In late August, Devon Kay & the Solutions released their latest full-length, called Limited Joy. We spoke with singer/guitarist Devon Kay and talked about the band’s new members and how they impacted the writing of this album. (Their lineup now features bassist Jake Levinson, drummer Ryan Scottie, trombone player Jacob Horn, trumpet player Ian Terry and keyboardist Joram Zbichorski). The resulting record is eclectic, a bit unconventional and does a good job of showcasing the talents of the various musicians involved. Additionally, we discussed how the album was recorded, the involvement of Mike Kennerty from The All-American Rejects, and the band’s relationship with A-F Records. We also conversed about future plans, including more new music that the band has already finished.
Laura Jane Grace released her debut solo album yesterday, called Stay Alive. Comprised of 14 songs, the record is primarily acoustic guitar and vocals, which helps to emphasize the subtleties of her songwriting. Stay Alive was recorded by Steve Albini at Electrical Audio and skillfully captures the raw emotions that Grace was experiencing during the early months of the pandemic. Take a listen to the album below and be sure to check out Grace’s livestream from Lincoln Hall on Saturday, October 17th. The show starts at 8:00 PM Central and tickets can be purchased here.
In early July, Time Thieves released their debut full-length, titled Space. We spoke with singer/guitarist Jonathan Pool and drummer Mike Oberlin and discussed how the band formed. Their lineup also includes bassist/singer Annie Saunders, guitarist/singer Tim Reynolds and keyboardist/singer Lilly Choi. In addition, we talked about how the album was written and recorded, as well as what inspired some of its songs. Time Thieves incorporate indie pop and synth-driven melodies, along with subtle Chicago punk influences, to create a sound that’s both nostalgic and contemporary. The end result is a fun, consistent record that reflects the years the band spent perfecting these songs. Be sure to give it a listen at the end of the interview.
In July, Bob Nanna, (Braid, Hey Mercedes, Lifted Bells) released a solo album called Celebration States. We recently caught up with Bob and discussed the record’s concept, which details a significant event in his personal life. We also talked about the album’s unique recording process, as it was completed in a single day. In addition, we conversed about the decision to make an all-acoustic record, his newfound partnership with New Granada Records, future plans and more.
Last month, Strike Anywhere released an EP called Nightmares of the West. It represents their first new music since 2009 and not only picks up right where they left off, but also sounds as urgent as ever. The first song, “Documentary,” is a great example of the band’s classic, melodic hardcore sound. Its chorus is led by singer Thomas Barnett and its lyrics act as a rallying cry, (“We deserve to fight for everyone / For all that we’ve lost, for all that we are”). The next entry, “Dress the Wounds,” is aggressive and fast-paced, and its precision tempo stops and starts on a dime. “The Bells” is the most melodic song on the EP and features catchy guitar leads that are interwoven with the vocal melodies. Its lyrics talk of revolution and really couldn’t be more relevant, (“No one forgets / No one remembers at all / Till monuments fall”). “Imperium of Waste” opens with a riff that complements the lead vocals and slowly builds in intensity. The rest of the band comes crashing in after a couple measures and sounds nothing short of supercharged. The virtual wall of vocals in the chorus is both powerful and inspiring, resulting in what is likely the record’s most memorable moment. Nightmares of the West takes what Strike Anywhere does best and adds subtle contemporary influences. It also manages to capture the immense energy of their live shows, which is no easy feat. Hopefully the wait won’t be too long before they’re back with a new full-length.
This fall, Chicago’s The Webstirs will release their sixth full-length. The self-titled album was produced by longtime collaborator Matt Allison and finds the band continuing to develop their signature indie-pop sound. The Webstirs were formed in 1994 by Preston Pisellini and Mark Winkler. Their lineup also includes drummer Jordan Kozer, and newest members Gregg Juhlin, (bass) and Doug Bobenhouse, (guitar/vocals). Bobenhouse contributed with some of the songwriting on this record, which added a new dimension and helped to further evolve their sound. Check out the video for the first single below, called “Fiction,” and look for the album to be released in the coming months.
Earlier this month, Broadway Calls released their fourth album and first for Red Scare, called Sad in the City. Despite it being over seven years since their last full-length came out, it doesn’t sound like they ever took a significant break. Rather, they seem nothing short of revitalized on this record. The first song, “Never Take Us Alive,” opens with the line “If my country collapses, can I crash on your couch?” This really sets the tone for the rest of the album, as many of the lyrics address the chaos and uncertainties of 2020. The song also features a defiant message and a huge chorus, making it an appropriate opening track.
The second entry, “You Gotta Know,” is exceptionally catchy, with big vocal hooks and buzzing power chords. It also has a spacey, instrumental breakdown in the middle that slowly builds in intensity before revisiting the chorus one last time. It then transitions directly into the title track, which begins with a melodic bass lead and lyrics that speak of wealth inequality. It truly describes what it feels like to be persevering through this year and culminates in the following words: “Will we ever get by again? Will we ever get high again? Do you even want to try again?” This song certainly encompasses the overall vibe and it’s fitting that the record is named after it.
“Always on the Run” is a straightforward pop punk song, but the band is able to make it sound fresh and spirited. It also contains a super-catchy vocal melody that’s reminiscent of The Ramones. “Meet Me on the Moon” is a concise love song and another definite highlight. It talks of escapism and dreams of a better reality, and that will likely be highly relatable to a majority of listeners. The album concludes with “Went Dyin’,” a slower, atmospheric entry that employs unconventional rhythms to create a unique style. Its words acknowledge all the negativity in today’s world, but refuse to give in and allow it to be a defining characteristic. Without question, conveying a resilient message such as this is a great way to end the record.
Sad in the City is solid throughout and lyrically speaking, really captures this moment in time. Its recording is clear, but not too polished and accurately depicts what the band sounds like in a live setting. In short, fans of melodic punk will find just about everything they’re looking for on this album.
In June, The Chinkees released a four-song EP, marking their first new material since 2002. We spoke with singer Mike Park, (Asian Man Records founder, member of The Bruce Lee Band / Ogikubo Station) and talked about how the EP was recorded and what inspired some of its lyrics. We also addressed the band’s name, which of course is not meant to be offensive, but rather draw attention to the existence of racism. Additionally, we discussed the Black Lives Matter movement, the current political climate in the U.S. and more.
Earlier today, Riot Fest announced their first wave lineup for 2021. With the festival postponed this year due to the current pandemic, organizers are already looking ahead to next year. My Chemical Romance, Smashing Pumpkins, Run The Jewels, Pixies, Circle Jerks, Jawbox and Les Savy Fav are the headliners that have been disclosed so far. Next year’s lineup will also include L7, Pup, Big Freedia, Fucked Up and many others. Tickets are on sale now and can be purchased here. Stay tuned for additional announcements in the coming months.
Last month, Fake Names released their debut full-length via Epitaph. The band’s lineup features Dennis Lyxzén, (Refused, International Noise Conspiracy) Brian Baker, (Bad Religion, Minor Threat) Johnny Temple, (Girls Against Boys) and Michael Hampton, (S.O.A.). While many will be quick to label them a supergroup, what’s different about Fake Names is that its members share a natural chemistry and their songwriting doesn’t seem forced. One of the first entries that stands out is “Being Them,” as it combines old school punk with contemporary influences. It also features a sprawling chorus and lyrics that champion free thought and oppose conforming to society’s standards. “Brick” begins with a fiery riff and an aggressive verse before a hyper-melodic chorus emerges unexpectedly. Its lyrics are rather timely in that they talk of revolution, (“You will fall like never before / Statues crumble, backs against the wall / You will pay for what you’ve done / Gonna destroy what you’ve become”). Despite clocking in at under two minutes, it’s easily one of the album’s most memorable songs.
“First Everlasting” spotlights the range and command of Lyxzén’s voice and includes a sing-a-long chorus that’s reinforced with multiple backing vocals. “This Is Nothing” embraces more of a post-punk style, with a plodding verse and a distorted bass lead. Its words provide a critique of consumerism and denounce the shallow aspects of today’s culture. The record ends on “Lost Cause,” an overtly catchy song with a driving beat and prominent melodic guitar leads. It concludes the album on a fitting note, with a positive message of not giving up and holding true to one’s beliefs.
Without question, this is a concise and solid debut. Its overall theme of questioning longstanding institutions and societal norms is extremely appropriate right now. Here’s to hoping there’s more to come from Fake Names and that this record is not just a one-off experiment.
In late April, Sharkanoid released their second album, titled Deathbox. The band’s primary members are singer/guitarist Dan Potthast, (MU330) and singer/bassist Rick Johnson, (Mustard Plug). Several other musicians also appeared on Deathbox, including drummer Ted Moll, (MU330). We recently spoke with Potthast and talked about the collaboration process for this record. We also discussed the inspiration for some of the songs and how the current political climate was a major influence. Additionally, we conversed about the album’s title, how the pandemic is impacting the band’s future plans and more.
In early February, The Blind Staggers released their latest album, Doing Alright… Considering. We’re premiering the video for one of the record’s songs above, called “Party Friends.” When addressing the video’s concept, singer Laura Zielinski said “We were all just missing getting together, having band practice and playing shows. We wanted to do something fun while we are all stuck at home on lockdown and get a few good laughs in.” Within weeks of the album’s release, the current pandemic began to take shape and the band’s touring plans had to be shelved. In spite of this, guitarist/singer Damien Christian Wilburn remains optimistic, explaining “I’m stoked that we were all able to shoot this from our homes and create something while not being able to get together in person. Everything is very heavy right now. If you’re not stressed, you’re at least bored. We just hoped to entertain some people and maybe make some folks smile.”
In many ways, the song “Party Friends” is representative of the album as a whole. “It sums up what this record is about for me,” Wilburn said. “There were a lot of personal things going on within the band during the writing of this album. Laura and Tony, (guitarist Tony Lee) got married and moved to Denver. I had quit drinking and working at the bar I called home for ten years. So, there was a lot of uncertainty. Change was coming, but there was a strong desire to hold on to what matters – good times with good friends.” Zielinski added, “It seemed like a fitting tune for the time and for us as a band right now. We’re all getting older and priorities are changing, but that doesn’t mean we don’t know how to have a good time. Because believe me, we do. And that’s a lot of what this new album is about.”
Compared to their previous work, Doing Alright… Considering is arguably The Blind Staggers’ strongest material to date. “We feel it’s the best record we’ve put out. We’ve grown as band and as musicians over the last ten years. This record leans much more rock ‘n’ roll than it does country/Americana, which was a conscious choice as much as a natural progression,” Wilburn said. He continued, “We decided that we can basically write whatever we want because it will always sound like ‘us,’ so everything became more open. Lyrically it’s very much in the same vein as our previous albums. It’s still about dealing with our lives and the choices we’ve made, for better or worse. We’re just the people sitting next to you at the bar with a couple stories to tell. Always have been.” Check out the video for “Party Friends” above and visit Bandcamp to purchase the album.
Solo folk/punker Sam Russo returns with his third full-length, Back to the Party, from Red Scare Industries. It’s been five years since we’ve heard new music from Sam and the title has me wondering if it’s a double entendre. Is this a return or does he have his back turned? Eagerly listening, Russo introduces himself gradually, with a somber cello at first, a building electric guitar and then switches to his trusty rhythmic acoustic chords. He contends with his own stagnation and breaks through his familiar parameters to reach for something more. But it isn’t always easy or feasible, and “The Window” successfully conveys this. It is only appropriate that this melodic song, laden with hooks, is the album’s highlighted single via music video.
Russo visits familiar motifs to his songwriting such as reconciliation and leaving, in “Good and Gone.” At his August 29th show at the GMan Tavern in Chicago, he laughingly clarified that the line, “and you can tell Ray I said fuck you / He can stick his job up his ass,” is not in fact about Ray Carlisle from Teenage Bottlerocket. His sincerity is cut with a crass brazenness, making sure the most serious of songs remain unpretentious and honest. “Darkness” serves as something of an interlude; the album’s shortest song with no chorus. Almost dreamlike, Russo laments in solitude, but not just physically. Rather, he recalls drowning as your friends surround you, and none of them notice. This is a sobering track of solemnity; evocative and deeply personal.
I believe one of the greatest songwriting talents a musician is capable of is the ability to vividly walk the listener through a lived scenario, so that we may experience it with every bit of detail as they did. Russo surrenders to that honest candor and achieves this. In “Anne,” the protagonist takes off on a train and the listener is taken on a lonesome, teary-eyed walk up the station’s stairs, feeling the freezing weather and chilling winds – a complement to the profoundly emotional lyrics. Who the hell is she? The second single is the album’s closer, “The Basement.” Russo ebbs and flows as he emotes, trading off between softly and loudly, and channeling a pop punk energy thus far unique to his songwriting style.
Back to the Party is an empath’s breath of fresh air. Russo delves deep into himself and does not wrap it up with a bow. Alas, I’m left wondering about the double entendre.
In late March, Nos Da released their self-titled debut album via Recess Records. The band’s lineup is comprised of singer/guitarist Isaac Thotz, (The Arrivals/Treasure Fleet) bassist/singer Jamie Morrison, (Pale Angels) and drummer Mike “Jimmy” Felix, (Toys That Kill). Since making the record, they’ve added Victoria Yarnish on Moog and Jacob Gaxiola on guitar. We recently caught up with Thotz and talked about how the band got together and how the album was made. We also discussed what some of the songs are about, their tentative plans for the future and more.
Last month, Chicago’s PEEL released their fourth album, called No Pain. They also recently debuted a video for one of the record’s songs, “Ballad of Dougie Ramone.” In terms of the video’s concept, the band drew inspiration from British television shows like The Old Grey Whistle Test and Top of the Pops. When asked about his thoughts as to how the video turned out, singer/guitarist Kyle Hickey said “The video is a pretty accurate portrayal of catching a bit of one of our shows, but from a safe distance like behind the splash wall at Sea World.”
PEEL recorded No Pain at Jamdek Recording Studio with Doug Malone, where they also made their last album. When speaking about their experience in the studio, singer/guitarist Pete Mueller said “We tracked all the songs in a day and a half, did most of the lead vocals the last half of the second day and then the third day, as I remember it, was just getting drunk and laying down auxiliary percussion, guitar solo harmonies, screams and feedback.” He continued, “We usually work pretty fast and this album was no different. Doug has a super laid-back attitude, which extends to his studio and it made working on this album a goddamn delight.”
Compared to their previous work, No Pain is likely PEEL’s fastest record yet. It also illustrates the band’s relaxed approach. “I think this is the album where we let go of whatever final shred of caring was left in us. And I mean that in a good way. If we thought of something funny in the studio to do on a song, we just did it to make each other laugh, and most of that ended up on the album,” Mueller said. Check out the video for “Ballad of Dougie Ramone” above and listen to No Pain in its entirety below.
Originally a printed zine from 1998 – 2004, our goal is to provide coverage of Chicago’s expansive independent music community, and to occasionally highlight some of our past work. National and international bands will be featured as well, but above all, we hope to create lasting content for music fans everywhere.
