September 2011 » Chicago Innerview

Dam-Funk

It’s all in the name. Dam-Funk is dead set in carrying out one genre of music: funk. Known for playing epic tracks sans vocals, his mission is to get fans and new listeners to hear gritty, lowdown boogie funk the way it was meant to be heard. To him, funk is a combination of ‘80s music fixed in boogie, electric and soul, where he honors those in the genre that came before him. Though inspired by his roots, he shares unique elements in his mostly crazy-fun sets that include both downtempo tracks and fuzzy, synth-heavy melodies. Recording and releasing from Stones Throw Records, he has the firm support of other funk-focused artists like Peanut Butter Wolf. His sets are both everything and nothing you’d expect — tapping into soulful body movement while slipping in some chilled-out tempos that portray the brilliance of the funk genre. (Appearing at Beauty Bar on October 13) –text: Angie Martin

Portishead

The trip-hop genre is a beast of well-defined loyalties, but even amongst its stars there are few bands that capture emotional intensity like Portishead. This small but potent outfit originated 20 years ago in Bristol, but their success quickly volleyed into the international field. It began with the critical and commercial success of Dummy (1994) and included forays into spy-flick filmography before expanding recently in 2008 with the downbeat sounds of Third. While their history is punctuated with periods of silence, the artistic chemistry of this magnetic 4-piece ensures its staying power. Through two decades of music, Beth Gibbons’ harrowing, mournful contralto remains the soul of Portishead while founder Geoff Barrow (formerly associated with trip-hop monster Massive Attack) provides the motivation and platform. Joined by co-producer/instrumentalist Adrian Utley and engineer/drummer Dave McDonald, Portishead’s North American tour is currently underway, promising more of the profound macabre elegance they have made their signature. (Appearing with Thought Forms at the Aragon on October 12) –text: Jessica Millman

Madeleine Peyroux

Within what era of modern humanity has there not existed at least one segment of the population that has lamented the lack of quality compared with generations past? The realm of music today is no exception. For those folks who consider much of mainstream music production to be too consumerist-driven, Madeleine Peyroux may be a much-needed source of pure quality. Her voice, smooth and deep, lovingly transports you down the American bayou with its crooning melodies. She’s a refreshing reincarnation of jazz vocalists past, but keeps one foot in the door of the present. She might make you think Billie Holiday while performing an Elliott Smith cover. In her newest album, Standing on the Rooftop, she presents a sound that is edgier than anything she’s produced in years past. Rest assured, however, that anything she creates remains thoughtful and soulful. (Appearing with Nellie McKay at the Park West on October 11) –text: Joanna Tomassoni

Digital Tape Machine

Wrapping ambient instrumentals, shredding guitar solos, electronic dance, tech house, trip hop and drum ‘n’ bass into one funky package, Digital Tape Machine is a neo-fusion band out of Chicago that’s both harmonically and rhythmically enthralling. It may be a stretch to say that parts of the tracks “Big N Tall” and “Northwest Dance” just might remind you ever-so-slightly of a modern version of Chick Corea’s Return to Forever smashed up against Pretty Lights, but it may not be. In addition, the repeated synthesizer hook in “Hop on Scotch” could bring you to levels of nostalgia you’ve never felt before, which is not surprising, seeing as the band consists of members from such groups as Land of Atlantis, Umphrey’s McGee, The Hue, Liquid Soul, and Strange Arrangement. This is music that sets the mood. (Appearing at the Park West on October 8) –text: Annie Debreczenyi

Dam-Funk

Portishead

Madeleine Peyroux

Digital Tape Machine

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