the fact that Mandel is still rocking with the best of them—and still releasing vibrantly mind-bending new music. —STEVE KRAKOW v
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