Del Rey

It’s been said that the mysterious vibes of Chicago post-rock instrumentalists Del Rey would probably fit nicely on the dusty, barren plains of Luke Skywalker’s home planet of Tatooine. It may sound strange, but having experienced the band’s dark and expansive layers of sound — especially in a live setting — one can certainly begin to understand the sentiment. Over the course of three full-length releases courtesy of My Pal God, Del Rey have perfected a solid formula of intricate rhythms (often utilizing two full drum kits simultaneously), layered atmospherics, slow builds and brilliant, cathartic releases. On Immemorial, their fourth longplayer and first release for At A Loss Recordings, the band has opted for a more subtle and melodic, yet no less dynamic, approach that seems more in line with a vision of what Del Rey themselves describe as “the terrifying clarity of the sunrise after a sleepless night.” (Appearing with Electric Hawk and Arctic Sleep at Empty Bottle on January 13) –text: Mike Scales

Del Rey, Razorlight, Smoke or Fire, Tokyo Police Club

DEL REY
After 10 years of sonic excess, Chicago’s moody instrumentalists Del Rey have become connoisseurs of ebb and flow dynamics. Having clearly taken a cue from the Tortoise school of rock, their new full-length, A Pyramid for the Living, pulses with the rising tension of dense, building guitar work and its subsequent release through dueling rhythms and whimsical electronic atmosphere. In a live setting, Del Rey’s jazz-oriented song structure (a form of story-telling, according to the band) takes on a whole new life as bassist Chris Cowgill and guitarist Damien Burke along with multi-instrumentalists Eben English and Michael Johnson bash away at their craft with a keenly focused intensity — highlighted by the occasional onslaught of double drummers pitched to the very edge of the stage for optimal effect. Fans of Russian Circles, with whom Del Rey will share the stage this month, owe it to themselves to get there early to witness these post-rock vets in action. (Appearing with Russian Circles at Schubas on March 3) –text: Mike Scales

RAZORLIGHT
“They’ll never do the things they wish that they could do so well.” This salvo from Razorlight’s first album, Up All Night, is meant to be a shot at the haters. Known for their ’80s derived rave-ups and persona — tight ripped jeans are a must — Razorlight have been forced to defend their music and fashion since blasting out of the gate in 2004. Yet all of this seems to be missing the point. If the ’80s were about anything, they were certainly about burying one’s head in the sand for maximum personal enjoyment. Perhaps this is the preferred method of digging a band like Razorlight. Don’t sweat the details, just sweat to the rhythm. And rhythm they have in spades. Whether it’s the bouncy “Golden Touch” or the Blondie-esque shake of “In the Morning,” Razorlight know their way around a good time. Isn’t that all that really matters? (Appearing at Martyrs’ for the late show on March 3) –text: Tim Slowikowski–photo: Scarlett Page

SMOKE OR FIRE
Smoke or Fire’s story is one familiar to any band that’s been constantly on tour for the last year. Their sophomore release, This Sinking Ship, narrates the struggle of doubtless futures, strained relationships and the endless march through all 50 states. The power pop-punk unit formed back in ’98 during the college years when the longtime friends first united under the moniker of Jericho. Later drummer Nick Maggiore had to bow out due to a family emergency, being replaced by Dave Atchinson of Ashes Rise. Sinking Ship, clearly their most cohesive collection of tunes produced in the bowels of Atlas Studio in Chicago, plays a little more commercial Blink-182-Good-Charoletteesque for the fans of acts such as Avail, The Lawrence Arms, or Against Me!, with whom they have made tour companions, but it blends a solid booming rock onslaught of squeals and crashing drums with sing-a-long lyrics that even a punk rock poser could enjoy at a weekend show. (Appearing at Ronny’s on March 9) –text: Jyn Radakovits

TOKYO POLICE CLUB
In the past few months, the unusually named Tokyo Police Club has carved out a niche for itself in the indie world. The group is not Japanese, but Canadian — with lead singer Dave Monks, Graham Wright, Josh Hook, and Greg Alsop hailing from Newmarket, Ontario. Their debut EP A Lesson in Crime combines Strokes-esque infectious 2-minute pop songs with more unusual lyrics, such as those displayed on the tune “Citizens of Tomorrow” — in which warm keyboards kick in over lyrics about a post-Apocalyptic world in the year 2009 and talk of robots building a better world. Hand clapping ensues. “Cheer It On” features pounding drums, gnarling guitars, and overlapping yelping vocals. TPC will increase their buzz and exposure meter when they play the South By Southwest and Coachella festivals over the next couple of months. For now, their excellent 7-song EP will have to sate until a full-length comes into fruition. In the meantime, file Tokyo Police Club under a band to watch. (Appearing with Cold War Kids for the late show at Subterranean on March 9) –text: Garin Pirnia