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

BIGCOLOUR

BIGCOLOUR separate themselves from the garage-pop pack with crooked howls that someone manage to end up more akin to motown soul and doo-wop 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

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!

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: Cartoon Paper Cup

8:00 p.m. Tuesday, 4/17. Lincoln Hall. 18+. $8 Adv/$10 Door. Purchase tickere here.

It makes complete sense that at their New Years Eve show at the Empty Bottle this past January that Disappears played a set that featured new songs and a number of covers from bands such as Joy Division, New Order, David Bowie, Suicide and The Stooges. Their latest release, Pre Language, finds the band at their strongest in terms of songwriting. Each track is distinct in mood and feel – much like the aforementioned bands – and finds the Chicago noir-rockers putting more stock into their tones, textures and nuances, which results in their best record yet.

On their 2011 release, Guider, Disappears jammed hazy and often hypnotic tunes that featured garage-y grooves and concluded with an epic 15-minute take, “Revisiting.”

This time around, the band has upped the production quality, and Pre Language offers up a sharper sound – one that feels as though both the rhythm and Jonathan van Herik’s reverb-laden lead guitar are popping out of the listener’s headphones slash speakers as if the band was playing inches from your face.

Add to that Steve Shelley’s uber-tight snare and bassist Damon Carruesco’s syrup-thick bass, and every track on Pre Language becomes an event in it’s own right. Each of the nine songs feels like a dynamic statement that draws from the band’s musical inspirations.

Opener, “Replicate,” hangs on a simple rhythm but really pops thanks to hammer-like snare play. The guitars eek in and out during the verses until the chorus brings forth a swell of riffs. “Hibernation Sickness” finds Disappears delving into some punk-like leanings with opening Who-like chord strikes, and “Love Drug” is a dark, post-punk affair accentuated by two-note creeping guitar and an off-kilter drum beat that sounds as if it were from a completely different song before pulling together and launching into a psychedelic jam near its conclusion.

At the center of the record is “Joa,” a hulking, groove-driven number that no doubt ranks among Disappaears’ best yet. The song manages to be both collected and wildly intense thanks to lead singer Brian Case’s haunting screeches during the verse that occasionally recall The Fall’s Mark E. Smith.

Like all of Disappears’ previous efforts, Pre Language has a central thematic element at play all the way through, this time being love. But don’t be fooled. While the lyrics do hang on the fringes of the concept of love, you won’t find the band uttering “Baby” or “Girl” to a ballad or smooth sax anywhere.

Pre Language simply finds Disappears reaching into their vast bank of classic, psychedelic and krautrock influences and giving us their best shot at recreating tunes that shaped them as musicians. Luckily, they did just that and deliver a record that sounds incredible, feels fresh and rocks hard.

Purchase Pre Language on LP or CD at Kranky.net.

Disappears – “Replicate”

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DISAPPEARS
10:00 p.m. Friday, April 13.
Lincoln Hall, 2424 N. Lincoln Ave.
18+. $12 or $14 at door.
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The song is eerily beautiful, especially with the haunting, child-like layered keyboard work. As in Atreyu’s “The Theft” or Cage the Elephant’s “Shake Me Down” (two very different tracks from two undoubtedly very different bands), Northpilot joins the ranks artists who have successfully created music that inexplicably reaches into your heart, grabs hold and refuses to let go.

Imagery describing warmth, comfort and security, coupled with the jaunty keyboard beat of the first half of the song—which wouldn’t be out of place at a child’s birthday party—seems indicative of youthful innocence. In contrast, the militaristic drum beat that propels the second half of the song forward and the lyrical expressions of the cold, the dark and storms evoke the classic literary theme of the fear of adulthood à la J.D. Salinger’s The Catcher in the Rye. Listen to “Maps and Dragons” below:

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NORTHPILOT
8:00 p.m. Wednesday, April 25.
Lincoln Hall, 2424 N. Lincoln Ave.
18+. $7.
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Hey look! We’re throwing a super cool show with Summer Girlfriends, BigColour, Magic Milk and Swimsuit Addition – all of whom were on our 12 Chicago Bands To Watch In 2012 – at Lincoln Hall on Tuesday, April 17! That’s like…eight days away. Whoa!

So you better grab tickets now over at Lincolnhallchicago.com for $8 (that’s $2 a band!) or just dish out $10 (that’s $still only like 2.50 a band!) at the door. Oh, and student in the area? Well, this one’s 18+ cause the kids are alright. Don’t be late either cause the rock kicks off at 8:00 p.m. And be sure to RSVP at the Facebook event page!

Local lineups don’t usually carry this kind of firepower, but we’re pulling out all the stops to make next Tuesday night one for the ages. And if you need a little pre/post ticket purchasing entertainment, check out this recent, and ridiculously awesome, live performance from Magic Milk (via GonzoChicago):

Cursive

Three cheers for the weekend! After a scorcher of a week, we’re in for a nice (slight) cool front. But it doesn’t get any cooler than this weekend’s lineup. Sure, that was a lame segue, but it doesn’t make the statement any less true.

We’re highlighting sweet shows featuring such artists as Blizzard Babies, Radar Eyes and Cursive.

C’mon ride the train…

FRIDAY

BLIZZARD BABIES
I’m a lady. And ladies love the rock. It’s true. Chicago’s Blizzard Babies pump out some great minimalist punk tunes. The quartet revisits the ghosts of riot grrl, punk and even surf rock on its self-titled debut. Also on hand for this shingdig are New York’s Xray Eyeballs who blend the thick, rumbling bass and scratchy guitars that are commonplace with most garage rock acts with the fun sneer of synthpop so effortlessly, I’m jealous I didn’t do it first. Headliners Magnetix bring their oh, so sexy, French fuzz and sludge version electro-rock. (Audrey Leon)

10 p.m. Friday, 3/23. Empty Bottle. 21+ $8.

SATURDAY

NIGHT BEATS
Seattle’s Night Beats bring back a funky classic psych-pop sound that comes equipped with squeaky-clean guitar solos and hazy vocal harmonies. It’s all wavy gravy. Also appearing tonight are Chicago rockers Radar Eyes, who just released their long-awaited debut album. You shouldn’t miss their catchy pop tunes, which are lovingly wrapped in thick walls of fuzzy distortion. Opening the show is local punk trio Sore Subjects. (Audrey Leon)

10 p.m. Saturday, 3/24. Empty Bottle. 21+ Free w/ RSVP or $8

SUNDAY

CURSIVE
If you follow my writing for LLP with any regularity, you could venture a guess that I love all things Tim Kasher. And that’s pretty accurate. The moody indie rockers have just released its seventh album I Am Gemini. The band has always done an amazing job of pairing beautiful soundscapes (strings, horns, etc.) with the grotesque (bitter lyrics, roaring guitars, crashing drums). Kasher is a quirky guy. Also appearing are soothing alt-rockers Cymbals Eat Guitars [see below] and dreamy Omaha rockers Conduits. (Audrey Leon)

8:00 p.m. Sunday, 3/25. Lincoln Hall. 18+ SOLD OUT.

CYMBALS EAT GUITARS – Epitonic Session
New York indie rockers Cymbals Eat Guitars are the bastard sons of Pavement and early Smashing Pumpkins, you know back when Billy Corgan was just beginning to change the world. The group is intriguing due to its zero-to-60 mood changes. Cymbals Eat Guitars can be both sparkling in its sleepiness and both blistering in its alt-rock intensity. You never know what you’re going to get and that’s probably for the best. Also appearing are Chicago psych-poppers Secret Colours. (Audrey Leon)

2:00 p.m. Sunday, 3/25. Saki (3716 W. Fullerton Ave). All Ages. Free!!!

Minor Wits

1. Arlington Heights trio Minor Wits specialize in snappy indie rock of the nerdy, variety. The hallmarks of early-to-mid 90s alt-rock are present with the band’s penchant for screechy guitar riffs and endearing harmonies. Minor Wits is Nada Surf, Weezer and Superdrag all rolled into one bouncy pop entity that comes topped with a bit o’ Midwestern twang and swagger. Twagger, if you will. LISTEN: “Won’t You Wait in Line?“

2. In the event that you needed a soundtrack to this early Spring warm-up, look no further than Chicago husband and wife duo The Halamays. The group bursts forth full of sun rays that blast away winter blues with fun, breezy synth pop tracks from its most recent EP This Boring Party. Plus, The Halamays promised to play two new songs at Lincoln Hall, you won’t want to miss it. LISTEN: “Sun Goes Down“

3. It’s not every day that you come across a band that calls itself “New Age Folk” but Chicago quartet The Cyclist, did just that. Fear not, this isn’t Yanni with an acoustic guitar. The Cyclist walk down a more moody indie rock path ala Bright Eyes, although way less manic, and Bon Iver. LISTEN: “Emily’s Song“

8:00 p.m. Wednesday, 3/14. Lincoln Hall. 18+ $7.

polica

1. Minnesota is well represented tonight. Minneapolis’ own rising indie darlings Polica delight with thumping bass, double drum theatrics, and lush, autotuned vocals. The quartet’s tasty electronic R&B flavor more than makes up for the omission of electric guitars on its debut album Give You The Ghost, which was produced by Gayngs’ Ryan Olson.
WATCH: “Lay Your Cards Out“

2. Polica drummer Ben Ivascu and Gayngs frontman Ryan Olson partnered together on a noise-core side project Marijuana Deathsquads. Keeping it all in the family, the outfit has included contributions from other Minneapolis natives such as rapper P.O.S. and Har Mar Superstar. Marijuana Deathsquads has a certain drum and bass feel thanks to its use of multiple drummers, synths and samples. WATCH: “John Cage Match“

3. That ol’ rascal Ben Ivascu is pulling not only double, but triple duty tonight on the drum kit with his other other project Total Fucking Blood. TFB sounds pretty much what one would expect. Total Fucking Blood is a mixture of tortured blood-curdling screams and growls accompanied by a mix of machine gun-speed drum beats, a symphony of cymbal crashes and meaty guitar riffs. LISTEN: “NecrobioticApocalypse Chaser“

9:00 p.m. Wednesday, 2/29. Lincoln Hall. 21+ $12.

• • 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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