Photo Credit: Carrie Musgrave - livebabylive.com

There are thousands of great local bands playing every week in our fair city. Some you might know and some you might not. Seeing as it’s the beginning of a brand new year, we thought we’d point out some local bands who we think you might want to keep your eye on in 2012. And isn’t it always cool to say you were a fan of popular act back in the day when they were playing for eight people in a crappy dive bar? Yes, it is always cool. (Ed. Note: Although numbered, this list is in no particular order)

1. BARE MUTANTS

The latest of the Chicago scene cross-pollination projects is Bare Mutants, which features members of The Ponys, The 1900s, Mannequin Men and Derek & the Musicians. The good news is that their songs seamlessly integrate touches of their members’ collective backgrounds to create mature but compelling and engaging rock and roll. It’s music that easily ties together a variety of sonic approaches including hazy drone to quasi-psych flourishes and ringing guitar-pop. The release party for their debut HoZac 7″ goes down at the Empty Bottle on Monday, February 6. (Richard Giraldi | Photo Credit: John Sturdy)
Must hear: Inside My Head

2. MAGIC MILK

Most love-at-first-sight stories don’t begin with the guy strutting around in his underwear after knocking back some cheap champagne straight from the bottle, but luckily, we’re talking about Magic Milk and not Fabio. Magic Milk take its fun garage rock revival sound and rough it up a bit with some crackling distortion. The gang just released a three-song EP called Deep Stuff vol. 1 and have plans to release a full-length later this year. (Audrey Leon)
Must hear: Light’s Out Party!

3. THE RUNNIES

There’s not much to dislike about The Runnies. The band released its latest album You Can’t Win for free via Candy Dinner back in December. Frontwoman Mary McKane commands attention with her endearingly scratchy vocals that echo back to another force of nature Chrissie Hynde. When McKane’s not pulling double duty with 60s throwback psych rockers Outer Minds, she is leading this jangly rock trio with energetic organ embellishments. (Audrey Leon)
Must hear: Easy

4. DASTARDLY

Dastardly is the definition of an all-purpose band. Whether you’re into strong storytelling, gorgeous harmonies, background music for a hoedown, or bands that don’t take themselves seriously while simultaneously taking their craft very seriously, Dastardly is the band for you. The Americana group just released its second EP Bury me in the Country and are planning a follow-up to last year’s riotous comedy and musical spectacular at the Hideout. (Audrey Leon)
Must hear: Exercises in Self-Loathing

5. BIGCOLOUR

BIGCOLOUR separate themselves from the garage-pop pack with crooked howls that someone manage to end up more akin to motown soul than indie rock yips. Their extensive use of reverb on both instruments and vocals create a sea of echo that’s quite provocative. After a brief break, the band is regrouped and will be playing a number of shows next month and are prepping something a bit longer and more substantial than the two warbling and melodic singles released last year. (Richard Giraldi)
Must hear: Lampshade Talker

6. SUMMER GIRLFRIENDS

2012 is Summer Girlfriends’ year. The cheery garage poppers have a new band mate, a new music video for their track “Shockwaves” (on the way) and a highly-anticipated full-length debut coming out later this year on Addenda records. That’s enough good news to keep Summer Girlfriend’s music upbeat and dreamy for years to come. (Audrey Leon)
Must hear: Shockwaves

7. ANATOMY OF HABIT

Anatomy Of Habit would rather frighten the listener than pummel them. A metal band in the loosest since of the word because they incorporate very non-metal elements like ambience and psychedelia, Anatomy Of Habit conjure up some very dark and eerie foundations for their long and winding pieces. Once sucked in, they unleash grinding riffage and heavy grooves. The band will soon be hitting the studio with acclaimed engineer and Tortoise member John McEntire – a collaboration which already has us salivating. (Richard Giraldi | Photo Credit: Mariah Karson)
Must hear: Torch

8. THE CELL PHONES

Some bands just plant a smile on your face so big, it needs to be slapped off. The Cell Phones are that band. The Cell Phones just kill with their abrasive bass-heavy punk (think Yeah Yeah Yeahs meets Death From Above 1979) and ultra-fierce ‘tude. The trio has plans to release a follow up to its recent Hospital Spaceship EP and I literally cannot wait. (Audrey Leon)
Must hear: Spoiler

9. SWIMSUIT ADDITION

The dream of the ’90s is alive in Swimsuit Addition. It’s hard not to compare them to alt-nation heroes The Breeders or the Pixies with their bouncy and crunchy riffage. But the band avoid the angst by integrating melodic surf-pop leads and punky snarls from lead singer Jen Larson. They’re poised for a big 2012 as their debut EP Kitty Hawk drops in late February. (Richard Giraldi | Photo Credit: Daniel Schuessler)
Must hear: GhostEd

10. HEAVY TIMES

It was only two months ago that Chicago’s Heavy Times unleashed its very solid Hozac Records debut LP Jacker on the masses. The album is an unrepentant tidal wave of gritty, lo-fi punk ditties with just a hint of infectious pop structure. If you have the chance to catch the group around town in 2012, take it. (Audrey Leon)
Must hear: Skull Hair

11. CROSS RECORD

The only non-band on the list, Cross Record is the project of local singer-songwriter Emily Cross. Fans of Cat Power and Feist will feel right at home with her warm, reverbed vocals. Yet what’s truly captivating about Cross Record is her use of tense but lush song arrangements that incorporate strings, clarinets and the occasional ambient soundscape. She released two exceptional EPs last year, but is currently requesting a little help to make a full-length record. (Richard Giraldi)
Must hear: Black Cat

12. T’BONE

Somewhere lodged between the couch cushions that are math rock and punk rock lies a smirking T’Bone. Their five years in the making debut, Mt. Trashmore, would delight fans of Polvo and Don Caballero as much as it would dedicated viewers of Harvey Birdman. Rattling riffs, boogie down bass and bombastic rhythms make them not only an incredibly fun listen but a live force as well. The band are prepping a studio return (hopefully it won’t take half a decade like last time) and will be rocking Treasure Town with White Mystery next month. (Richard Giraldi)
Must hear: Doored By A Cop

Dastardly | Photo by Tiela Halpin

From their raucous live performances to their elaborate music videos, it doesn’t take much media consumption to figure out that the members of Dastardly are pretty cool customers. The Americana outfit craft soulful harmonies around rich, heartfelt storytelling and playful rhythms. The group’s debut EP May You Never… was somewhere between Elliott Smith and light-hearted bluegrass. Since then, the band has moved into a house together, pulled off a musical variety hour at The Hideout that absolutely slayed and recorded a follow-up that sounds grown-up, but still knows how to amuse.

If 2011 was busy, expect 2012 to be jam-packed for the band. Dastardly releases Bury Me in the Country on January 31, but the band celebrates the album’s release tonight at Lincoln Hall with friends Brighton, Ma, and Santah.

Loud Loop Press caught up with Dastardly’s frontman Gabe Liebowitz to steal his storytelling secrets and to discover what brand of bourbon he consumes most often.

LLP: If there’s one thing that immediately draws me into Dastardly’s music, it’s the storytelling. The imagery is very rich. Is storytelling something you can learn or is it something you’re born with. And if it’s something you can learn, who taught you the tricks of the trade?

Gabe Liebowitz: Hey, thanks! Words are definitely super important to me. I was actually a writing major for a year at Columbia College. When I dropped out, I pushed myself to read a lot of literature so I could feel like I was making an effort to improve my intellect in one way or another, and was definitely turned on to a lot of different ways to get your imagery cross.

I actually listen to a lot of hip-hop. I respect the hell out of it, because the guys who are super serious about it, they know that lyrics are really the only thing they’re bringing to the table, so they put as much effort crafting their words as a songwriter would crafting an entire song. When I’m writing a song, I’ll usually drink a Red Bull and listen to “3 Peat” by Lil Wayne or Eminem’s verse on “Renegade.” The way that these guys weave different thoughts and stories together into one cohesive unit is so impressive to me. I remember, I saw Nas last summer, and afterwards I felt like I had spent a night hanging out with him, and that I suddenly had all of these anecdotes of funny and fucked up things Nas had told me.

And that’s really what I aim for. My goal is less to tell a story, and more of giving people the feeling that they’re at a bar with me, and I’m drunk and rambling about my dumb opinions on life and random stories and things like that.

I really love when a songwriter establishes a character. Like, those early Jonathan Richman records are amazing to me. He was able to set up the music in a way that made it a springboard for his bizarre ramblings, and all of the songs are so consistent with his outlook. I love the idea of being able to write about whatever I want in the confines of a song. The other day I wrote a song about going to the grocery store. That sort of stuff is really appealing to me, to take the most boring, every day activity and show it through the eyes of your character and make it as interesting as possible.

But when it comes down to it, I try to have my lyrics be as uninspired as possible from other songwriters, and try to pull from different sources in order to make something unique. I want to give the sensation of laughing and crying from a Charlie Chaplin flick. I want to create the oddity and uncomfort of Andy Kaufman, the sweetness and quirkiness of The Muppets, the dysfunction and Jewish self loathing of Woody Allen, etc. etc. all in a 3 minute song!

LLP: Last year, you wrote a guest blog for ChicagoTunes.net about your musical journey, which has ranged from heavy metal to prog rock to country and blues. How or when did you know that you wanted to front an Americana band?

Gabe: Well, in ’09 I was fronting a pretty aggressive proto punk-sounding band with lots of bashy drums and distorted guitar and things like that. I was so completely out of my comfort zone, and all of the lyrics I was writing were so meaningless and did absolutely nothing for me. I’d always adored Townes Van Zandt and Gram Parsons, and just kind of had a revelation right around the time the rock band was falling apart. The way Townes writes a song and just says what he wants to say, with no bullshit or beating around the bush, suddenly became super exciting to me, and made me really investigate the genre of Hank Williams, George Jones, etc. The simplicity and honesty of it all made me feel like it would be the perfect vehicle for my writing, even though I’m a Jew from the east coast.

So that’s how it springboarded, and I later on got super interested in the delta blues and older hillbilly music, and what’s so great about the music is how ancient it is. The instrumentation of that stuff makes it feel completely of the earth. Everyone’s trying to make timeless music, right? For me something about the sounds of acoustic guitar, banjo, accordion, is just timeless and holy to me.

With that being said, once I understood the form and vibe and imagery of the old music like the Carter Family and Jimmie Rodgers, it’s been great to collectively take this ancient music and modernize it in our own way, make it proggy, avant garde, noisy, fill it with curse words, and so on. I just love the idea of being able to present people with our own twisted interpretation of this ancient American folk music.

LLP: Going back to the new album, Dastardly just released a new video for “Fever” and there are plans to film another. Do the members of Dastardly enjoy the video process or is it just a necessary evil?

Gabe: We’ve been super lucky on the video front! This guy Logan Hall, who’s Sarah’s boyfriend and also happens to live with us in the Dastardly house, is a super talented director who works at this great post production video house downtown called Opt1mus, and they do a lot of national TV spots. I kind of think of Logan as the sixth member of Dastardly, because he’s always conceptualizing these super cool ideas and helping us out with videos.

I think videos are super important and completely necessary. I definitely think we generated a lot more excitement dropping this new track as a little video instead of if we just plopped it online as a Soundcloud stream. I was talking to my buddy Kenny who books at this space in Madison, Wisconsin, called the Project Lodge, and he was saying that when bands e-mail him, all he does is look at a video. I think the days of the EPK are done. A booker wants to see a video because they can hear how you sound and see how you perform live at the same time.

Also, I do Dastardly full-time and tour a lot solo, but the full band isn’t able to do as much touring since the rest of the folks are working and in school. But I think of these videos almost as if we’re touring…we’re able to capture a performance and have people from all around the world see us. It’s important to me that we always have material to be releasing on a regular basis so people don’t forget about us, and right now we have a backlog of really awesome videos that we’re just kind of stashing until the time is right.

People say that music videos are dead because MTV and VH1 stopped showing them, but I think music videos are more popular than ever. If you go to Youtube, for every letter of the alphabet, the first suggestion they give you based on popularity is a band or an artist. Lady Gaga’s getting fucking 440 million views. Even indie bands like Grizzly Bear are getting video hits in the millions.

So yeah, videos have definitely done a lot to help boost our web presence. It also doesn’t hurt that we’re all fucking gorgeous.

LLP: Last year, Dastardly put together a fun music and comedy variety hour at the Hideout. Is this something the band would do again in the future?

Gabe: Man, that was probably my favorite thing I’ve ever done! It was so awesome to work with these amazing comedians and put on a cohesive show, and the response was way better than I expected. The Hideout is super down with it, and we’ve actually agreed to make it a quarterly affair, so we’re going to be doing a different sort of variety show at the Hideout three or four times a year. I couldn’t be more pumped! Our next one is actually going to be on March 20th, and it’s called DASTARDLY PRESENTS MEGACHURCH. That’s about all I’m at liberty to say.

LLP: And finally, in various venues it has been mentioned that bourbon is the band’s drink of choice. What’s your brand?

Gabe: When we were in the east coast, we were drinking a handle of Jim Beam a night because they were fucking 20 dollars a bottle at the state border of New Hampshire. No sales tax! One night, we played a show in Boston at the house of this guy Will who does press for us and has been kind of mentor on all things music for me since I was 16. He went up to me after we played and said, “You know, you guys sound really good. The songs are great, good harmonies, good energy. But what really impresses me about you guys is that you all drink Jim Beam like it’s milk.”

So, Jim Beam is pretty responsible for a lot of the rowdiness of our shows, and mistakes and so on. I am really hoping that they pay me for this paragraph. If you’re reading, you can just dump it in our PayPal, guys!

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View Dastardly’s recent Audiotree session
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DASTARDLY (Record Release!)
8:00 p.m. Thursday, January 19
Lincoln Hall, 2424 N. Lincoln Ave.
18+ $10.
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Seeing how our staff has distinct tastes and opinions on music, it would be nearly impossible for us to determine a 10 Albums of 2011 list as a single entity without excessive bloodshed. So over the next couple of days, we’ll be posting Top 10 Albums of 2011 lists as determined by individual Loud Loop Press staff members. Today, associate editor Audrey Leon offers up her list for Top 10 Albums of 2011.

I decided to do it a little differently this year. I honestly didn’t think I could find another way to describe how great the new St. Vincent or Wild Flag or Le Butcherettes records were. Therefore, I decided to keep things local and give you my favorite Chicago records of the year. Sounds good, right?And for those who might get perturbed about this list only having 14 albums (including the Honorable Mentions) instead of an (even?) 15, let’s just say the fifteenth was, uh, Wilco? Sure, why not. So, behold my favorite records in 2011 from some very rad windy citizens…

HONORABLE MENTION:

14. Architecture – When We Were Young
There’s just something enchanting about the sparse but melancholy dream pop from Architecture. Featuring Panda Riot’s Rebecca Scott and Melissa Harris (also Erin Dorr during live performances), these locals do a fantastic job pairing stretchy sweet vocal melodies with a dark but lush foundation.

13. Anatomy Of Habit – Anatomy Of Habit
Anatomy Of Habit may cause some to question their definition of metal with their self-titled debut, and that in itself is impressive. But this record, full of industrial, ambient and even psychedelic touches, works well because of the ominous mood it strikes in the listener. This one is not for the faint of heart or the non-adventurous.

12. White Mystery – Blood & Venom
White Mystery pulled no punches on their 2011 release, Blood & Venom, which takes their signature rowdy garage sound and gives a bit more of a shine. And I’m not just talking about the harmonica on “Kickin My Ball” or the phaser on “Smoke,” but their ability to tap into their hookiness with such tracks as the ridiculously fun “Birthday” or quirky self-referential opener, “White Mystery.”

THE TOP 11:

11. Company of Thieves – Running From A Gamble
Company Of Thieves sophomore effort, Running From A Gamble, really spoke to my love of smart power-pop. This time around, the band did it by sounding more organic and fleshing out some tunes that even reach into heavy, blues rock territory. And, I mean, it’s just hard to deny lead singer Genevieve Schatz’s heavenly voice.

10. The Cool Kids – When Fish Ride Bicycles
I probably don’t ingest enough local hip-hop as I should. But of what I did check out, When Fish Ride Bicycles is the only one that really stuck with me. After much hype built by a number of delays, the local duo thoroughly satisfied with a smooth record full of summertime Chicago vibers that nicely brought their minimal electro-beats to new level of accessibility.

9. The Runnies – You Can’t Win
A late entry into the running, but you really can’t not win with the latest from The, uh, Runnies. This local trio goes easy on the guitar and heavy on the organ, but it works for a sonic delivery that’s part ’60s garage, motown and church revival. Not to mention it’s powered by Mary McKane’s smokey vocals that fit somewhere between Janis Joplin and Robert Allen Zimmerman.

8. The Canoes – Roger
The Canoes manage to marry warm Midwestern folk-pop and dirty garage antics on Roger. While much of it sounds like a bedroom recording (which, to be fair, it pretty much is), it’s that rough-around-the-edges quality and clever wordplay that make it a very impressive debut.

7. Mannequin Men – Mannequin Men
On their latest self-titled effort, Mannequin Men remind us why great, smart songwriting will always defeat the chillwave and blip-blop rock that has seemingly infiltrated the indie landscape these days. It’s difficult to shake the addictive chorus of “Hobby Girl,” the ramshackle country feel of “Why Do I Get?” or the jangly crunch of opener “Don’t Grow” (which also happens to have my vote for best “In a convertible with the top down driving 65 mph down lake shore drive” song of 2011).

6. Gypsyblood – Cold In The Guestway
While their guitars are less crunchy and more glassy, Gypsyblood take on Jesus And The Mary Chain and Pixies-esque alt-rock on their debut LP, Cold In The Guestway. But the band adds in their own folky and quirky leanings to create a very sharp rock album. Oddball hooks such as the Muppets-like “Ba Ba Ba Ba Ba” in “My R.K.O. is MIA” or the smooth-funk of “Superstition” help make Cold In The Guestway a record that begs for repeated listens.

5. T’Bone – Mt. Trashmore
File this one under “local bands you aren’t listening to, but you really should be.” You could maybe call T’Bone’s Mt. Trashmore a math rock record due to their penchant for wild dynamics and sudden tempo shifts, but there’s probably just as much influence from big ’70s arena and punk rock. Also, the band’s ability to craft tongue-and-cheek hooks that fit perfectly is freaking rad.

4. Heavy Times – Jacker
It must be said that HoZac Records had one hell of a year with so many great releases, but my personal favorite may be from Chicago’s own Heavy Times. What I loved about Heavy Times’ Jacker is the obvious punk influence. Sure their songs are covered in a scratchy film, but the band plays well to that aesthetic with dark and bleak subject matter and frighteningly huge riffage. This one is an absolute banger.

3. Yawn – Open Season
It was quite the year for psych-pop in Chicago, but in my opinion, no one did it better than Yawn. I’ve written about Yawn quite a bit before, but the thing I like to stress about the band is that they actually have a knack for pop song structure. They never get too heavy handed and keep their melodic, sample-powered tunage to near the three-minute range, which makes Open Season both refreshing and intoxicating.

2. CAVE – Neverendless
I might just be a sucker for instrumental krautrock, but Neverendless is just a really good record. It takes prog slash psychy antics and folds them up tightly into a very clean cut and accessible package. Yes, CAVE does include a couple 10-minute plus epics, but even those are anchored by shifts are are somehow both subtle and obvious. Oh, and the band has a lot of fun with synths on this record, and that’s never a bad thing.

1. Disappears – Guider
Disappears may have not only taken my top spot for Chicago record of 2011, but I’ll go ahead and throw them at the front of Best Band of 2011 and Best Live Show of 2011 as well. Guider is a ridiculously great exercise in garage-y, psych rock not just because the songs are good, but because the record is explosive. It’s hard to sit still when the opening reverb strikes of “Superstition” smack you in the face or when the bass line of “Guider” gently walks up before falling into a vat of chugging guitars. Do I even need to mention the 15-minute trance rock opus, “Revisiting?” Looks like I just did. And at only six tracks long, Guider is one of those few records that you’ll want to instantly want to flip over and start again once the needle clicks.

What a long strange trip it has been. All obligatory yearbook quotes aside, 2011 has been an interesting year for music. I spent all year questing after that one (or ten) album that would kick my ass, make me want to dance and/or make me fall in love so hard I can’t breathe by the end of it. Odd requirements, I know, but at least now I have many excellent contenders for future ex-husbands.

10. The Cell Phones – Hospital Spaceship
There’s just something so undeniable about music that dares to skip the hellos and get right down to hard and fast grooves. On the Cell Phones’ recent EP Hospital Spaceship, the band cranks up the bass, pounds the hell out of the drums and lulls you into submission with dulcet harmonies that skyrocket into powerful wails. The Cell Phones gathered their DNA from bits and pieces of art rockers Yeah Yeah Yeahs and Pretty Girls Make Graves, but I’d dare to go a step further that singer Lindsey Charles has a bit of a Monique Powell of 90s ska outfit Save Ferris in the mix due to Charles’ impressive range. Hospital Spaceship definitely leaves you wanting more.

9. TV on the Radio – Nine Types of Light
Who knew moving to Los Angeles was all TV on the Radio needed to get its mojo back? Living in Brooklyn allowed TVotR to absorb and incorporate darkness into its music but its latest, most aptly named, album Nine Types of Light focuses on the brighter, shinier aspects of subjects, like love. The atmospheric noise has taken a backseat to more conventional pop rhythms. If you need a soundtrack in which to aggressively spaz out, then cool it down and bring it back around, Nine Types of Light is that record.

8. Tiny Fireflies – Change
Truly this EP is all puppies and rainbows. Chicago duo Tiny Fireflies managed – over the course of four songs – to create an aural experience that is the true equivalent of baskets filled with rainbow-colored puppies. The vocal harmonies are innocent, yet sweeping and the guitars are forlorn and heartwrenching. Somehow we all come out a little bit better for the struggle.

7. Stephen Malkmus and the Jicks – Mirror Traffic
’90s alternative rock veteran Stephen Malkmus proves again and again that he doesn’t need to re-invent the wheel to create an album jam packed with sexy guitar solos and his trademark cutting wordplay. Malkmus may never fully escape Pavement’s shadow, but Mirror Traffic shows he’s not necessarily afraid of that legacy.

6. Das Racist – Relax
It’s easy to dismiss Das Racist rhymes as silly, especially when they craft songs around the idea of a combination Pizza Hut-Taco Bell, but the simple truth is the group can rap about anything and it will sound amazing. The flows, much like the beats are effortless. Before you know it, your head is dizzy from all the bopping its been doing. Plus “Brand New Dance” is the jam.

5. Sloan – The Double Cross
Canadian power-poppers Sloan celebrated their 20th year of existence by releasing their 10th album of upbeat, saccharine goodness. There’s nary a track on The Double Cross that doesn’t fill you with warmth, harmony and good time jams. It doesn’t really matter that the lyrics get a bit serious here and there (“Shadow of Love” or “Beverley Terrace”), but you gotta dance it out.

4. Wilco - The Whole Love
For someone who hasn’t spent a whole lot of time worshiping at the altar to Wilco, this entry is fairly surprising to probably no one but me. Somehow, I stopped fighting and let The Whole Love in. From its attention-grabbing experimental pop opener “Art of Almost” to its upbeat Beatles-style rocker “Dawned on Me” to its grassy, Americana-tinged “Capitol City,” Wilco prove that they can do it all, and do it pretty damn well. Well played, Wilco. Well played.

3. Disappears – Guider
2011 was a pretty big year for Disappears. The Chicago noise rockers lost drummer Graeme Gibson, gained Sonic Youth’s Steve Shelley, traversed the continents and managed to record and release a few records. Guider introduced us to Disappears as an experimental outfit, moving away from its predecessor’s (Lux) more accessible garage rock-colored chops. With Guider Disappears got spacey, ramped up the distortion and created tracks that were full of vibrating, hypnotic rhythms. You literally couldn’t ask for anything more.

2. Wild Flag – Wild Flag
The term supergroup is thrown around quite a bit, but when the members of Sleater-Kinney, Helium and The Minders combined their old-fashioned rock prowess with genuine love of creating and performing, the outcome (to no one’s surprise) was intense, magical, and above all the definition of super.

1. Le Butcherettes – Sin, Sin, Sin
About every ten years, music gets a female musician so ferocious, so talented, so off-the-fucking-walls that their star rises well above everyone else. Le Butcherettes frontwoman Teri “Gender Bender” Suarez takes this torch and runs with it both live and on the group’s debut Sin, Sin, Sin. Suarez’s sensuous moans, raging wails, accompany lyrics that cover everything from injustice to politics and the art world with ruthless alt-rock precision. The music cuts to the bone, enters your bloodstream and infects your brain. I could live with this album on repeat, and probably will.

Seeing how our staff has distinct tastes and opinions on music, it would be nearly impossible for us to determine a 10 Albums of 2010 list as a single entity without excessive bloodshed. So over the next couple of days, we’ll be posting Top 10 Albums of 2011 lists as determined by individual Loud Loop Press staff members. Today, contributor Britni Day body slams us with her list for Top 10 Albums of 2011.

This year, I felt like I was inundated with a lot of crap on the radio. If I wasn’t learning Jagger’s moves or getting my kicks pumped, then I was rolling around in the deep (whatever that means) or forced to deal with some unfortunate guy named Mr. Saxobeat. But where radio stations failed, Chicago’s musicians rose up, reminding me real talent is out there – sans auto-tune or “da club.” I’ve reserved 3 special spots for some of my favorite locals on this list. I would also like to note that even though we do not have a Top Ten Songs of 2011, “Lana Deth Ray” by Chicago’s own Rodeo is pretty bitchin’. Just like LMFAO, I have passion in my pants and I ain’t afraid to show it, so here’s your sexcellent top ten.

10. The Sweeps – The Terrible Children
Chicago’s original power-pop trio grew up into some horrid little monsters with their second album and I like it. Recorded in just two days, this album is a tighter, yet slightly unhinged version of what was heard in their debut album, Midnight at the Box. Although influences like Arcade Fire and Wilco can be heart, The Sweeps dabble in more complex directions – from dirty-bass rock to heart-felt folk – showing they aren’t just a catchy pop and structured harmonies kind of band anymore.

9. Gypsyblood – Cold in the Guestway
I’ve spent all year raving about Gypsyblood and their incredible debut album Cold in the Guestway. It’s not just because this album is filled some of my favorite fuzzed-out guitar sounds, intense kazoo backing or that alt-rock feel only a true child of the 90’s could love; but because the band’s personality is almost tangible through their music. A band like Gypsyblood puts on a great show, doesn’t take themselves too seriously and doesn’t stop playing even with the cops banging down the door.

8. St. Vincent – Strange Mercy
Annie Clark is a deceptive little shimmer-pop thing. Hearing St. Vincent in the background of a party or bar, the songs sound like these sweetly open-hearted pieces with smooth flowing melodies that blend one into the other. But, when you finally sit down and listen, you find Clark is powerfully intimate with this level of wit and snark that you can’t help but laugh at. Strange Mercy is a beautiful juxtaposition, with layered trembling keyboards, luscious strings and her rich vocal matched with sudden turns into harsh drums or abrasive guitar. Clark gives us a dose of tough love with this album and doesn’t apologize one bit.

7. Beats Antique – Elektrafone
Beats Antique takes it up another notch with their unique fusion of electro-hiphop/glitch, French gypsy jazz, and traditional Middle Eastern groove. This album marks a bit of a turning point for the band. While they could have continued along the road of up-beat, catchy hooks and club beats, instead the group takes their sound to more serious and intricate level. They explore the richer tones of bass while crisping up the organic sounds of the rare instruments they use like the saz, clay drum and violin. Electrafone is a darker album than the previous, but more thought provoking in instrumentation and sound. It’s no less exotic in beauty and no less easy to imagine the sultry belly dancing of Zoe Jakes to it at the front of the stage, but it’s a reinvented, more intelligent version of the Beats you know.

6. The Strokes – Angles
Nearly 10 years after their debut Is This It comes a version of the Strokes that sounds even more retro (is that even possible?) than before. Angles, although short and sweet, is cleaner, more catchy, but with no less of the 70’s post-punk elements for which the Strokes are known. The guys are even brave enough to dabble into a more 80’s power-pop, but still keep the same snappy guitar solos and epic vocals. It’s inspiring to see both a new album and an interesting new sound come out of The Strokes and I’m curious to see what comes next.

5. PJ Harvey – Let England Shake
“God damn Europeans, take me back to beautiful England.” My tiny Polly Jean with the huge mouth is back, exploring her own English identity through the difficult subject of war. Like Stories From the City, Stories from the Sea where Harvey touches on her time in New York and her Dorset home, Let England Shake she is once again inspired by the story behind a location close to her heart: England. While most of the angsty 90’s PJ is gone, I find this one more intelligent and willing to look beyond her own life stories as musical inspiration. This album is a softer, alt-rock Harvey, but no less powerful and complexly crafted as only my PJ knows how to do.

4. Lykke Li – Wounded Rhymes
I nearly fell out of my chair when I heard this album. Where was my sweet-voiced girl with her soft electronic songs of love? Lykke Li is no long the one-sided, shimmery soft soprano we used to know. Lykke drops her vocals into the powerful alto range, all backed by groove-laden, dark keyboards and dominant drums. Wounded Rhymes is heavy, dirty and promiscuous, nothing you want to bring home to mother.

3. tUnE-YarDs – W H O K I L L
Once again, the lady who started with a loop pedal has reinvented the possibility of noise-pop as she tosses tribal, urban, hip-hop and jazz among many sounds into W H O K I L L, all backed by her unhinged vocal melodies. You can almost hear the joy and exhilaration Merill Garbus had as she was unleashed on a full studio with a crew and backing musicians. Her sound is unique, as the layers crash one on top of the other, harsh and beautiful, showing just how much Garbus is capable of. This album is a force to reckon with that whispers of her intimacy with her lyrics and screams of her potential in the music.

2. Radiohead – King of Limbs
I spent the first two years of writing these Top Ten lists avoiding Radiohead albums because they are my favorite of all time and it’s not fair to other bands. This year, I’ve broken my silence because I am in love with King of Limbs. I’ve listened to this album (digitally, live from the Basement and on vinyl) at least twice a week since it’s come out. The ethereal stutter of glitchy music loops and the soft, mournful tones of Thom’s vocals bring this album almost back to Kid A territory. But, it’s simple, it’s catchy yet not flashy and it’s just another slight angle of the infinitely faceted musical machine that is Radiohead.

1. Loyal Divide – Bodice Ripper
I was first floored by Loyal Divide last year when their music video “Vision, Vision” made our Top Ten Local Music Videos of 2010 – ya know, the one with the stick people genocide – and I’ve been eagerly awaiting Bodice Ripper ever since. This album shows so much musical talent and lyrical insight for a debut, it’s frightening. From the powerful, breath-taking opening of “Young Blades” (which is exactly how you open an album, people) to the delicately crafted “Near Native,” Bodice Ripper is layered in such complex groovy-psych-electronic/indie-organic/whatever sounds that it reaches beyond genres, making this band nearly indefinable (slightly reminiscent of early Yeasayer or Animal Collective). Bands like Loyal Divide give me hope that the time of well-crafted, genre-evading music is still out there, breaking all of our ideals and ready to blow all of our minds.

Purple Apple | Photo by Katie Hovland

At the tender age of eight, most kids are playing video games and eating way too much sugar. However, the young ladies of Purple Apple started a band, wrote music and lyrics, and got noticed.

Just a few years later, Olivia (lead vox and rhythm guitar), Madison (bassist, keyboards), Nonie (lead guitar, backing vox) and their babysitter Devin (drums) have Chicago rock legend Scott Lucas as a mentor, and Purple Apple have released their first EP in addition to playing some of the biggest venues in town. All this before their freshman year of high school.

Named after the band’s favorite color and Apple Records (the girls are Beatles fans), the members of Purple Apple may laugh and goof off like true teens, but when it comes to music, their knowledge and passion rivals that of any band out there. Seriously, folks, pay attention because these lovely ladies are going to blow your mind.

In between photo shoots and TV appearances, these talented young women sat down with Loud Loop Press to talk about music, the band and what it’s like being young in the Chicago music scene.

LLP: So how did you all get together?

Olivia: Maddie and I have been friends for the longest time. We had playdates in diapers, used to live across the street from each other. We just wrote silly songs as kids. We would write them on the bus to school. Noni played guitar and we thought that was the most awesome thing in the whole world and we thought, “Lets start a band.” So we were 8 years old and in a band. Devin was our babysitter and we needed a drummer and I asked her one day in the kitchen, “Hey, you want to come be in a band?” and it came to be.

LLP: What’s it like being so young and trying to break through?

Olivia: It’s kind of hard. You’ve got four girls in a band and scheduling is tough. We try and play a lot of shows. We play around Chicago a lot: the Hideout, the Metro, Schubas. It’s tough, but we can do it.

Nonie: I think things become a little easier in the summer because school is out of the way. During the school year we all play sports and you have to be there for it and your team. So, scheduling is hard and we have late night and busy, busy weeks and weekends, but we love it.

Nonie: As far as breaking into the Chicago music scene, one of our troubles is being taken seriously because we’re almost kids. That’s the thing. We want to be taken seriously because we’re a real band.

Devin: We have a lot of bands that are friends and just them being there and supporting us is helpful.

Nonie: The band Caviar, who aren’t together anymore, but those guys along with Scott Lucas would always support us.

Devin: Our manager friend Jason [Batchko], he plays keyboards in Scott Lucas and the Married Men and he’s great.

Nonie: So it’s those people and Scott are our little support system.

Olivia: I wrote a song with Scott about two years ago. I was at his apartment and sat down with a guitar. We were watching a zombie movie, that scary black and white one. We sat down with guitars and wrote a song together.

Nonie: Scott is cool though, we like hanging out with him.

Olivia: In terms of being young though, it’s hard to be young. People have called us babies and said, “Oh, they’re so cute.” But we’re not cute, we’re serious musicians.

Devin: But mostly we have support and they like our story and they like our songs.

Nonie: Whether they think of us as young kids or adorable, they always say, “Oh you guys are a legit band.” You think we’re cute? Cool, as long as you like us as a band.

LLP: Do you consider yourselves role models?

Nonie: We have a few girls that are friends with the band and one was telling me that when she was asked in school who her role models were she said it was us. And I found that to be a big surprise! I’m 14, I’m supposed to be looking for my role models. So to be role models to anybody is crazy. Especially to little kids, that’s one thing you can’t push away. As far as other bands go, we’re on the younger end. So I feel that we look at them more as role models. Even though they’re older, they’re trying to follow their dreams. It’s easier for us because we have the support of our parents, but they’re doing it on their own.

LLP: Where did your sound come from?

Madison: Our influences, we like a huge variety of bands. Going to Lollapalooza broadened our horizons. We liked Band of Horses, Muse, Kids These Days, Coldplay.

Olivia: We’re all interested in the same kind of music.

Devin: We like a variety of rock music. From the 60’s to now.

Nonie: Cage the Elephant, I love them. I think we’re always looking to broaden our horizons though. I don’t reject any form or type of music until I know a lot about it. I listen to any type of music and it’s always good to find something new. I love Ben Harper right now. He’s a really good lyricist. I’ll listen to anything. You should take inspiration from whatever touches you and your life.

LLP: What’s your songwriting process?

Olivia: I write. Maddie and I write together. I write music a whole lot. Noni writes her guitar parts, Devin writes the drums. We all write lyrics together.

Madison: We all have a different writing style.

Olivia: Yeah, (Maddie) likes to write a whole story line, something has to happen.

Madison: Yeah, I can’t write when it doesn’t make sense to me.

Nonie: Yeah, Maddie is the story teller

Devin: Olivia is psychedelic and Maddie is linear. So, they’ve got a cool mix.

Maddie: Sometimes I’ll have random writing moments. I’ll be sitting at the table and I’ll think of something and write it down and think of the guitar later. Sometimes it works, sometimes it doesn’t.

Nonie: There really isn’t a process. I think things just happen how they happen. There’s not like a sit down. It’s totally insane. Sometimes we can sit down and write together and sometimes it happens randomly.

Olivia: Recently I went out to LA and did some co-writes with people. It was a really interesting experience to see other bands working together. As we mature, different sounds are definitely coming out in our music. We’ve got a lot of cool pianos and amps and stuff. We’re just sounding older.

Madison: Our lyrics are changing too. We went from being 8, 9, 10 where boys really weren’t in the picture and it was more about life and growing up. And as we get older, I hear more love and boys coming into the lyrics. It’s interesting to see us grow in terms of our music, and sound and its meaning

Devin: I heard a recording of Olivia singing when she was younger and her voice was so small! I mean, it was her and her style, but after a few years it really changes.

Nonie: One of our new songs “Kaleidoscope”, it’s one of the most different of our songs. It has a driving beat to it. It’s pumped up like the Killers. Our new songs are fun to play.

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PURPLE APPLE
7:30 p.m. Saturday, November 12
Art + Science, 1554 N. Milwaukee Ave.
All Ages. $20 donation (OR donation of a gently-used winter coat or unwrapped toy)
Donations benefit Humboldt Park organization “Reason to Give.”
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When first falling in love with the guitar, the world shrinks down around it. Most budding relationships between instrument and player fixate on some combination of scales, solos, shredding, weird chord voicing and strange strumming patterns. But for a select few there is only one musical god to pay homage to and that’s tone. It’s from these guitar geeks that the genres of post-rock, shoegaze, doom, and bands like Arctic Sleep are born.

Arctic Sleep comes heavy with the epic instrumental riffing you’d expect such a band name to bare, but what makes its sound interesting is how the band has managed to merge this with droning vocals. Arctic Sleep recently released its third record Earth to Earth. We talked with Arctic Sleep’s Keith D. about the group’s studio experience, where they are headed, and the their unhealthy obsession with guitar pedals and gear.

LLP: Tell us how the band formed and its history.

Keith D: Arctic Sleep’s back-story is very similar to the famous children’s books “Frog And Toad,” except with more amplifiers and booze. My longtime friend Mike and I were sick of playing fast music, and we had both reached points in our lives where we knew we wanted to create tunes that were slow and ultra-heavy, but at the same time dynamic and beautiful.

The first album, ”Mare Vaporum,” was recorded as a two-piece on which Mike played guitar and I did the rest. We had a full band put together with some friends for a while, and I was pulling a “Phil Collins” and doing drums and lead vocals, which was fun but weird. That lineup dissolved, and Mike became busy with some other projects. During that time I recorded ”Abysmal Lullabies” completely solo. It was fun but I missed making music with my friend so I eventually asked him to get back on board to work on another record, which became ”Earth To Earth.”

LLP: What is your process in the studio?

Keith D: I am a workhorse in the studio. I’m very serious about getting shit done, but I love it. I love taking advantage of all the fun trickery you can achieve. I love the production aspect of the process, and that’s where I really let loose. I love doing all sorts of overdubs, adding different instrumentation, transitional fades, and all the different things that truly give a recording atmosphere. 

Take a listen to the intro for “One Day We Will All Be Dust” on “Earth To Earth.” That’s me doing something like nine vocal overdubs. I called it the “vocal drone.” That is the sound of me having so much fun. I love adding all the string arrangements, keyboards, sound effects, acoustic parts, percussion, everything that makes the album into a truly aural experience that really takes you away. 

LLP: What inspired the sound for this particular record?

Keith D: I was pretty adamant about tuning way down and creating a wall-of-sound heaviness while utilizing major-key riffs. There’s something about that contrast that ends up sounding very majestic. It seems like just about every heavy band out there is a bunch of nonsensical, tri-tone-based riffing with some guy screaming over it. But heaviness can also be like a nice relaxing massage. I wanted it to sound like mighty redwood trees, monolithic mountains, and vast oceans. We got bigger amps and the largest cymbals we could find, which has always worked best for us.

LLP: It sounds like you’re a pretty gear intensive band?
 
Keith D: Man, you just opened a big can of night crawlers here. I’m sure I speak for the whole band when I say that music gear is a happy thought for us, and something that’s very important. In the early days, we used mostly Sunn amps. I was intent on finding the biggest cymbals manufactured. Mike became really obsessed with amplifiers to the point where it became like a mental disorder. He’s always pining about amps, cabs, and pedals, like he’s on a never-ending quest to find some perfect setup that will never exist. 

We love playing so loud that it vibrates our guts. Sometimes it scares audience members away, but they should have had the foresight to buy earplugs when they saw all the big gear being set up. A massive, rumbling wall of sound is the aesthetic we like to create. It’s a comfortable sort of heaviness though, like a big Swedish lady with strong hands giving you a firm shoulder massage. Or, a fat stack of buckwheat pancakes with real maple syrup. Not that flimsy Mrs. Butterworth’s shit.

LLP: What is your approach to songwriting within the band?

Keith D: When working with Mike, I usually approach songwriting from behind the drum set. It seems to work best that way. I like to be very involved with the dynamics, rhythmic elements, and the “feel” of where the music goes. Mike is a total riff-factory so it’s fun to browse through his ideas until we find one that clicks and then sometimes I’ll mutate it and help give it format. 

I’ll bring some of my guitar riffs to the table, too. Then we’ll play the idea for Nick. He takes my ideas for the drum parts and doctors them up into something way more impressive. Sometimes it works other ways. It’s pretty boring to talk about, really. I wish I could tell you that our songwriting process involves summoning the spirit-world, consulting the ancient runes, or holding sacred commune with the mystic oracle or something cool like that but it’s all pretty normal stuff.

Chicago quartet Archie Powell and the Exports will surprise you. The band plays some serious Midwestern power pop with just enough heart and grit to make dance and thrash about like some sort of injured billy goat. But if you couldn’t already tell from the various band member’s social media habits, they’re all a bunch of jokesters. Perhaps it’s that easy going nature that makes the music so good. Whatever the case, we caught up with frontman Archie Powell to discuss the band’s next record and its recent Kickstarter campaign.

LLP: After watching your band’s videos and seeing how you conduct yourself on various social media networks, it’s safe to say you guys don’t take yourself too seriously. Could you explain how the “Burrito Lunch” Kickstarter came about?

Archie Powell: Well, we took care of the cost for album production ourselves. That was a good chunk of change. We’re kinda feeling the pinch as a result. We thought this would be a great way to have an excuse to make another goofy video and get a free lunch out of it. Plus we kinda just wanted to see if we could pull it off.

LLP: What’s the best place in Chicago to get a burrito?

Archie Powell: I found this great little hole in the wall called Qdoba the other week. I highly recommend it to anyone looking for something a little off the mainstream radar.

LLP: I see that you all are busy recording a follow up to “Skip Work.” What’s the process been for the new record?

Archie Powell: It’s been a very easy experience. We’ve been chopping studio days off left and right. I don’t know what it is, but it feels like this one is a lot simpler of a process than the last one. Maybe we’re just getting better, maybe we’re more excited about the material. Unsure. Regardless, it’s all been very positive.

LLP: How does the material compare to older material?

Archie Powell: We kind of gave ourselves a country-ectomy. It’s a lot meaner and weirder with more disparate styles throughout. If you liked the last one you’ll probably like this one too, maybe even a little bit more.

LLP: On twitter, you posted a photo of a bloodied hand with glitter all over it. How does this factor into the new video you all are working on?

Archie Powell: Without giving too much away, let’s just say that we’re all really into Ke$ha lately.

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Catch Archie Powell and the Exports at the Chicago Marathon on Sunday, October 9, at 9:30 a.m.

The band will perform at the corner of Cornelia and Broadway (One block south of Addison) as a part of the Volkswagen Mile 8 Tailgate. The event is free and will feature everyone’s favorite breakfast food: free waffles.
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Experimental psych-pop is tough market these days. It’s hard to not appear just another young band fresh out of Animal Collective Community College with only an associates in doubled vocals and polyrhythmic drumming. Ghastly Menace, however, are the real deal and are deserving of far more than to be pigeonholed.

Their last EP Pitcarin was inventive, catchy, fun, and showed a depth of talent few Chicago bands can muster. Not to mention, they also recently had a track featured on NPR’s All Songs Considered. Not bad for a Suns side project. We recently caught up with Andrew Schroeder to discuss whether he cares about being called a sellout, their gear choices, and how they make a buck in this damn city.

LLP: Tell us how the band formed. What was your goal for it in terms of being a side project?

Andrew Schroeder: Ghastly Menace is a two-piece comprised of Chris Geick and myself. This project has been an experiment for us in trying to write pop songs. We grew up together listening to and playing music that was mostly inaccessible and got tired of playing to selective audiences. We wanted to make music that everyone could enjoy but was also honest.

What I mean about honesty is that a lot of times, in certain sects of music, when you say that you want to write pop songs, or songs that people will like, people will pull the whole “I only do this for me,” call you a sell out, etc. In some cases that might be true, but I just wanted to write songs that were cool and bit more accessible.

LLP: How does songwriting work in the band?

Andrew Schroeder: I am the main songwriter. They come together in parts. I’m always writing and recording fragments of songs: drum parts, vocal melodies, guitar riffs, etc. Then, usually at some point, there’s like that light-bulb-over-the-head and all of these pieces come together. The collaboration comes in after I record a demo of a completed song and show it to Chris. We talk about the song and he lets me know what works and what doesn’t work and then the whole process repeats until we’re both happy with everything.

Our inspiration comes from a late-found love for 60′s pop and an upbringing in post-hardcore. I think that our sound is deceptively simple. I like taking vocal parts that could easily be thrown to a standard 4/4 beat, four-chord progression and doing something a bit different with them (mainly in the rhythm section).

LLP: What kind of gear do you work with?

Andrew Schroeder: We use a Rhodes piano. We actually used that to track most of the bass parts on the EP. Guitars are run through a 70′s Fender Bassman. Our friend Mark gave us this Teisco electric organ that is broken but sounds amazing. Other than that our gear is pretty traditional.

LLP: Tell us about recording the EP.

Andrew Schroeder: A big idea going into this project was to write and record songs without limitations. We didn’t think about performing and that allowed us to experiment with a lot of layering of vocals and instruments. We also got to record in our friend Josh’s basement (“The Romper Room”) over the course of a few months for only a couple hundred dollars so we never had to watch a clock.

LLP: What do you and Chris do outside of music?

Andrew Schroeder: When I was nine years old I saw a man play “Somewhere Over The Rainbow” on the trumpet and some switch flipped in my head that hasn’t flipped back. Outside of music, I work as an accountant, sometimes happily. Outside of music, Chris is a very talented painter and photographer working in retail, unhappily.

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Catch Andrew Schroeder’s other band Suns at Reggie’s Rock Club next Wednesday, Oct. 5. Tickets are $8.

LISTEN: Ghastly Menace – “Stay All Day”

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The Walking Shadows

“Take Five” focuses on Chicago’s ever-growing music scene by giving you insight to the city’s best local acts via the best source possible: the artists themselves. Here is the latest installment featuring The Walking Shadows.

The Chicago music scene can surprise you. Tucked away on the show fliers bills you see posted in places like Myopic Books, a litany of bands-you’ve-never-heard-of are reaching out for the attention of the average concert-goer, who is usually only interested in the latest Pitchfork sensation or getting drunk to garage rock. There are few in the middle ground, actively seeking rare gems like The Walking Shadows, who are goth, glam, metal, and Shakespeare all rolled into one black package.

We caught up with mythic front man Craig Winston, who with an Elizabethan wit, 6-foot-plus stature, and jet-black hair is the obviously lead of this gloomy outfit. Winston writes the music and is joined by his equally imposing twin brother Mark Winston on keys (Craig also plays in Mark’s project Dead Superheroes Orchestra), Adam Hubbell on bass, and John Sturm on drums.

LLP: Tell us how the band formed and a bit about its history.

I moved to Chicago in 2008, the refugee of a failed relationship and the economic downturn in Portland, OR. I brought with me some songs, a guitar, and a laptop and from there started writing new music. I enlisted the help of Mark and Adam. We played our first show, under the name “Fire at Endsville,” on Metal Night at the Elbo Room. Our first release was “The Muse the Mute,” which Adam and I produced. We’ve gigged in Chicago, Milwaukee, St. Louis, Minneapolis, and Boston. Zim Zum, former Marilyn Manson guitarist, invited us to play the second gig at his club in West Chicago.

LLP: Why did you change the band name?

Craig Winston: I changed the name of the band just before we became a four-piece. “Fire at Endsville” just wasn’t sticking, so I alluded to Macbeth, kind of ironically, possibly because I love Shakespeare, and partially because “The Walking Shadows” sounds really cryptic.

LLP: What is the band like live? Where is it headed?

Craig Winston: (Former guitarist) Renee Serritella parted ways with us in May 2011 and as a result I’ve been playing both guitar parts simultaneously while singing at our shows. At first this was all a huge challenge, but we decided the four-piece sounds less cluttered and gave up the search for a replacement. All in all, we are drums, bass, synth (analog synth, piano, and electric piano), guitar (the only effect being a high gain tube amp), and my lead vocals with Mark’s backing vocals. We get a lot of sound with a very simple setup.

Over all this time, the band has been evolving; my songs have taken on a much darker, more aggressive sound, and a have become more technical. I kept using words like “pop” to describe us, as opposed to “hard rock,” “goth,” or “metal.” But at some point my roots started to show and we’ve gotten this sound that people now compare to Marilyn Manson, Danzig, and VAST. If I could describe just the sound, it’s melodic, doomy, and, very rhythmically driven. “Melancholic” is a good word for it, tragic, irrational, revolution, as well.

LLP: How did you get into music and what do you write about?

Craig Winston: I pretty much learned to play guitar from listening to Megadeth, and I learned to write poetry from Marilyn Manson and Ovid. I think we’re different because of our lyrics. I’m kind of obsessively poetic, and I use allusion more like T.S. Elliot does than Bruce Dickinson; if I make reference to Helen of Troy it’s not to sing about the Trojan war, but to tell my own, more fucked up version of the whole thing and let it function metaphorically, rather than just flexing my nerd muscles.

It’s very in for this kind of music to be tongue in cheek these days, but I kind of revel in the gross seriousness of these words. I intend to make people uncomfortable with what I say because I believe a lot of these ideas expressed are not unique to me. In the grand, rock star sense of things it might seem like shock rock, and that would be a desired outcome, but if you want to get academic about it the poetry should make you freak yourself out, you should find some of these monsters familiar.

LLP: What are you guys working on now?

Craig Winston: We are self-producing an EP called “The is not poetry…” We tracked the project in our rehearsal space in Chinatown and Adam and I are mixing it on our home computers. We did only a few vocal layers in post and a guitar layer here and there, but really tried to treat the computer like a tape machine. It is going to be a five songs. We hope to release this fall.

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Catch The Walking Shadows at the Red Line Tap this Sunday, Sept. 18.

The Walking Shadows – “The Muse, The Mute”

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