October 2009 » Chicago Innerview

Andrew W.K., Fever Ray, Juliette Lewis, Monotonix

ANDREW W.K.
Upon hearing that Andrew W.K.’s new album 55 Cadillac is comprised entirely of instrumental piano pieces, the first reaction is shock. After all, this is the same guy who posed with a bloody nose on the cover of his first album — an aggressive collection of rockers that boasted tracks “Party Hard”, “It’s Time to Party” and the inimitable “Party Til You Puke.” This shift in style is comparable to Mozart releasing a concerto titled “Metal Up Your Ass.” But after a few listens, the new music will start to sound familiar to fans. Beneath the ridiculous lyrics and crushing guitars in Andrew W.K.’s earlier music was melody. And buried beneath the iron-metal curtain were tinkling pianos that, on the new release, are simply brought to the forefront of the other sounds. This is a new version of classic Andrew W.K., whatever the hell that means. (Appearing with Calder Quartet at the Lakeshore Theater on October 1) –text: Chris McNamara

FEVER RAY
Karin Dreijer Andersson, the female half of Swedish electronic pop duo The Knife, sure knows how to make ominously eerie-sounding music. The low, rumbling bass off of her first solo album as Fever Ray is equally matched in hypnotic trance by her unique, haunting voice. Though her solo offerings are slightly less danceable than the sheer genius of The Knife, Andersson’s music succeeds in transporting listeners into a foggy maze that there’s no clear urge to escape from. Not surprisingly, Andersson focused many of her new songs on the subconscious and daydreams. If her live performance is anything like those with brother Olof as The Knife, Chicago is in for quite the early Halloween treat. (Creepy face paint is likely.) The Knife decided to take some time off following the international success of 2006′s Silent Shout, which earned them six Swedish Grammys. And while the world may be without The Knife for a little while longer, at least in the meantime we have Fever Ray. (Appearing with Vuk at Metro on October 3) –text: Justine Reisinger

JULIETTE LEWIS
Best known for starring in such classics as Cape Fear, Natural Born Killers, and Christmas Vacation (as well as for dating Brad Pitt), Juliette Lewis is more than just a pretty face on the big screen. With first backing band The Licks, she released her debut rock record in 2006 and followed it up with two more. The Licks have since dissolved but Lewis is back with new band The New Romantiques, releasing new album Terra Incognita (produced by Omar Rodriguez-Lopez of The Mars Volta) this fall. After opening for Cat Power and The Pretenders this year, Lewis can be taken more seriously than most other actors-turned-musicians (Jared Leto, anyone?) Her music might not be all that great, but her intensely theatrical stage presence can be quite engaging and raucous. It appears that Lewis also has some new movies coming out soon, so at least she still has her acting to fall back on. (Appearing with The Ettes and American Bang at Bottom Lounge on October 2) –text: Garin Pirnia

MONOTONIX
This article is appropriately being written on Rosh Hashanah, the “Jewish New Year” which is usually celebrated with sweets such as honey and maple vinaigrettes. But one would have to imagine that the savage garage rock nuts of Tel Aviv’s Monotonix will not be sitting down to tame family meals of apples dipped in honey with soothing Hebrew music playing in the background. Rather, it is much more likely that this tirelessly touring trio are setting shit on fire and dumping drinks on their faces as a bass drum flies through the air. Now well past a couple of years after having branched out from Israel, where their enthusiastic style was so frowned upon by authority types that they were banned from most Tel Aviv venues, Monotonix are celebrating the Jewish new year with the release of their debut LP Where Were You When It Happened? on Chicago label Drag City. (Appearing with Turbo Fruits and Ga’an at Logan Square Auditorium on October 3) –text: Benjamin Smithson

Califone, Indian Jewelry, Riverboat Gamblers, Youth Group

CALIFONE
It’s been close to three years since the release of Califone’s last album, Roots and Crowns (Thrill Jockey), but the Chicago post-rock veterans return on October 6 with new record All My Friends Are Funeral Singers on Secretly Canadian imprint Dead Oceans. The album also serves as the soundtrack to singer/guitarist Tim Rutili’s feature-length film of same name, which he also wrote and directed. The band will be performing the album alongside a screening of the film and, in some ways, it’s fitting that Califone’s music has finally linked up with the film landscape. Conventional wisdom would dictate that an artsy indie band has simply been married to an artsy indie movie to create the artsy indie experience for people who refused to see Once. But this is Califone, a band always in search of a new way to turn the corner. To Califone’s credit, the steps they take towards reaching their unknown are never quite the same. (Appearing at the Museum of Contemporary Art on October 10 & 11) –text: Chris Castaneda–photo: John Adams

INDIAN JEWELRY
It has been rumored that Indian Jewelry shows have caused both onstage and in-crowd freakouts. After listening to Free Gold!, you’ll get a better understanding as to why this might be. Having started in 2002, Indian Jewelry has thus far created a frightening epileptic orgasm of heavy electronic drone. The album itself must weigh as much as an elephant in comparison to other such psychedelic releases, and I hereby characterize this as the most intense of the new psychedelic music I’ve heard in the last year. Continuous chants paralleled with a steady death-greeting backbone riff, alongside ambiguous walls of ear-piercing yet contradictorily soothing drone, prove reminiscent of white light/white heat-era Velvet Underground or even Brian Jonestown Massacre circa My Bloody Underground, only with stronger electronic beats — or a livelier, more balls-out Bardo Pond. It’s not just noise, though. If you want “just noise”, though, go ask Yoko. (Appearing with Oakeater and Mayor Daley at Empty Bottle on October 4) –text: Katie Knaub

RIVERBOAT GAMBLERS
There’s at least one “holy shit” moment at every Riverboat Gamblers concert, and the smart bet is that it will come courtesy of frontman Mike Wiebe. One part Iggy Pop contortionist, one part mic-twirling Roger Daltry and one part Eddie Vedder in his rafter-climbing heyday, the long-haired vocalist has made a habit of seemingly risking life and limb by the middle of each set. In fact, it’s what the Texas collective has built its budding reputation upon. Forget their brief-but-extensive back catalog of punk-laced, garage rock EPs, 7-inches and five LPs since 2001. Overlook this year’s Underneath the Owl, which fuses glossy undertones of ’70s arena rock with the band’s trademark Southern-styled debauchery. The Riverboat Gamblers are simply a spectacle to be seen, all stemming from the charismatic thrill junky Wiebe. No matter how accurate the group’s recordings might be, there’s just no comparison to their live show. And that’s the Riverboat Gamblers’ most consistent bet. (Appearing with Murder City Devils, The Dead Milkmen and The Frankl Project at the Congress Theater on October 9) –text: Derek Wright–photo: aubreyedwards.com

YOUTH GROUP
Youth Group may be Australia’s most talented and underappreciated band working today, having released four solid indie rock albums since their inception over a decade ago. Their last album, 2007’s Casino Twilight Dogs, was a sparkling, intelligent, cohesive and catchy pop record that garnered minimal coverage Stateside. Their own songs were short, thoughtful offerings, but they also did interesting things like picking apart Alphaville’s “Forever Young” and restructuring it into a song of their own design. Their new album, The Night Is Ours, was written, recorded and produced in a refurbished 1920s-era mess hall in Sydney Harbor. The result is a rawer, more emotionally driven record that doesn’t sacrifice Youth Group’s predilection for strong melodies. And with some recent placement on the TV show “Gossip Girl”, the album may finally earn Youth Group the recognition they so richly deserve. (Appearing with Other Girls and The Wiitala Brothers at Schubas on October 6) –text: Caroline Evans

Amy Millan, Bob Mould Band, Ingrid Michaelson, Inspector Owl

AMY MILLAN
Splitting the difference between Emily Haines’ tough girl intensity and Leslie Feist’s silky fragility, Amy Millan is probably the Broken Social Scene songstress that Goldilocks would deem “just right.” The 35 year-old Toronto native has found some substantial success in recent years, particularly via her primary role with Arts&Crafts Records indie-pop outfit Stars. But Millan’s solo career remains in its infancy, yet to be bolstered by some ubiquitous iPod commercial or Starbucks campaign. Her 2006 debut Honey From the Tombs mined a decade’s worth of material and surprised many fans with its stripped-down, country/folk sound. Her brand new follow-up Masters of the Burial continues in this vein, with a mix of mellow originals and carefully chosen covers — including an excellent rendition of Death Cab’s “I Will Follow You Into the Dark”. Millan’s old pal Feist provides a backup vocal cameo on the new album as well. (Appearing with Bahamas and Kellen & Me at Empty Bottle on October 16) –text: Andrew Clayman

BOB MOULD BAND
Since 2002’s electronic-flavored Modulate, Bob Mould has been experiencing what would more appropriately be described as a musical Renaissance than a rebirth. Now into his twentieth year as a solo artist (30 years total if you count his influential Hüsker Dü and Sugar eras), Mould seems to have struck the right balance between the past and present aspects of his groundbreaking career. On his ninth solo album, Life and Times, Mould continues to press forward by delivering an album filled with a tireless passion that never wavers from song to song. Having set out on his own with 1989’s Workbook, Mould has found new ways to discover a new voice that always seems to open the door to his next voice. And although Life and Times is by no means the definitive Bob Mould statement as an artist, it certainly reminds the listener why Mould has spent the past three decades as one of America’s most elite musicians. (Appearing with Alec Ounsworth at Metro on October 12) –text: Chris Castaneda–photo: Noah Kalina

INGRID MICHAELSON
With an innate ability to induce tears — whether her lyrical protagonist gets what she wants or not — cathartic music is Ingrid Michaelson’s specialty. Chosen over and over for the “Grey’s Anatomy” soundtrack, Michaelson’s fresh and hopeful guitar work is the perfect accompaniment to her youthful subject matter. Her fourth album, Everybody, continues this tradition of wistful songs backed by intelligent music with an almost universal appeal. Skilled piano and ukulele update her sound and take her beyond where someone like Lisa Loeb could go in the ’90s. However, a clear sharp voice and Lisa Loeb-style frankness (and glasses) work to make you feel like you are either madly in love or tremendously heartbroken — but heartbroken in a good way. This positive attitude about heartbreak must come from a lot of experience with love, and rightfully so: it’s almost impossible not to fall in love with her. (Appearing at the Park West on October 26) –text: Diana Novak–photo: Caleb Kuhl

INSPECTOR OWL
Corey Wills is a man who knows what he wants. Since his dance-rock ensemble’s conception in the early half of the decade, the oft-bearded and bespectacled leader of this Chicago outfit has kept that sonic mindset. Although the 27-year-old also splits time as the effects whiz in Chicago buzz band Kid, You’ll Move Mountains, Wills’ baby remains Inspector Owl. When the group started out as a duo, it was Wills who layered his thumping loops under swirling riffs. When the lineup increased to a trio, and then to a quintet, it was Wills who pushed for consistency. And now, with its latest 5-piece roster and a new album in the mix, it’s Wills who remains Inspector Owl’s visionary. Alongside drummer Jesse Fisher and with onetime bassist Jason Thompson back in the fold, this new IO is as rock-savvy as it is dance happy — just the way Wills likes it. (Appearing with Geronimo!, A Million Years and Picture Books at Double Door on October 18) –text: Derek Wright–photo: Lenny Gilmore

A Place to Bury Strangers, Broadcast, Mûm, Roky Erickson

A PLACE TO BURY STRANGERS
Labeled as “the loudest band in NYC,” this decibel-bursting trio lives up to its moniker. Lead singer Oliver Ackerman has purposefully tinkered with his pedals to generate the band’s loud shoegazey sound, but they aren’t loud just for the sake of being loud. Following the release of its critically acclaimed self-titled record in 2007, the band was often compared to moody acts like Joy Division and The Jesus & Mary Chain — but APTBS took the best of the genre and made it their own. The band’s sophomore album, the aggressively named Exploding Head, sees APTBS heading into a more polished terrain with slightly more accessible songs like the contagious “Keep Slipping Away” — as frequent themes of yearning and heartbreak remain intact. APTBS’s live shows are indeed loud (earplugs recommended) and are also characterized by incessant strobes, choking smoke, and absolute darkness. Not to be missed. (Appearing with Dead Confederate at Double Door on October 26) –text: Garin Pirnia

BROADCAST
After a lengthy hiatus, the U.K.’s reigning masters of retro-futurism are headed back to the States, this time as half of an eyebrow-raising co-headlining tour with Atlas Sound. Formed in Birmingham, England in the late ‘90s, Broadcast was initially branded as a Stereolab retread — complete with the detached female vocalist and surrealistic lounge groove. Keener observers knew better, however, particularly those who recognized the unflappable Bond girl mystique of frontwoman Trish Keenan. With a knack for melding dark, IDM-style textures with early-‘60s pop melodicism, Broadcast was soon regarded as one of the preeminent bands on one of the world’s elite electronic labels: Warp Records. The last few years have seen the group maintain a fairly low profile, but this U.S. tour promises to coincide with the release of the first new Broadcast material since 2005’s difficult but rewarding Tender Buttons. (Appearing with Atlas Sound at Bottom Lounge on October 26) –text: Andrew Clayman

MÚM
Formed in 1997, Múm creates quintessential Icelandic trip-hop. Their debut LP, Yesterday Was Dramatic – Today Is OK remains one of the best examples of electronic music in the vein of Aphex Twin (meaning you don’t dance to it). Featuring beautiful vocals juxtaposed with oft-glitchy organic drums and noises, Múm have spent a decade spanning the avant-pop side of electronica. Although the band now features only two of its original members (one former member is now married to Animal Collective’s Avey Tare), Múm are still going at it strong — reaching notable commercial success with 2007’s Go Go Smear the Poison Ivy single, “They Made Frogs Smoke ‘Til They Exploded.” Their fifth album, Sing Along to Songs You Don’t Know, was released this summer. If you’re looking for a visceral and beautiful concert experience that is actually rather common for Icelandic acts, Múm should certainly be at the top of your list. (Appearing at Logan Square Auditorium on October 28) –text: Matthew Partington

ROKY ERICKSON
In his ’60s-era heyday with the 13th Floor Elevators, Roky Erickson helped introduce the world to psychedelic rock ‘n’ roll music. His gruff, wailing voice embodied the new genre to its fullest, as did his lifestyle. As is explicitly documented in You’re Gonna Miss Me, a filmed account of Roky’s career and personal life, Erickson has been through hell and back. After having taken an estimated 300-plus hits of acid within the first few years of the Elevators’ success, the Dallas native was admitted to a psychiatric hospital for paranoid schizophrenia. For many years, Erickson battled mental illness and drug addiction. What never subsided, though, was his passion for music. After years of slowly improving, he’s continued to collaborate and is hopping on the tour bus once again. An unwavering pioneer and a true mad genius, Erickson has stirred a renewed interest in the psychedelic genre which he helped create — and which almost destroyed him. (Appearing with Land of Lincoln and Maximum Wage at Bottom Lounge on October 31) –text: Katie Knaub

Andrew W.K., Fever Ray, Juliette Lewis, Monotonix

Califone, Indian Jewelry, Riverboat Gamblers, Youth Group

Amy Millan, Bob Mould Band, Ingrid Michaelson, Inspector Owl

A Place to Bury Strangers, Broadcast, Mûm, Roky Erickson

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