By ERIC SCHELKOPF Chicago musician Chris Connelly has lent his unique musical vision to such bands as Ministry and Revolting Cocks.
Now Connelly has formed Sons of the Silent Age with drummer Matt Walker. Joined by guest vocalist Shirley Manson of the band Garbage, Sons of the Silent Age will perform the songs of David Bowie on Jan. 11 at Metro, 3730 N. Clark St., Chicago. The show will benefit the Pablove
Foundation, an organization dedicated to funding pediatric cancer
research and to the empowerment of the families of cancer victims.
Also on the bill will be the Waco Brothers playing the music of T. Rex and Death on the Autobahn playing the music of Kraftwerk. The all-ages show starts at 7:30 p.m., and tickets are $20 in advance and $25 at the door, available at www.metrochicago.com.
I had the chance to Connelly about a variety of topics, including what he thought of the Chicago music scene.
Q - Sons of the
Silent Age sounds like a great project. How did the idea come about? How
did you go about choosing what David Bowie songs to perform at the
benefit?
I was working with (drummer) Matt Walker on one of his tracks,
contributing vocals, and I mentioned that it put me in mind of David
Bowie; not any particular song or sound, just the feel of the track. A
few days later I asked him why we'd never played [Bowie’s] music
before-we love it and are very intimate with it, [so] it seemed like it
would be great fun.
Q - How do your think your music over the years has been influenced by David
Bowie? Is Sons of the Silent Age just a one-time project for the
benefit or can we expect more from the band in the future?
In many ways-on one level, melody, lyrics, phrasing, and on another
level, change: how to challenge an audience and still sound
commercial...I've tried all these things; I just never sold any records! I would like to carry on with this project - I think we ALL would; we
have/are putting a lot of work into it, and it's great fun!
Q - You have said that you spent most of the '90s wondering what to do with
your career. Are you happy with the current direction of your career?
Which do you prefer, writing music or writing books? Or do you need both
in your life?
I am happier now because I have learned where to keep my past-the stuff I
did in the '80s/early 90s which I spent so much of the mid to late '90s
trying to disown! Now it has gained some respect from a lot of people
whom I respect musically too. As far as the music I make now, I wander
far and wide; I am exploring a lot of different sounds - I wish I had a
little more time, but I am compelled strongly, so I make time! Books are
hard; I have had one sitting dormant (i.e. not finished) for a few
years now, but I think it's a good story: just how to get it on to
paper, I find records a lot easier to make
Q - How do you think the current Chicago music scene compares to when you
first arrived here? Is it as creative? How do you think Chicago's scene
compares to other parts of the country?
Right now, at this minute, I'm afraid it seems a bit stale. I don't know
why; there maybe just are not any exciting bands in my immediate view. I
usually wait until bands hit me in the face; I don't actively search
for them. However, I could say that for the entire current climate. If
you'd asked [me] that about a year ago, I would have said different, but
it will change again. I'm not one of these older musicians who
complains that nothing is good any more. I am constantly inspired.
When I
first got to Chicago, I was in a bit of an industrial/Euro-dance
bubble, but I was soon introduced to a lot of exciting things musically
and indeed culturally; people working together in giant loft spaces,
making films, sculpture and experimental music!
Q - Is is easier or harder to be a musician these days? What advice would you give to an up-and-coming band?
It's always going to have it's challenges, isn't it? But if you want to
do anything creative, rather, if you are compelled to, then you will
find a way, it is as hard now for me as it was when I was playing to
nobody with the Fini Tribe back in 1983, but I chose a pretty
unconventional path [and] still do. What I will say is at least you can
make decent sounding records at home without having to pay for studio
time; that was always a big problem.
By ERIC SCHELKOPF Chicago musician Todd Kessler has had quite a year. Along with releasing a new CD with his band, The New Folk, www.thenewfolk.net, Kessler made an appearance on the music reality show, "The Voice." The
New Folk will perform Jan. 4 at Lincoln Hall, 2424 N. Lincoln Ave., Chicago. Vintage Blue and Tree also are on the bill.
Kessler will also be hosting a month-long residency at Uncommon Ground, 3800 N. Clark St., Chicago,
with the following guests:
Wed, Jan 9 - Tom Schraeder
Wed, Jan 16 - Miles Nilesen
Wed, Jan 23 - The Lims
Wed, Jan 30 - Shuma More information is at www.uncommonground.com.
I had the chance to Kessler about his current activities.
Q - It seems like this has been a banner year for you. Has this year been bigger than you ever imagined?
Going in to 2012, there were three big things that I knew were going to
happen: I was turning 30, my album was going to be finished and I was
cutting off my dread locks. But I never would have thought that those
things were going to be outdone by being on national television. I had
been working on my album for almost two years, knowing that my dreads
(which I had for 12 years) were coming off when it was done, so clearly
I'm not one to jump in to big decisions slowly. But then I decided to
try out for "The Voice" only a few weeks before the audition.
Q - Of course, your band, The New Folk, recently released its debut album,
"Sea Fever." In sitting down to make the album, what goals did you have
and do you think you accomplished them? When
first sitting down with producer Manny Sanchez, we talked a lot about
making sure this album was going to be radio-ready — that was something I
feel I hadn't had from my previous albums. Also, I wanted to expand on
the sound that I had previously achieved in the studio, opting for a
more pop approach to the songwriting and production, and I feel we
achieved those things.
Q - How do you think the band has evolved since its formation? Where do you see the band fitting into the Chicago music scene?
The band has evolved quite a bit since we started in 2007 as a quartet.
Bob Parlier, Graham Burris, Sam Smiley and I first got together when I
needed musicians for an EP I did in 2007, which led to another EP in
2008. From there, we started playing shows. Then, in 2008, when in the
studio I added a second vocalist and strings and horns to our sound [it]
increased the size of the band from 4 to 9, and we played as a 9-piece
for two years until we began recording "Sea Fever." The band has evolved
once again as our original guitarist Sam Smiley has moved away and in
lieu of strings and horns for every show, we've added Chris (our former
Cello player) on guitar and Shane (who engineered the album) on guitar
and keys.
The music scene in Chicago is similar to Chicago itself in that there
are so many different music communities within the scene as a
whole—similar to the neighborhoods of Chicago—that fitting in is
somewhat a relative thing. I describe our sound as
“Alternative/Folk/Pop” and we have done really well at clubs that
showcase those styles, such as Lincoln Hall, Schuba’s and Double Door.
Q - You will be hosting a month-long residency at Uncommon Ground in
January. Was that another goal of yours? What do you think of the bands
you will be supporting?
I actually hosted a similar residency at Uncommon Ground back in 2008, so
it was something I wanted to return to. I have been playing at Uncommon
Ground since I started out in 2005 and have formed a really great
relationship with the club and the owners. It had been a while since I
played there so I thought it would be a really nice thing to do,
especially in January since it will be cold outside and Uncommon Ground
has such a warm and intimate atmosphere.
All of the artists joining me are friends of mine who I've done shows
with in the past and each night is going to be something different.
We're going to have Tom Schraeder, Miles Nielsen, The Lims and Shuma.
Q - I understand friends convinced you to audition for "The Voice." Were you
satisfied with how far you went on the show? What did you learn from
the experience?
That's right. When the first season of the show ended, I had two friends
tell me about it and that I should try out for the second season. I had
never seen the show, so I caught a couple of reruns and thought it was a
really cool concept. So when the auditions came through Chicago I
decided to go for it. I made it through a couple of call backs, but
ultimately did not make the show. But I decided to watch from the
beginning of the season to see what it was really all about. I ended up
loving the show and when I heard season three auditions were coming back
through Chicago I decided to go for it again.
Actually, at first I
wasn't sure the timing was going to be right as I was not completely
finished with "Sea Fever," but ultimately decided that it was too big an
opportunity to pass up.
Obviously I would have liked to make it a bit further on the show, but I
really wouldn't change anything about the experience. I learned so
much and made some great friends in the process.
Q - What made you want to cut your dreadlocks and do you ever have second thoughts about the decision?
I do occasionally miss my dreads but cutting them off was something I
just had to do. When deciding to go in to the studio to record "Sea
Fever" I had already made the decision that I was going to cut my hair
when the album was complete and what really solidified that for me was
when Manny Sanchez (the producer) said to me on the first day of tracking,
"You know when this record is done you have to cut you hair, right?" I
was kind of shocked when he said that; I thought "how did you know?!"
But what it came down to was new beginnings. The making of this album
was a departure from everything I had ever done with my music in the
past, from the songwriting to the production. Really the only logical
thing to make the transformation complete was to cut my dreads.
Q - Are you already seeing more fans because of your appearance on the show?
How do you think the show compares to other music reality shows? What
advice would you give to someone auditioning for a music reality show? Yes,
I had a big surge [of] fans on Facebook and Twitter when my episodes
were airing and have had people recognize me at gigs and around town. Even now that my run on the show has been done for a number of weeks, I
am still getting new fans sending me messages that they saw me on the
show and they love my voice and my songs. It's been a really humbling
experience.
The biggest reason I tried out for "The Voice" was because it is so
different from the other music reality shows out there. I've watched a
couple of seasons of "American Idol" throughout the years and never wanted
to go that route. But as soon as I saw "The Voice," I knew it was
something I wanted.It has a different vibe than the other shows and it
is a much friendlier environment for real artists, as has been shown by
my good friend Nicholas David making the finals this season.
I've already spoken to a number of people who have approached me about
auditioning and I tell them all the same thing: "Be yourself." What the
show is looking for is artists that have a good idea of who they are and
what kind of music they want to make, so it's really important to go in
to the audition and show them that.
And on the show that is something
they said to us a lot, "just do you."
Q - What are your short-term and long-term goals? My
short terms goals are to obtain representation in the form of
management and booking. The exposure I got being on "The Voice" has been
huge so I'm looking for a team of people to help me really capitalize on
that. Long term, I would like to make my music full time. Right now I
also teach, and although I love what I do, I'd like to be able to focus
on my music and make my whole living on playing shows and writing .
On her new EP, "X Number Of Days,"Deanna Devore's intoxicating voice floats above a hypnotic blend of electronic beats and acoustic guitar. Her unique musical vision has led her to work with the likes of drummer Matt Walker, known for his work with Filter, Smashing Pumpkins and Garbage. Devore will perform Jan. 10 at Schubas Tavern, 3159 N. Southport Ave. Chicago, as part of a CD release party for "X Number Of Days." The Loneliest Monk and Leslie Hunt also are part of the bill. The show starts at 8 p.m., and tickets are $8, available at www.schubas.com. I had the chance to talk to Devore, www.deannadevore.com, about the new album and her influences.
Q - What goals did you have for the album and do youthink you accomplished them?
I wanted to make an album that
accurately represents the current sound I am going for. One that is a mix of
electronica and real instrumentation. Some songs are more electronic and synth
driven, while others are more acoustic guitar driven. It was hard to find a
balance of both without feeling that one was lost over the other, but I think I
achieved it and I’m happy with the end result.
www.soundcloud.com/deannadevore/i-tried Q - What made you want to move from Toronto to Chicago? How does the
Chicago musicscene differ from the one in Toronto?
I came to Chicago purely for the
purpose of recording with a producer/engineer back in 2006. I had never been
there before and over the course of about six months I met a lot of musicians
and really took a liking to the city.
Toronto, like Chicago, is a great
city. Now, I haven’t spent too much time being a part of the Toronto music
scene since I’ve been in Chicago for a while, but from what I gather, Toronto
has a big indie/rock scene. And I feel that Chicago has more of folk/Americana
type of music. That’s not to say that either city doesn’t have other types of
music, but when I hear music from a lot of Chicago artists, they seem to fall
more into that category.
Q - Do you think the success of Canadian bands like Arcada Fire has
spurred newinterest in bands from Canada?
I think there’s always been a lot of
talented artists coming from Canada, but many of them don’t “break into” the
American market, which is unfortunate. Arcade Fire is one of those lucky bands
that made it. And with that came a huge wave of Canadian indie music like Broken
Social Scene, Metric, Feist, etc., breaking through as well. There became abit of an
indie revolution, so to speak.
Q - I understand that your interest in Brazilian music comes from
your dad. How doyou think your parents have influenced your music? What were
your goals instarting out as a musician?
A lot of people have a hard time
pinpointing the genre of my music, which can be a good and bad thing. I think a
lot of it has to do with the music I grew up with. My parents wanted me to be
exposed to many different types of music and I think they are a big reason why
both my taste in music and the music I write is so diverse.
As far as my goals in starting out
as a musician, I was a musician at a very young
age. I wrote and played instruments when I was a kid and just loved writing for
the sake of writing. I would sit down with a guitar and write a song without
any sort of idea or goal in mind. Of course I wanted to grow up and be
successful, but I think there was a sort of innocence and “love for the music” I
had when I started out.
Q - How was working with Matt Walker and what did the experience
teach you?
Matt only played on one of the songs
on the last album. He’s not just a fantastic drummer, but an all around great
guy - very approachable and easy to talk to. It was great to work with someone
who has played with so many successful artists, a very humbling experience.
Q - Where do you see yourself fitting into the Chicago music scene?
What are yourshort-term and long-term goals?
I think my music can be seen as
different stylistically compared to a lot of other artists coming out of the
Chicago music scene. But what is great about the Chicago music scene is that it is
very accepting of diversity. You can be paired up with other artists on the
bill that aren’t similar sonically and everyone is still really receptive. I’ve
had great feedback in Chicago.
My short term goal is to have a
successful EP release show in Chicago. Good turnout, press, reviews, etc. It’s
been a couple of years since I’ve released something, so I really want to push
this new album. With that said, the long term goal would be for this album to
hopefully reach a broader audience. Lots of marketing, which does seem like the
hardest part of being an artist. Creativity comes easily, the business side,
not so much. I’d love to do more extensive touring in the hopes of promoting this
album and just really try to get my name out there.
Chicago band Penthouse Sweets delivers the musical goods in electrifying fashion on its latest album, "It's Fine It's Fine It's Fine."
The power pop band, comprised of Andy Hansen on lead vocals and guitar, Lou Hallwas on guitar/vocals, Eric Chial on bass and Adam Yoffe on drums, combines catchy melodies with punched up pop rock to make an album sure to appeal to all music lovers.
Penthouse Sweets will perform Jan. 4 at a CD release party at Schubas, 3159 N. Southport Ave., Chicago. Warm Ones and The Safes are also on the bill. The show starts at 9 p.m. and tickets are $10, available at www.schubas.com. I had the chance to talk to Hansen about the making of the new album.
Q - Your
new album, "It's Fine It's Fine It's Fine," was recorded in the
basement of a house. How was that experience and what do you think it
added to the album?
Actually
it wasn't recorded in our basement. Lou and I have been
living in the house depicted on the cover and practicing in the basement
for five years now.
It's been like a clubhouse sorta deal and some of its
quirks and personality have rubbed off on us and the music. That's why
the art has been so focused on the house.
But we actually recorded the
album in a proper studio. Maybe we'll do the next one in the basement.
Q - What were your goals for the album and do you think you accomplished them?
We didn't really have any goals beyond capturing the batch of tunes we had as well as we could. Yea, I think we did that.
Q - How
has the band transitioned since the departure of your keyboard player?
How do you think the band has evolved since first forming in 2002?
There's
a lushness/fullness that you can achieve with a keyboard player that
you can't get so easily without one. I miss that sometimes, but mostly I
don't.
With less dudes playing, everyone's part becomes more
important...so you can't hide behind stuff and your part's gotta be
good. I miss playin/hangin with Eric (Quinlan - keys) though. Great dude.
He came up with the album title when, in response to something (don't
remember what), he banged thrice on a snare drum, while declaring
"ITSFINEITSFINEITSFINE". Plus it's easier to wrangle four guys for a
practice or a show.
We
started when our previous band, The Dorks, broke up. We wanted to get away
from the pop-punk kinda stuff we were doing in The Dorks, and into more
varied material.
Lou got on board and helped widen the scope. It's
evolved with the departure or addition of people...everyone brings their
own style and personality...and changes the shape a bit.
Adam is
newest, he came on board over the summer and I'm psyched to see where
things are headed with him when we really get down to writing new
stuff.
Q - What is the meaning behind the band's name? Any reference to 1970s glam rock band Sweet?
No real
meaning. It was just slightly better than the other possible names we
had scribbled down at the time. I don't know Sweet too well.
Q - The
Chicago area has also produced such power pop bands as Cheap Trick and
Shoes. Do you consider those bands influences? Who are the band's
biggest influences?
Not
so much for me, but Lou is pretty into Cheap Trick and Material Issue.
He played 2nd guitar in a recent reunion of remaining (R R
R....alliteration!) Material Issue members.
Influences are different for
each of us, but we come together on the classics, Neil Young and The
Stones probably being the biggest ones.
Q - What the band's short-term and long-term goals?
Personally,
I just want to get more stuff done. More songs written and more records
put out.
Our approach to the band for most of it's history has been
pretty casual - an excuse to hang out, drink and play. Which is great,
but we don't have a very extensive discography to show for it.
By ERIC SCHELKOPF While no one would mistake The Bright White frontman Matthew Kayser for being Santa Claus, he is trying to do his part for making this holiday season a little brighter for those who are economically disadvantaged. For the second year, Kayser is organizing "Warm, Safe and Sound," a concert and clothing drive that will be held Dec. 20 at Schubas Tavern, 3159 N. Southport Ave., Chicago. The concert will feature Chicago band The Bright White along with several other acts, including Panda Riot, The Second, Panther Style and Adam Ashbach. The show starts at 7 p.m. and tickets are $8 with the donation of winter gear for the needy, available at www.schubas.com. I had the chance to talk to Kayser about the benefit. Q - This is the
second year of the "Warm, Safe and Sound" benefit. How successful was it
last year? What made you want to put it together?
I was inspired to do this type of show a few years ago when I lived in
New York City. Homelessness and poverty are also rampant there, and
their potential risks are made even more obvious during the harsh winter
months. We'd all love to provide shelter for those who need it, but
that's not always possible. We do, however, have other excesses. Everyone I know has more than enough clothing, so giving some of it away
is a practical solution to the problem. After moving here, I decided to
do a Chicago version of Warm, Safe and Sound, and was fortunate enough
to find several people who supported the concept. Last year's show was
very successful. We gathered close to 200 clothing items that helped
dozens of our fellow Chicagoans. We hope to do even better this year.
Q - How did the other bands come aboard? Did you handpick them or did
they want to get involved anyway? That says a lot about the local music
scene that so many bands would want to get involved in this benefit.
Since it's still a new event, this year's bands did not know about it
until I approached them. But their response was overwhelming. Their
enthusiasm and willingness to participate is quite inspiring. It does
say a lot about the Chicago scene that I had to turn down several of the
bands I originally invited because the response was so positive. I had a
number of bands in mind who would help make Warm, Safe and Sound an
amazing bill, and was lucky to have all of them join the lineup. I could
probably put together another show with all the bands that expressed an
interest.
Q - I understand this will be the band's last show for a while. What will you guys be doing while the band is taking a break?
The Bright White will be waiting a few months to do our next Chicago
show, but we hardly view it as time off. We have shows lined up in
Nashville, Indianapolis and throughout the region as part of our plan to
build a buzz in the Midwest. We think it's wiser to not over saturate
our home market here in Chicago, so we are going to perform here every
three months or so. In addition to performing regional shows, we'll
continue to write and release new music and build our online presence. We're genuinely excited about what 2013 has in store for us and the
Chicago music scene.
Q - It's been a busy year for the band. Do you think the band accomplished all it wanted to this year?
This year has been very productive for us. We achieved the two biggest
goals we had, which were to write, record and release an entirely new EP
and introduce ourselves to new markets. We released our second EP, "Lose
Yourself," a few months ago and performed well-received shows in
Nashville, St. Louis, Cleveland, and other cities. The goal now is to
build on that momentum while playing important and smart shows here in
Chicago. Warm, Safe and Sound is definitely the type of meaningful show
we want to play in our hometown.
By ERIC SCHELKOPF For those people tired of the syrupy pop that passes for country music these days, Dale Watson is the real deal. His music channels the heart and spirit of Johnny Cash, Elvis Presley and others that went before him. Watson, who regularly performs at the Grand Old Opry and is a member of the Austin Music Hall of Fame, will perform Dec. 14 at Martyrs', 3855 Lincoln Ave., Chicago. The show starts at 9 p.m. and tickets are $15, available at www.martyrslive.com. I had the chance to talk to Watson, www.dalewatson.com, about his current activities, which include a new album. Q - I understand your new album, "El Rancho Azul," will come out in January. What should people expect from the album? This is the first typical "Dale Watson" Ameripolitan record I've done in 8 years. The
distinction is that I used my band and it isn't a themed album like the
records I've released of late. This is a honky tonk record for sure. Q - What inspired you to write "The Daughters Wedding Song?" What did your daughters think of the song? I
wrote the song because I'm always asked a recommendation for the father
/daughter dance at weddings. I usually do "Farmers Daughter" by Merle
Haggard, but the mom is dead in that song, so I wrote one that says what I, as a dad want a special song to say. My daughters have not heard it,
they're not fans of my type of music, really.
Q - Your last album, "The Sun Sessions," has received plenty of critical praise. Did the album live up to your expectations? What do you think recording at Sun Studios added to the record? It
turned out much better than I thought I was capable. Largely due to
Matt Ross-Spang, the engineer and that magical room. There is just
something about that room and the sound it fostered from day one that
makes it ideal to record roots music. I don't think it would make a
metal, hip hop or any other style sound special. It's just the perfect
room for the genre it created. Q - Hank Williams III has called you the "savior of country music." Do you think you are the savior of country music? Oh
heck no. That's kind of Shelton and I love him for it, but quite frankly
I believe there is no saving it. The very term has been successfully
changed to refer to the Nashville pop country. I believe what I remember
as country music needs go the way of bluegrass music and create year
round festivals and venues that will cater to the small audience that
supports this type of music. One person can't do it. It'll take
passionate fans and artists with integrity. Q - You recently acted for the first time in the musical "The Ghost Brothers of Darkland County." What got you interested in the project and how was the experience? Do you think you will do any more acting in the future? I
have been trying to hone in on more acting jobs for years now. "Ghost
Brothers" was intriguing just from the people involved - Stephen King,
John Mellencamp and T-Bone Burnett. I originally went for the lead
and became the understudy and had a couple of performances, but most of
my performances were the smaller role of Zydeco Cowboy. I hope to do
more whether its TV, movies or theater. Q - You made a video about Tiger Airways and how the airlines lost your box of CDs. Do you think you would have been compensated for the loss and reimbursed for the excess baggage fee if it were not for the video? Did you feel compelled to make the video? Oh
yes, I never would have gotten compensation without the video. I
originally agreed to not release the video if they compensated me , but
it leaked out through online newspaper interviews. I have to show it to
those folks to get the interviews and if course once its on the Web, you
lose control. It went viral and I was doing the biggest TV and radio
shows in Australia and even went out to New York to perform it on the
Fox Morning Show. My advice, get people's names that treat you wrong and put it in song. Very therapeutic. Q - Who would you say is your biggest musical influence? Do you have any dream collaborations or projects? My biggest influence has to be evenly Elvis and Johnny Cash, then Hag and Hank. I
always have dream projects. My goal is to meet and record with as many
of the great musicians that played on the hits I remember. That way I
can keep learning something about my craft.
Blending captivating melodies with folk and rock, Chicago band Matthew Morgan and the Lost Brigade is carving its own niche in the local music scene.
The band will perform its new album, "Found," at a CD release party on Dec. 14 at Double Door, 1572 N. Milwaukee Ave., Chicago.
Fellow CAUDog label mates The Future Laureates, Goodbyehome and Jeff Brown. The show starts at 8:30 p.m., and tickets are available at www.ticketfly.com.
Q - You
will be playing your new album, "Found," in its entirety at the Dec. 14
CD release show. Will that be a daunting affair? Do you think it will
be hard to replicate the CD on stage, especially given the layered
nature of the album?
We've
pretty much incorporated everything into our live set, except
keyboards. That piece will be missing (for now).
But, in truth we had
to pair down quite a bit of what we normally do live for the recording
to avoid sounding too "jammy" in the flattened out stereo format. In
addition to violin (Anand Christopher) and lead guitar (Anita Chase) we
have a multi-instrumentalist (Dave Szpunar) who literally plays five
different instruments and keeps switching instruments throughout the
show.
He plays banjo, accordion, mountain dulcimer, 12 string, and
mandolin. So, the lack of keyboards from the live set shouldn't be too
much of a shock.
Q - Is the album's name intentionally ironic given the name of the
band? In sitting down to make the album, what were your goals? How do
you think the band has evolved since you released your first album?
The
irony of the title wasn't lost on us by any means, but it was more of a
situation where Kevin (bassist/songwriter) was working on creating
artwork for the record and he just sort of threw that word out and
everyone had one of those, "Do we like that? I think we do" kind of
moments.
I guess to us it also represents the way the band sort of came
together. After I released my solo album in 2011, I was also showing my
paintings at the Flat Iron Arts Building in Wicker Park.
Kevin Lahvic
is also the president of the FIAA and sort of a local celebrity in the
arts community, which is where we met and discovered that we both also
played music and wrote songs. We met Anita there too as she was
performing solo gigs for a lot of the art events.
Dave, Anand, and our
drummer Jeff (Jeff Gilbert) were friends of mine who I had played with
in various bands. But, in general everyone just kind of "found" each
other through various means and later discovered that we all played
instruments.
There was never any kind of formal, "We are starting a band
and holding auditions" kind of thing. So, after my record came out, I
asked them to support the live gigs and for some reason they've all
stuck around.
Now, on this record, it's much more of a collaborative
thing. In fact, there are three songwriters featured on "Found" (myself,
Anita Chase, and Kevin Lahvic)...you can definitely hear the three
different styles, but they sort of work together. We're kind of like
Fleetwood Mac in that way.
Kevin
is an amazing artist. He's designed the cover for the album, as well
as all of the merchandise that goes with it. He's even designed a full
color, digital booklet that goes with this CD and is full of photos,
song lyrics...basically everything tied to making this record.
It's
really beautiful! The booklet will be available on iTunes and as a free
download on our website.
Q - Ellis
Clark, who also is the producer and engineer for your record label,
CAUDog Records, also produces "Found." What do you think he brings to
the table?
Ellis
brings a lot of experience with him. He's worked with a lot of top
artists and yet he still maintains an informal atmosphere in the studio
that encourages creativity.
Most of the keyboard parts on the record
are a result of him getting involved in the creative aspect of the
album. He also has a really great ear, so it's definitely good to work
with someone who picks up on all of the little things that could
otherwise be missed, both good and bad.
Q - Was it important to you to be on a Chicago record label? How do you think you fit in with your label mates?
It
was not important to us to sign to a Chicago label (or any label
necessarily), but we did it because of the energy and positive
encouragement that is immediately apparent with CAUDog Records.
Michael
Teach is a well known figure in the Chicago music scene and he's been
supporting the careers of hundreds of Chicago's musicians either
directly, or indirectly through his weekly podcasts on Chicago Acoustic
Underground.
We met him through a mutual friend, Hannah Frank, who is
CAU's publicist and also an amazing singer- songwriter about town. I
think that we're a really good fit with the label both musically and
professionally and we have a lot of autonomy to do what we want to do
and to get support wherever we need it.
I do think that we fit in
really well with our label mates. We're kind of in the middle somewhere
between acoustic roots music, rock and blues.
We're featuring three of
the other bands on CAUDog Records at our show on Dec. 14 at
Double Door; The Future Laureates, Goodbyehome, and Jeff Brown and all
of these bands have a cohesive element of "rocking out" with a lot of
acoustic and electric instruments on stage. It's going to be an amazing
show!
Q - It seems as though roots music is in demand these days, both on the local and national level. Why do you think that is?
I
don't pretend to have a clue what draws people to a particular sound,
or genre of music. I like a lot of different types of music.
But, I do
wonder if it's possible that people have just become burnt out with the
superficial, image driven music that is constantly forced upon them
nowadays. I guess sometimes it's great to see and hear a spectacular
event, but we're human beings and we still need feel some kind of
tangible connection to our real everyday existence.
I, personally, feel
like that's usually missing when I turn on my television...but, what do
I know? Speaking for myself, I just love history and the music that has
been passed down through much more subtle avenues like campfires, local
bars...that sort of thing.
Also, I love acoustic instruments.
Electric guitars are incredible, but I just haven't had that moment yet
where playing an electric somehow pulls me away from wanting to create
sound with an acoustic. I can't really imagine ever having one without
the other.
Q - You're also a visual artist. How do your think that has helped you out as a musician?
I
think both my paintings and music have informed each other, but they're
also different in certain ways. When I write music, it's much more
chaotic and free.
It comes together much faster. However, painting for
me is very linear and takes much longer to create from start to finish.
I guess maybe where the visual comes into play is when I'm arranging
songs, because it sort of forces me to visualize the song as a canvas
divided into separate sections and then figure out how to weave those
sections together in the most compelling way.
Q - You've battled some health issues in the past. How have your used those struggles in your music?
I
was diagnosed with an immune system disorder called Chronic Fatigue
Syndrome (CFIDS) in 2005. It is a pretty major illness that left me
housebound for about two and a half years.
I'm better now, but it's
something I'll always have to manage as there is currently no cure. My
first album "Red Silhouettes," is somewhat of a concept album based on
stories from the American Civil War, but in reality, there is a lot about
my battle with chronic illness in the lyrics on that album.
For this
record, I was much more free to express myself in other ways as my health
has improved. Also, it's a collaborative record with the other members
of the band and it's more representative of all of us together.
Q - How do you see Matthew Morgan and the Lost Brigade fitting into
the Chicago music scene? What are the band's short-term and long-term
goals?
Rather
than fitting into a scene, I think that we're more interested in
building our own thing and then trying to find people to connect with.
Chicago's music scene is so vast. It seems like we should know everyone
by now, but we continue to find little pockets of musicians doing their
own thing simultaneously and somehow our paths have never crossed.
As
for the future, as soon as the album is out, we're going to launch a
college radio campaign and then design a series of weekend tours across
the Midwest. I think the plan is to try to raise the money for the tour
by using Kickstarter, or one of the other crowd funding sites.
But,
we're definitely not leaving Chicago as our home base.
As the puppet host of popular Chicago TV dance show Chic-A-Go-Go, www.roctober.com/chicagogo, Ratso has proved himself to be the coolest rat on the local music scene. Ratso and his supergroup, The Rabbits, are one of the bands that will perform Nov. 30 at Bottom Lounge, 1375 W. Lake St., Chicago, to celebrate Roctober Magazine's 20th anniversary. The show will feature the best masked bands in the world, including Nobunny, Party Bat and Rhythm Chicken. The show starts at 9 p.m., and tickets are $10, available at www.ticketweb.com I had the chance to talk to Ratso about the upcoming show.
Q - So Ratso and the Rabbits will take the stage for the first time as part of the upcoming show. What should people expect? What do you think of that band The Goblins?
We will not only be taking the stage for the first time, we will be meeting for the first time minutes before the set. It will be our first concert, first practice, and first introduction to each other, so what you should not expect is us to be stiff or over-rehearsed.
This will be a loose, spruce, garage punk happening! The Goblins did the theme song for my TV show so I can honestlysay I've listened to them at least 919 times! Q - Why are masked bands better than non-masked bands?
Because people are ugly.
Q - What kind of music do you listen to and who are your musical influences?
I listen to both kinds of music...punk and rock! My favorite artists are the Good Rats, Rat at Rat R, Rat Scabies, the Swamp Rats, RATT (first album only), and the Rat Pack.
Q - You've interviewed so many bands as the host of Chic-a-Go-Go. Any moments that stand out for you? What bands were you glad to see on the show?
That's a hard question...it's like being asked to pick your favorite child, and rats usually have 24 babies in a litter, so I know what I'm talking about.
But it was cool to meet the Shirelles, Shonen Knife, Sharkula, Shellac, and Shannon and the Clams. I have a thing for "SH" bands.
Q- It must have been a thrill to see Morgan Freeman's character watching the show in the movie "The Big Bounce." What was your reaction?
My reaction was "It's about time!" I think there should be more movies where people watch TV in them. I like TV better than movies so it would be great to get to watch a little TV whenever I go to the movies. Q - What advice would you have for bands that are starting out?
Come on Chic-A-Go-Go...it's your stairstep to stardom!
We should feel fortunate to have so many talented musicians making the Chicago area their home. A
few of those musicians have come together to form alt country band
Falldown. Comprised of members of The Redwalls and The Hue, Falldown, www.falldownband.com, will celebrate the release of its debut EP on Nov. 23 at Martyrs', 3855 N. Lincoln Ave., Chicago. The Anna Fermin Band and Phil Angotti also are on the bill. The show starts at 8:30 p.m., and tickets are $12, available at www.martyrslive.com.
I had the chance to multi-talented Falldown frontman Jared Rabin about the band. Q - You've been involved in so many bands and projects over the years. How did Falldown come together?
Falldown is a collection of people that I have known and been playing
with for years that I thought would be fun to have in a band together. I
got it organized and we played some shows over the last couple years,
and at some point this year I felt like I wanted to take it to the next
level so we did this recording and are hoping to be playing some more
gigs starting in 2013.
Q - In sitting down to record your EP, what goals did you have? For
this record, it being the first real product that we have put out, the
goal was to get the wheels rolling. I wanted something we could play for
people and to generate interest in a new band for a bunch of musicians
who already have a ton of other projects. Also, it's the first time I
recorded my own originals in this genre of music, and my first time
singing my own tunes on a record, which have always been a goals of
mine.
Q - Phil Angotti and The Anna Fermin Band will be playing with you guys at
the Nov. 23 show. Of course, both acts have developed quite a reputation
in the pop/alternative country world. Have they provided any
inspiration to you?
Our drummer Jordan has played some shows with Phil and is a big fan of
his music. They are both really well known and well liked in town and we
are definitely honored to have them on the show with us. I am really
excited for Anna Fermin to sit in with us.
Q - It seems like roots music is back in fashion. Why do you think that is?
I think certain genres will always be coming in and out of style, just
like in the fashion world. Roots music encompasses so much that you
realize it has always been around in one way or another. I grew up
listening to everything from the Grateful Dead to Bela Fleck to Miles
Davis, all of which have elements of roots music to them and appeal to
people in different ways.
Q - You started playing violin when you were five. It seems like kids really
soak up things at an early age. Was that true for you? Did you take to
the violin right away?
It is good to start kids at an early age. I don't know how much I loved
it; I probably would have rather been playing basketball. But I come
from a musical family and there was a lot of encouragement from them to
practice and continue playing music. I did not enjoy it all the time,
but I did sometimes, and knew I was good at it and stuck with it long
enough to be able to appreciate it. Now all I do is play and teach
music.
Q - Of course, you also teach at The School of Rock. What do you get out of
the experience? As a teacher, what do you try to convey to your
students?
Teaching is not what I thought I wanted to do, but I have gotten a lot
of good out of it and realize now that it is part of being a good
musician. There are not many good musicians out there historically I can
think of who never taught in some regard, ranging from classical greats
like Mozart to modern jazz greats like Pat Metheny. They were all
teachers, and its part of the evolution of music to pass on what you
know how to do. I try to teach my students how to play the guitar
instead of just showing them how to play songs. That way, hopefully they
will be able to figure out songs themselves using what I have taught
them.
Q - It also seems like you need a lot of musical variety in your life. Is that important to you?
I have been in phases where I am heavily focused on one thing or playing
mostly with one band for periods of time, and it is always nice to be
able to go do something totally different and play with other people
after that. Lately, I will have days where I am rehearsing pop music with
the "jobbing" band in the morning, jazz band at DePaul in the
afternoon, teaching five lessons and going to play a bluegrass gig at a bar
night or something crazy like that. I like being able to do all those
things though, and I get to play with a lot of different people because I
am pretty versatile.
Q - What are the short-term and long-term goals for Falldown? Where do you see the band fitting into the Chicago music scene?
Well, the goal is to start playing more in 2013, maybe do some Midwest
shows, and start to get the band name out there. I hope to do another
record with songs included by some of the other band members, like Liza
Day and Pat Lyons eventually. It is such a diverse scene in Chicago and I
think our music fits in well in more than one area, so I hope to start
playing more on the scene we already know about and continue to broaden
our horizons to reach more people as well.
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