July 2006 » Chicago Innerview

Art Brut, Destroyer, Ghislain Poirier, Tyondai Braxton

ART BRUT
If Brut cologne is “the essence of man,” Art Brut is the quintessence of a band. Led by the charismatic Eddie Argos, whose incisive eye for detail makes debut album Bang Bang Rock & Roll feel more like a collection of short stories than a record, Art Brut have picked up the Pulp baton where Brandon Flowers fumbled. “Rusted Guns of Milan,” Argos’ stirring paean to erectile dysfunction, unfolds like a long lost track from This is Hardcore. “Modern Art” should be blaring out the mouths of the concrete lions that guard the entrance to the Art Institute downtown. “18,000 Lira” triggers instant nostalgia for a bygone currency you never had the chance to spend. You know that stereotype, the one about the British being so tight-lipped and reserved? Listen to “Fight!” for another viewpoint. Somewhere on his French estate, Jarvis Cocker is gnashing at the Camembert and plotting a comeback. Now if only Art Brut could work a cover of “Disco 2000″ into their set list…(Saturday, 5:10-6:10, Main Stage) –text: Josh Cox–photo: Tim Soter

DESTROYER
Destroyer is not a side project. Since Dan Bejar lent his sizeable talents to a few New Pornographers records, that is how it tends to get described. This, of course, ignores certain inconvenient details, including the fact that last year’s Destroyer’s Rubies was Bejar’s seventh full-length record, and that 2001’s Streethawk: A Seduction is a veritable cult classic. His calling card has always been literate, complex pop music and he certainly does nothing to change that on Destroyer’s Rubies, opening the record with the nearly 10-minute title track. He doesn’t mind flirting with pretentiousness, and at times seems to openly court it, but the gorgeously constructed melodies always seem to keep it from crossing over into the realm of annoying. Songs have always been the currency that Destroyer trades in, and most times it’s enough to keep me from getting too tired of Bejar’s limited vocal phrasing. (Saturday, 4:20-5:10, Main Stage) –text: Don Bartlett

GHISLAIN POIRIER
Shhh…listen. Hear that? Dirty beats are headed this way, and at the front of the pack is Canadian DJ/producer/workaholic Ghislain Poirier — who’s planning a serious beatdown for this year’s Pitchfork. Known for his grizzly, deconstructed hip-hop beats, Poirier packs the house once a month with his “Bounce le Gros” DJ night in Montreal. Along with many collaborations and remix opportunities with the likes of avant-rapper Beans, DJ/rupture and French hip-hoppers TTC, he’s also released two solo records for Chicago’s Chocolate Industries label, accompanied the mighty Lady Sovereign on her North American tour and recently started his own record label, Rebondir Records, for which his new Rebondir EP is the first release. According to AllMusic.com, Poirier’s new material is “in full club mode with thick, meandering beats that concentrate on the low-middle range and good funky upper-end accents.” I’m left wondering only one thing: Is there a “Best DJ” award at Pitchfork Fest? (Saturday, 4:30-5:25, Biz3 Stage) –text: Mike Scales

TYONDAI BRAXTON
Tyondai Braxton is a bit of a Renaissance man. In addition to lending his production skills to the angular instrumental supergroup BATTLES with drummer John Stanier (ex-Helmet, Tomahawk) and guitarist Ian Williams (ex-Don Caballero), Braxton also holds down a heap of musical and artistic projects including the art-rock trio Antenna Terra, a multimedia project called N.E.A.R. (that incorporates the use of a 10-piece band, two choirs, strings and three film projectors) and a Yale University-commissioned live-painting and multimedia showcase. His solo music utilizes a much less grand approach, but his creativity is not lost on his more stripped-down compositions. Similar to Anticon’s Martin Dosh, he loops guitar, voice and found object recordings live, creating a kind of one-man orchestra. Recently, Braxton was proud to announce his newly inked contract with London’s famed Warp Records, home of Prefuse 73, !!! and Aphex Twin. (Saturday, 3:45-4:30, Biz3 Stage) –text: Mike Scales

Ted Leo, The Futureheads, Matmos, Spank Rock

THE FUTUREHEADS
It’s been over a year, but The Futureheads return to Chicago as one of the top acts on the Pitchfork Music Fest lineup. Those who didn’t want the band’s Metro show in June 2005 to ever end can now look forward to a band that has shown considerable signs of growth. This past May the quartet from Sunderland, England, released their sophomore album News and Tributes (Vagrant) and already heads are turning. After the 2004 self-titled debut The Futureheads, the band faced skepticism, as if their 100 m.p.h. style of play forever locked the band in Franz Ferdinand-meets-The Jam mode. News and Tributes changes all of that. “The main thing, as far as we’re concerned, is that we want to be considered as one of those bands that can be around for a long time,” said guitarist Ross Millard. Now, more than ever, The Futureheads appear to have opened new doors. (Saturday, 7:10-8:10, Main Stage) –text: Chris Castaneda

TED LEO & THE PHARMACISTS
Ted Leo’s music is rousing, intelligent, and instantaneously memorable. After a handful of albums and some cast changes, the hard-working Leo still continues to make exciting, accessible, soulful, nearly perfect songs utilizing elements of Billy Bragg, Elvis Costello, and the Clash. His music bends from melodic and poignant to angry and tragic, but maintains continuity by virtue of Leo’s signature sound, which is laced with modern lo-fi and distortions. Buoyed by The Pharmacists, and in particular its winsome drummer Chris Wilson (whose stick smashing and cymbal splashing is a sight for sore eyes), Leo’s live performances are second to none in their intensity. Colored by amiable stage banter and engaging theatrics, most notably his gleeful half-splits and jump-kicks, they soar with an unabashed vitality of flight and energy found in all great live bands. Tenacious, muscular, and smart while full of anger, hope, and passion, TL/RX is the doctor’s orders: a much-needed dose of thinking person’s punk that is both refreshing and fun. (Saturday, 6:10-7:10, Main Stage) –text: David Barrett–photo: Tad Kubler

SPANK ROCK
Spank Rock’s success and hipster street cred is emblematic of the triumph of style over substance. Producer Armani XXXchange pretty much nails it when he described the group’s sound to Urb as “American kids ripping off European kids who are ripping off American hip hop. So it’s like a triple rip-off situation.” XXXchange and his partner MC Spank Rock borrow old-school block party breakbeats, mash them up with flashes of electro noise and grime bass before topping everything with the nasal flow of Spank’s callow sex rhymes. The music is all about getting some grinding started on the dancefloor, and in this respect Spank Rock succeed. Their beats move enough, the lyrics are easy to follow and the basslines thick and ample — but upon close inspection they just don’t come with anything fresh. For all the banging beats and dirty talk, Spank Rock never quite separate from their inspirations. (Saturday, 5:25-6:45, Biz3 Stage) –text: Noah Levine

MATMOS
Is there a noise that can’t be mined, squeezed or contorted for musical impact? Can a birdcage, a machete, a cow uterus and semen become instruments? As Matmos, abstract sound coordinators M.C. Schmidt and Drew Daniel attempt to answer these and other questions while continuing the tradition of the musique concrete school of sound collagery. Their ambitious musical art could easily lose focus in the hands of lesser talents, but Matmos know how to reign in every exotic noise and uncommon instrument to keep the novel from slipping into novelty. Matmos songs might be collections and arrangements of sounds, but that does not mean they drift into random noise experiments. Schmidt and Daniel keep things thematically bound, finding clever ways to combine their sounds to create engaging rhythms and melodies. After sharing stages with Bjork, Slint, Wolf Eyes and countless others, the duo are equally skilled at working their sonic proficiencies on stage. (Saturday, 6:45-7:40, Biz3 Stage) –text: Noah Levine–photo: Lissa Ivy Tiegel

Silver Jews, The Walkmen, A-Trak, Matthew Dear

A-TRAK
By now most folks across the pop-cultural spectrum have heard of A-Trak, the Canadian hip hop turntablist full of bravado and humor. He was chosen to be Kanye West’s DJ on Kanye’s 2005 tour, an assumed verification of his “I have arrived” status. Yet 24-year-old A-Trak was an underground phenomenon long before his stint in radio rap accompaniment. At the tender age of 15 he won the biggest DJ battle in the world — the venerated DMC World Championships. After a few years of competition, he decided to embark upon the more personal journey of creative exploration in his music, leaving the constant competitions behind. We’re happy for that, as A-Trak is a one-man powerhouse — needing room to completely be himself. His live show is always eclectic, cerebral and nostalgic. Check out his new DVD Sunglasses is a Must. It makes you wonder if all the remaining good guys are hiding out in Canada. (Saturday, 8:40-10, Biz3 Stage)

MATTHEW DEAR
There’s always a sound or two just a bit out of line amidst the slinky techno funk created by Matthew Dear. Something is always wiggling loose or shimmering faintly behind another noise. This keeps his pounding beats from becoming rigid and makes it difficult to sit still when listening. Since appearing on the first release from the influential Ghostly International label, Dear built his reputation as a techno producer, DJ and laptop performer not to be missed. Releasing tracks under his birth name as well as pseudonyms False, Jabberjaw and Audion, Dear remains a constant presence and a tireless artist. He won mainstream attention with the bits of pop flourish on 2003′s Leave Luck to Heaven, but Dear’s recent efforts have focused on the heavier beats and murkier sounds credited to his Audion alias. At Pitchfork, Dear will be working the turntables where he is known to provide steady torrents of kick drums and cascading minimal melodies. (Saturday, 7:40-8:40, Biz3 Stage) –text: Noah Levine

SILVER JEWS
The first Silver Jews album to be released since 2001 was nearly destroyed in an electrical fire. Part of the Nashville studio burned down, the masters escaped, and David Berman was left with a story of near tragedy. And a damn good album. Berman, the central and only staying member of the band, is in his daily life an English graduate, a teacher for extra cash, and a writer of poetry. Berman has been using his ragtag rock band The Silver Jews to adapt his storytelling into music for a decade. Yet, until this year’s release, Tanglewood Numbers, his group has never toured. Formed in the early ’90s with future members of Pavement Steven Malkmus and Bob Nastanovich, the Jews play homespun country rock while Berman reflects away and tells us about the rain running through his corduroy suits. Arriving at the Pitchfork Festival, The Jews are fresh off a U.S. and European tour — so expect them more road worn and ready to burn down the house. (Saturday, 9:10-10, Main Stage) –text: Sean Condon–photo: Cassie Berman

THE WALKMEN
The enduring New York City 5-piece is back with the usual arrangement of vox, guitar, bass, organ, drums and…trumpets? Believe it or not, the Walkmen have found a way to expand their sound with the use of brass instruments on their new album, A Hundred Miles Off. In fact, lead single “Louisiana” revels in horns so well it sounds like a twisted sequel to Johnny Cash’s “Ring of Fire.” Whereas Cash’s inclusion of new instruments pushed his artistry to surprising territory, the Walkmen’s urge for experimentation seems obligatory by this point. Another novel development to watch for on tour is a switch in instruments. As a way to combat leaden familiarity while creating new possibilities, bassist Peter Bauer switched instruments with longtime organ player Paul Maroon. This spirit of constant invention keeps the Walkmen sounding utterly spontaneous on record and on the road. Or, as lead singer Hamilton Leithauser puts it, “You keep trying until it sounds new.” (Saturday, 8:10-9:10, Main Stage) –text: Tim Slowikowski–photo: Rob Levin

Danielson, Tapes ‘N Tapes, Jeff Parker/Nels Cline Quartet, Bonde Do Role

BONDE DO ROLE
Bonde Do Role is a M/F/M trio of gutter punks from the slums of Brazil. Facing dire straits on the streets, this group of sonic miscreants found solace at nightlong funk carioca soundsystem parties organized by gangsters. Fusing samba, hip-hop, electro and whatever records they could scrounge from trashcans, Jacó, Escher and Ribanceira have cobbled together a stable of rousing booty-romping beats. Still young, this band of ghetto rats is prepping its first full-length release on tastemaker Diplo’s label, Mad Decent. Diplo discovered the group while attending Rio’s notoriously dangerous funk fests. Bonde Do Role’s DIY aesthetic combines beats scavenged from popular rock records (e.g. Alice In Chains), and turns them into high-energy electro funk jams. Catch them while they’re hot. (Sunday, 1:55-2:50, Biz3 Stage) –text: David Mittleman

DANIELSON
In an age of cynical indie rock and pervasive dread regarding our future as a society, it’s hard not to feel happy when invaded with the contagiously gleeful and wholesomely enthusiastic music of Danielson — a familial art-rock collective comprised of three brothers, two sisters, and three “adopted” family members from suburban Clarksboro, N.J. Raised on their father’s gospel songwriting, the religious and Christian underpinnings of the “Danielson Famile” (led by eldest son and dedicated mystic Daniel Smith) are hard to ignore — yet are not overtly invasive. The focus here is on spirituality, the innocence of childhood and having a good time. Freakier than Polyphonic Spree and louder than Belle & Sebastian, Danielson’s latest record Ships proves their most accessible and focused to date, which is surprising given the fact that nearly 40 musicians collaborated on the record (including Deerhoof, Sufjan Stevens, Steve Albini, Sereena Maneesh, Why?, etc.) With fresh hand-made uniforms displaying their “hearts-on-sleeves” and names on their chests, expect an early-afternoon dose of positive energy of the most honorable of intentions. (Sunday, 1:30-2, Main Stage) –text: Jay Gentile–photo: Stephanie Black

JEFF PARKER/NELS CLINE QUARTET
In 2001, Chicago’s premier avant jazz group Tortoise was in San Francisco performing at the famed Fillmore in support of the group’s album Standards (Thrill Jockey). On a day off, Tortoise guitarist Jeff Parker joined fellow Berklee alum Scott Amendola for a random session in Oakland. It was at this session that Parker was introduced to guitarist Nels Cline. “I remember reading about him in guitar magazines when I was in high school,” said Parker about Cline. Since then, the two guitarists have built a friendship and an interesting musical relationship. What planted the seed for their latest collaboration was an album by jazz artist Paul Bley titled Turning Point. According to Cline, the album was something he and Parker were “mutually fascinated” by and would perform in its entirety in December 2005 at the Empty Bottle. For those looking to get their free jazz fix, here’s your chance. (Sunday, 1-1:55, Biz3 Stage) –text: Chris Castaneda–photo: Lenny Gonzalez / www.lennygonzalez.com

TAPES N’ TAPES
July is a momentous month for Minneapolis’ Tapes ‘n Tapes. On July 25, their already blog-popular debut album, The Loon, arrives via XL Recordings after months of buzz-building from the Internet. And July 31 brings the “Brothers Tapes” and their Pixies/Modest Mouse mixture to Chicago for a slot on the Pitchfork Music Fest. Not bad for a group of guys who once self-produced their first EP on a 4-track in the mid-winter woods of Wisconsin. But it’s precisely this kind of DIY spirit that has propelled Tapes ‘n Tapes onward and upward to major recognition. By latching on to the coattails of the exploding “blogosphere,” Tapes ‘n Tapes found an immediate way to get their frenetic music heard, performing an end-around of the usual channels of label support. By trailblazing their own path to public consciousness, the “Brothers Tapes” did it themselves — until they finally found someone to do it for them. Smart fellas, no? (Sunday, 1-1:30, Main Stage) –text: Tim Slowikowski–photo: Cameron Wittig

Art Brut, Destroyer, Ghislain Poirier, Tyondai Braxton

Ted Leo, The Futureheads, Matmos, Spank Rock

Silver Jews, The Walkmen, A-Trak, Matthew Dear

Danielson, Tapes ‘N Tapes, Jeff Parker/Nels Cline Quartet, Bonde Do Role

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