• • In stories that make you go “hmm” news, Gossip Wolf reveals that Chicago math rockers Del Ray have noticed a sales boost in Germany. Naturally, this can only be attributed to confusion with pouty pop temptress Lana Del Ray?
• • Brooklyn Vegan Chicago has some rad shots from last Tuesday’s Tortoise show at the Empty Bottle.
• • Gapers Block provide us with a wealth of photos in its review of Friday’s Los Campesinos! show at the Metro.
• • Gene Wagendorf of Windy City Rock discovers that even pounding sinus headaches accompanied by “orbs of phlegm” can’t stop a person from enjoying Yawn’s special brand of psych pop.

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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Whoa-ho-ho, there. Looking to rock out one more time before X-mas day? Here’s our abridged Holiday version of Weekend Diversions that’ll no doubt bring you yuletide cheer.

FRIDAY

THE BINGERS
They look like such nice young men… is what I assume many grandmothers say about Chicago trio The Bingers due to their penchant for dressing up in suits and ties. Despite all appearances the band has no problem getting down and dirty with super fuzzed-up garage rock. Also helping to bring back that swinging 60s garage pop style are LLP faves Magic Milk. When the local quarter are on the bill, shit is gonna get crazy. Rounding out this barn burner are protopunks Blue Eyed Jesus and spooky surf rockers Blizzard Babies. So many rad bands for so little money? It’s a Festivus miracle! (Audrey Leon)

8:00 p.m. Friday, 12/23. Beat Kitchen. 21+ $8.

GOLD MOTEL
There’s really nothing better than pop-rock done right, and that’s what exactly what Gold Motel do. The Chicago outfit has knack for crafting ridiculously catchy numbers that are powered by Greta Morgan’s soulful vocals and punchy guitars. Meanwhile, new wavey rockers Deserters will get you moving with their slick Phoenix-like numbers, and locals Chaperone offer an energetic take on rootsy indie-pop. PLUS! Bring a toy to donate to Toy For Tots Chicago and get $5 off any Gold Motel merch! Rock out and help out? Now, that’s rad. (Richard Giraldi)

7:00 p.m. Friday. 12/23. Lincoln Hall. All Ages. $12.

THE TEARS OF MUSIC AND LOVE
Featuring guitarist Dave Miller of the wonderful In Tall Buildings, who we just previewed yesterday, The Tears of Music and Love make their Bottle debut tonight. I admittedly haven’t heard any of their tunes yet, but word I’m getting is that they rock lush, languid soundscapes. Opening are melancholy indie rockers The Visitor, and Nashville post-rock outfit Fires. (Richard Giraldi)

10:00 p.m. Friday, 12/23. The Empty Bottle. 21+. $8.

1. Pulling from the denser side of Wilco, the dramatic side of My Morning Jacket and a bit of the pluckier offerings of Fiery Furnaces, Santah create big indie rock that’s nothing short of powerful. Their songs are littered and crevices and canyons of smooth bass lines, slick guitar moves, steady beats and soulful vocals. If you haven’t already, pick up their debut LP, White Noise Bed, and be sure to read our review here. LISTEN: “White Noise Bed”

2. Lead by Erik Hall, In Tall Buildings is no doubt one of Chicago’s best when it comes to alt-folk. Former LLP scribe Ross Meyerson may have said it best when he wrote that their debut was like, “the friend everyone – no matter how cynical or jaded you may be – needs to have around.” See, In Tall Buildings doesn’t give off that bland singer-songwritery vibe. No, their music is warm, comforting while not sacrificing creativity and instead offers a subdued nuance that at times is nearly thrilling. LISTEN: “Walking Man”

3. Elephant Gun, on the other hand, rock the quirky indie pop that definitely has hints of Americana. LISTEN: “Lightning Bugs”
And just in time for X-Mas, it’s The Island Of Misfit Toys! Whether they took their name from the Rudolph stop-motion telefilm is a moot point in late December, but what I do know is that this eight-piece create some very orchestrated folk-pop that traverses candy canes sweetness and is as black coal grittiness. LISTEN: “Taffy Apple Lifestyle People”

8:00 p.m. Thursday, 12/22. Lincoln Hall. 18+. $8.

The War on Drugs

Three smoke-’em-if-you-got-’em reasons to hit up Lincoln Hall tonight…

1. Philadelphia indie rockers The War On Drugs may not be from Chicago, but the outfit is certainly reminscient of local Americana-rockers Wilco with its penchant for alt-country rhythms. Frontman Adam Granduciel takes from plenty of influences including Bob Dylan and even the spacey tones of shoegazers My Bloody Valentine to create a sound you never knew you wanted to hear, synth-folk. WATCH: “Baby Missiles.”

2. London’s Still Corners pair nicely with The War on Drugs due to the band’s dreamy psychedelic soundscapes mixed with ambient noise and twinkling organs. It’s like sitting in church with Spirtulized’s Jason Pierce’s delivering the sermon.
LISTEN: “Cremona.”

3. Last but not least, there’s Philly quartet Arc in Round. The group weaves sweeping synthesizer notes with trippy back beats and noise to make enchanting, dark pop compositions.
LISTEN: “Time Spent.”

9:00 p.m. Wednesday, 12/7. Lincoln Hall. 18+ $14.

Let’s rock and roll, hoochie koo.

FRIDAY

THE CELL PHONES
It’s hard to believe that the Yeah Yeah Yeah’s Fever to Tell has been around for nearly a decade. The chaotic art punks, led by outrageous front woman Karen O, set a new standard, and one that Chicago dance punks The Cell Phones seem to embrace. The trio rattle off hard-charging grooves with ease; all the while led by an extremely charismatic lead singer who can belt it out with the best of them. Also appearing tonight are blistering psych-rockers Rabble Rabble, who are always enjoyable; garage rockers White Mystery headline. (Audrey Leon)

10:00 p.m. Friday, 12/2. The Hideout. 21+ $10.

SATURDAY

RUSSIAN CIRCLES
It probably doesn’t get more epic than Chicago prog-metalists Russian Circles. The band is doing a victory lap after releasing its latest album Empros, which, as our editor Richard Giraldi stated last month, crushes. The band promised “its heaviest album to date,” but it got more complex than that. Russian Circles didn’t do away with melody, but they became more efficient at bringing forth destructive, hypnotic compositions while also giving way to life’s more serene moments. Eerie post-metal outfit Anatomy of a Habit, and Louisville, Kentucky, noise rockers Young Widows open the show. (Audrey Leon)

10:00 p.m. Saturday, 12/3. Lincoln Hall. 18+ $15.

THE LIFE AND TIMES
The Life And Times sure know their way around a fretboard. The Chicago post-rockers’ dense and swirling guitar attack is nearly cinematic, and yet they manage to not sound overblown via moody tones and spacey tendencies. Add to the fact that their live show is usually an ear blistering occasion that recalls the power and intensity of My Bloody Valentine, and you just might call the Life And Times a sure bet. Opening are Office Of Future Plans and All Eyes West. (Richard Giraldi)

9:00 p.m. Saturday, 12/3. Beat Kitchen. 17+. $12.

MANNEQUIN MEN
Has anyone else noticed a parallel between Mannequin Men and the 2011 Chicago Bears defense? A little bit older, a little bit wiser and yet they’re still playing at the top of their game. But unlike hard sacks and athletic interceptions, Mannequin Men beat the opposition because their latest self-titled LP is full of infectious hooks coupled with jangly guitars antics. And they really prove that maybe the best approach is always the simplest. Locals Vee Dee open the show with their gritty blue collar psych blues. (Richard Giraldi)

9:00 p.m. Saturday, 12/3. The Hideout. 21+. $10.

SUNDAY

MISSING MONUMENTS
Missing Monuments mastermind King Louie Bankston is a garage rock veteran, first starting out only for 25 years ago; in that time, he has played with The Persauders, The Exploding Hearts and even manned the skins for Jay Reatard. His new venture Missing Monuments dips its toes into the cooling waters of country-fied power pop. It’s not far from the mellowness of Cheap Trick, but it’s got a beat and you could dance to it. Also appearing tonight are swinging Chicago throwback rockers Tyler Jon Tyler and Lover!’s frontman Rich Crook. (Audrey Leon)

7:00 p.m. Sunday, 12/4. Empty Bottle. 21+ $3.

M83 at Lincoln Hall – Chicago, IL – 11/17/2011 from Craig Shimala on Vimeo.

Anatomy of Habit’s self-titled debut might be the most un-metal metal album I’ve heard. In fact, calling it metal is probably a stretch. What it is, however, is a dark, moody and often haunting record that culls together a variety of sounds of the psychedelic, ambient and industrial sort. And that unwillingness to be boxed into a particular genre or any kind of strict categorization works to make Anatomy of Habit a bold and compelling debut.

A warning for fans of the four-minute single: You won’t find any here. No, Anatomy of Habit‘s two tracks, “Overcome,” and “Torch,” are both over 15 minutes long and are obtuse and difficult on the surface. But further investigation reveals much more as vocalist Mark Solotroff’s (of Bloodyminded) terrifying croon slash spoken word weaves its way through a sea of noisy percussion and droning guitar work.

“Overcome” opens like a predator stalking its prey – slow but sly and careful. Solotroff’s monotonic vocals hover over the clinky rhythms and repetitive, warbling guitars. A slight variation that includes eerie guitar picking takes hold until shortly after six and a half minute mark as menacing, grinding riffs pummel for a short moment as if the predator attacks. But the piece simmers down shortly thereafter. Finally, the real build up begins with a scratchy, distorted seque that leads to the song’s prog-metal coda.

And speaking of animals, Anatomy of Habit‘s second piece, “Torch,” is a different one altogether. It begins with a bleak hum filled with abstract cymbal play, which takes on a terrifying feel as demented ramblings about flesh, sternum and lungs seeps in. The trudging tempo gets more power via slow-burn fuzzy guitars before the chugging metallic riffage finally takes center stage. The song eventually breaks down again into a cacophony of demonic howls and bone rattling beats.

Yes, Anatomy of Habit isn’t the year’s most sunny album. In fact, it’s quite the opposite. But the moody tension and and sense of horror the band creates is extremely impressive. There’s no doubt that Anatomy of Habit have crafted one of the year’s most intriguing debut LPs from a Chicago band.

Download Anatomy of Habit at the band’s Bandcamp.
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ANATOMY OF HABIT
10:00 p.m. Saturday, December 3
Lincoln Hall, 2424 N Lincoln Ave
18+. $13 advance/$15 at the door.
Tickets available at Lincolnhallchicago.com.
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The event, which takes place from Wednesday, January 5, through Sunday, January 11, goes down at a number of top Chicago venues including Lincoln Hall, Schubas, Metro, Smart Bar and the Hideout.

The initial lineup as always brings together some excellent indie talent from both the national and local level. At a glance, highlights include moody folk rockers The Walkmen (who will play at the Metro on Saturday, January 14), electro-pop duo Chairlift and alt-rockers Grouplove.

Other announced acts include Tycho, Active Child, Caveman, Nadastrom, Craig Richards(Fabric), Kate Simko, Mr. Saturday Night with James Friedman and Only Children.

More acts will be announced soon including a comedy lineup at the Hideout, which is new for 2012.

Five-day passes for Tomorrow Never Knows go on sale this Friday at LincolnHallChicago.com at a price of $100. And get all additional information at Tomorrow Never Knows’ Facebook page.