Digital Democracy on the Brink

story by Billy Kenefick
image by Bethany Vogelsberg

“The world is hearing the voice of freedom from the center of the Middle East…The Iraqis have taken rightful control of their country’s destiny.” — President George W. Bush, January 30, 2005.

President Bush said the above quote during a press conference on January 30, 2005 — the day of Iraqi legislative elections. A similar phenomena has befallen the world of independent and mainstream music, except without the multi-billion dollar price tag, physical and political division of the world’s countries and rising death toll. Yes, our capitalist music industry appears to be crumbling to an insurgent threat of, well, what exactly? Poor artists? Or wait, maybe it’s the other way around, and the cultural capital of music is being democratized. The good news is that the voice of freedom from thousands of musicians across the world is not being heard because of IEDs and M1 Abrams battle tanks. Instead, music seems to be making a safe transition to democracy — with a more peaceful arsenal of digital cameras, mp3s and Macbooks leading the charge.

Like any democracy or political structure, there are of course downsides. For example, even though at the time everyone thought Lars Ulrich was an ass for complaining about Napster and mp3 downloads, I’m starting to see his point of view. I don’t really support his argument that people shouldn’t illegally download Metallica, but I am beginning to recognize that the digital/Internet renaissance is indeed a double-edged sword. On one hand you have the death of the record store (R.I.P., Tower Records) because people are buying fewer and fewer CDs. On the other hand, wonderful things are happening thanks to the Internet, with the primary and George Washington-esque veteran example of the cause being the increasingly influential Myspace Music.

Put all of the Forbes success stories, emo-kids, molesters and stripper crap aside and what is Myspace? A (currently still) free website template and database for bands. It hosts files for download, shares a concert calendar, displays photos, and publishes rants and ravings while being managed for free. Because it started in Los Angeles, Myspace truly hit the L.A. scene by storm.

“Myspace has had a huge impact on how we promote our music. We are literally able to reach thousands of people across the world and turn them into true fans. Some of our most hardcore fans live in Germany, the U.K., middle America, and the South,” said Parker Stevenson, guitarist and vocalist for the L.A. band Wetbrain. “We’ve never been on tour, so how would we reach these people without Myspace? It also allows us to communicate with these fans and make them feel a part of the band.” Thanks to the bankroll from Myspace owners/international media conglomerate News Corp (owners of, oddly enough, the often undemocratic Fox News, among others), bands like Wetbrain can finally put a website on their posters and let the people speak for themselves. Why wait for corporate radio to play their song once a day when Wetbrain could have 150 plays this afternoon alone?

This budding democracy has matured rapidly. The pubescent progression of the Internet began with words, moved on to colors, pictures and sounds, and has since begun to ‘peak’ with high-speed, streaming video. In the digital society of music, video hasn’t killed the radio star — it has made him stronger. To be seen, spending thousands of dollars to make a video for MTV to play once or twice at midnight is now happily considered a pipe dream. Bands are now opting to use a DV cam, editing software and their drummer’s girlfriend’s computer to upload their home-made footage to the glorious YouTube, while saving money for beer in the process. No longer do they need pioneers like Spike Jonze or high-speed yachts and champagne in order to attract attention, when a garage and a few treadmills will do quite nicely. Thanks to a democratic approach to video, one of the most coveted avenues of human attention, television, has been bypassed by the local alley shortcut. It’s been great for bands like OK Go, and it’s an interesting sign when heavy hitters like Beck record a new album and say:

“We filmed a series of very low-budget, homemade videos for all the songs on [new record The Information]. We got a bunch of cameras and a $100 video mixer off eBay and shot 15 silly, impromptu videos against a green screen…We’re putting all the videos together right now with the idea of having a visual version of the record that we’ll put on the Internet. I’m totally curious to see how the videos will add to the experience of listening to the album.” (Beck, Wired, September 2006.)

So our new digital democracy can help both poor musicians get started and rich musicians try to retain their credibility, but how has it affected those embedded in the indie business? According to Aaron Rogers of Chicago’s Fresh Produce Records and Ice Factory loft space, it has made marketing easier on the wallet but hasn’t necessarily increased revenue.

“I don’t think production sounds too different from five years ago due to any advances in technology,” says Rogers. “But as collecting money for recordings might be a little harder due to file sharing, recording has become significantly cheaper, and therefore, more egalitarian. It seems like the biggest difference is less money changes hands, but music still gets made — and made well.”

As for the overall ups and downs of this new democratic philosophy? “The Internet doesn’t level the playing field, but it gives more artists than ever a chance to win people over,” Rogers explains. “More people can create and display their work. One result is that there is more content than ever for people to sift through, but the flip side is the Internet provides an increased opportunity for exposure to people they never had access to before.”

Let’s take some more advice from our local expert on freedom:

“The failure of Iraqi democracy would embolden terrorist around the world, increase dangers to the American people, and extinguish the hopes of millions of people.” — President George W. Bush, November 6, 2003.

In the context of our independent musical future, I think the Decider is dead on. If this budding musical democracy fails to take root, bands like Clap Your Hands Say Yeah and that one noise trio your roommate likes may lose the hearts and minds of millions of people who listened, watched and loved them unconditionally. They earned these fans without the help of major record chains, ad sales or MTV. Failure is not an option and we must stay the course; it would leave a veritable breeding ground for the out-of-touch media moguls, who would come out of their caves while plotting to take the battle to our own turf. Wait! It may already be happening (Google buys YouTube…), so we need to adapt to win!

Spin or no spin, if our music loses its democracy in this powerful age of the Internet, we may never get it back.

CI Special Report #014

Lovedrug, Mother Hubbard, Office, Psychic Ills

LOVEDRUG
No matter if you’re a die-hard polka fan or hardcore punk rocker, you’ve got to appreciate a band that says to their major label, “Excuse me, but can you free us from your corporate clutches?” That’s essentially what the Ohio-based quartet Lovedrug said (not in so many words) to Columbia, which planned to re-release their 2004 album Pretend You’re Alive (which debuted at #43 on Billboard’s “Top 50 Indie Albums”) and put out another album. Not wanting to give up creative control, the band opted to release their EP Everything Starts Where It Ends on The Militia Group this year. The result is an introspective mixtape on love and death that’s part Smashing Pumpkins, part Sunny Day Real Estate, and part Coldplay. While Lovedrug — which is embarking on its first headlining tour — isn’t exactly breaking ground here, they rock out at what they do…and hearing music done well is quite underrated these days. (Appearing at Double Door on Dec. 9) –text: Dorothy Hernandez

MOTHER HUBBARD
It’s hard to pick up an event flyer these days and not see Mother Hubbard’s name on it somewhere. After being involved with the local music scene for only three years, she has become one of the most sought-after female DJs in all of Chicago. Whether that is because of her natural talent to shake the dance floor or the fact that there are very few female DJs in the city remains to be seen. One thing is for sure, Mother Hubbard, a.k.a Chess Hubbard, is making sure her name is not forgotten. As a co-founder of the famed Life During Wartime DJ collective/dance party and a seasoned event promoter, Chess prides herself on her universal appeal and ability to turn the party out — no matter if it’s at the Hideout, Metro, darkroom or anywhere else she habitually pops up every month. As she skillfully takes the crowd “from crunk to punk”, as she puts it, Hubbard proves that a DJ need not rely on cred alone to get the party jumpin’. (Appearing with Office and Mannequin Men at Double Door on Dec. 15) –text: Sarah Dahnke

OFFICE
There are a couple of things Office wants you to know. First of all, the band’s name is “Office,” not “The Office.” Secondly, they are not a concept band. Yes, they often perform in suits and used to have secretaries on stage with them, but they don’t write cheesy lyrics about being trapped in a cubicle and telling your boss to shove it. Office is the type of pop band it’s hard not to like, and it’s easy to want to compare their peppy vocals to a number of pre-existing bands. Their lullaby-like harmonious voices conjure up thoughts of everyone from David Byrne to The Cars to the Starlight Mints, and their incredibly rich instrumentals are more than enough to fill a venue of most any size when performed live. The soft energy projected by the band on stage is contagious, and while it is unlikely that they often find onlookers going ape in the crowd, they can always count on their audience to happily bob their heads with enthusiasm. (Appearing with Mannequin Men and Mother Hubbard at Double Door on Dec. 15) –text: Sarah Dahnke–photo: Lindsey Conroy

PSYCHIC ILLS
This New York-based band lives up to its name. As witnessed on their 2004 full-length Dins, they draw from psychedelic inkling as their music spins and stirs into a sonic palate of noise. The quartet released two albums on vinyl (only entitled Mental Violence I & II), but now those songs finally see the light of day on a recent release, Early Violence. The album contains mainly older tracks, but a couple of unreleased ones show up as well. “Vice” contains searing drums and drones becoming an instrumental track. Elizabeth Hart’s droning vocals kick in on “Killer”, reminiscent of early Sonic Youth. “Days” adds in guitars, churning out a 7-minute opus of repetitive garage rock while “Red Spit” offers up a somewhat melodic bent. Influenced by Spaceman 3 to the Velvets, Psychic Ills run the gamut in soundscapes from psyche to shoegaze. Someone once described their sound as a “headfuck of noise,” which is pretty accurate. (Appearing with Indian Jewelry and Grimble Grumble at Schubas on Dec. 9) –text: Garin Pirnia

The All-American Rejects, Celebration, Lucky Boys Confusion, Pelican

THE ALL-AMERICAN REJECTS
With the success of The All-American Rejects song “Move Along” in 2004, few bands can claim the ability to still hear several of their singles constantly in radio rotation two years later. The band was formed by then-teenagers Tyson Ritter and Nick Wheeler, who took what was left of their Christmas money and fled the confines of their parents’ homes in Nebraska to New York to become stars. The risky move obviously paid off. The Rejects prove that there is still a market for pop-rock-emo spiced with “why don’t you love me / why’d you leave me” tracks, as they continue to excavate quite a following despite failing to release any new material in years. Jumping from Dreamworks to Interscope after a merger left the band in the scrap heap, Interscope is credited with seeing the potential of these young artists and encouraging The Rejects to get back in the studio to churn out another album following their winter-spring tour. Get your radios ready. (Appearing with Motion City Soundtrack and The Format at the Aragon on Dec. 19) –text: Jyn Radakovits–photo: Mattias Clamer

CELEBRATION
Husband and wife team Katrina Ford and Sean Antanaitis burst out of the Baltimore punk scene with their self titled debut last year. Adding in David Bergander, the trio creates punkish rock music filled with shrill, shouting vocals from Ford and rapid-paced background organ music. Since Ford sang on TV on the Radio’s debut, band member David Sitek ended up producing Celebration’s full-length. Songs like “War,” “Foxes,” and “New Skin” are theatrical and bold — as Antanaitis plays all the instruments except for the drums, giving new meaning to multi-tasking. The band’s approach has been documented: “I like to get to the point which flamenco artists call duende, which is when you completely lose your sense of self, and you’re completely absorbed with the spirit-the demon-of music,” said Ford in an interview. Spirits and demons — now that’s something worth checking out. (Appearing with The Eternals at Schubas on Dec. 18) –text: Garin Pirnia–photo: Samara Golden

LUCKY BOYS CONFUSION
As the band some call the missing link between mainstream pop and corporate rock, Lucky Boys Confusion has no trouble pumping out album after album of eclectic and punky rock mixed with a sweet melodic flow of pop influence with memorable hooks. After the demise of Elektra, some feared the local act wouldn’t be able to find another home after releasing four albums. What shook loose from the subsequent self titled recording sessions became some of the band’s best work, with a slightly tougher edge and slicker production value, unlike some of their previous work which was slightly devoid of bite. While LBC tunes have never been terribly complex in their makeup, the elements of all genres they combine makes for a feel-good memorable experience for the listener. LBC is rumored to be going on hiatus after their Chicago appearances this month, perhaps returning to the stage sometime in the spring. (Appearing at Metro on Dec. 29-30) –text: Jyn Radakovits

PELICAN
No doubt inspired by many a dark Chicago winter, the city’s premier instrumental outfit, Pelican, play a dense, moody and at times suffocating form of metal for shoegazer types. Their songs flow in movements, from the quiet and lumbering to an often cathartic kind of controlled chaos. Pelican’s most recent critically acclaimed record, The Fire In Our Throats Will Beckon The Thaw, appeared on countless “Top 10″ lists and enabled the band — guitarists Trevor de Brauw and Laurent Lebec and the brothers Herweg — to relocate to sunny L.A., where they will hopefully be inspired to elevate their sound to a whole new level. And, with the gradual but steady success of like-minded bands such as Isis and Russian Circles, Pelican may soon find themselves spokesmen for this exciting new generation of genre-benders. (Appearing with Lichens and Suicide Note at Subterranean on Dec. 22) –text: Mike Scales

The Features, The Raconteurs, the Tragically Hip, Umphrey’s McGee

THE FEATURES
The Features would make horrible real estate agents. The business keys in on “location, location, location,” and this Tennessee quartet lacks all three. Tennessee’s reputation is built on Elvis, Sun Studios, Isaac Hayes’ ‘70s neo-funk and Dixieland’s deep roots. Recently it’s been home to the dirty South’s hip hop army and a handful of jangle pop outfits. So playing keys-driven, brooding guitar rock sounds as odd as…well…a group of guys in Tennessee playing keys-driven, brooding guitar rock. Yet despite their geographical shortcomings, The Features have even worse timing. The band’s disco-hinting self-titled EP came a few years before “angular dance punk” was used to describe every backbeat, and their debut LP broke just long enough after the Kaiser Chiefs and the Dead 60s to be dubbed a knockoff. But it’s a blessing that the band seems best — or only — suited to play brilliantly sassy rock ’n’ roll. Guys in skinny jeans aren’t cut out to sell houses anyway. (Appearing with The Raconteurs at the Riviera on Dec. 30 and 31) –text: Derek Wright

THE RACONTEURS
For as giddy as fans of The White Stripes, Brendan Benson and The Greenhornes were upon creation of The Raconteurs, V2 Records’ executives were probably more excited. Why? Because all three acts’ catalogues — as well as this quartet that combines Jack White and Benson with two Greenhornes — are on the label. The cross-promotions virtually wrote themselves. It’s just too bad the band’s direction isn’t as clearly defined as its marketing. The quartet is less a “supergroup” than it is old friends who finally got around to recording together. That adds some familiarity and warmth to the band’s debut, as opposed to sounding like vanity patchwork by new acquaintances. But that camaraderie means there is a degree of loyalty to one another, and it sounds like a conscious effort not to overshadow anyone. So brilliant harmonies are combined equally with bluesy guitars and proto rhythms. But this identity-less sound is like a chef who wants each spice to be tasted distinctly — while good, in the end it’s just confusing. (Appearing with The Features at the Riviera on Dec. 30 and 31) – text: Derek Wright–photo: Autumn de Wilde

THE TRAGICALLY HIP
So if you’re thinking about going to one of those all-you-can-drink-for-some-flat-fee-at-a-bar-that’s-just-okay thingie for New Year’s Eve, this blurb’s for you. Canada’s 20-plus year rock ‘n’ roll veterans the Tragically Hip are bringing their ever-evolving stadium sound to the House of Blues this NYE. Over the years, as the band has managed to continually re-invent its sound and frontman Gordon Downie’s lyrics continue to become more cryptic, it’s notable that their power chord choruses deliver twice the punch due to the intricate — sometimes even weird — melody of the verses. That also means they kick a whole lot of ass live. Crowds in Chicago typically come out in force for these guys, so consider moving on this now. I mean, if you’re gonna drink well booze and tap domestic, you might as well have a better soundtrack to your NYE than “Auld Lang Syne”, right? (Appearing at House of Blues on Dec. 31) –text: Tim Ryan

UMPHREY’S MCGEE
Following a 5-year-old tradition, Chicago’s favorite progressive rock/jam band, Umphrey’s McGee, will be performing in their hometown for three consecutive nights this New Year’s. They are currently touring for their latest album, Safety in Numbers, a collaborative expression of the rough year the group members have had, including the loss of a close friend who was killed by a drunk driver. Often compared to such jam bands as Phish and the Grateful Dead, they attribute their primary musical influences to The Beatles and Led Zeppelin. However, in their live shows there are no genre boundaries when it comes to playing covers; they have been known to cover songs by Metallica, Lionel Richie, and even Snoop Dogg. With an open-taping policy and a dedication to natural, cliché-free musical expression, they keep their live shows fresh through constant improvisation. (Appearing at the Aragon with North Mississippi Allstars on Dec. 29, with Los Lobos on Dec. 30 and with Taj Mahal on Dec. 31) –text: Ariel Sundel–photo: Danny Clinch