Local noise rockers Making Ghosts will be appearing at the Empty Bottle on Friday. Kevin Warwick says, “Chicago four-piece Making Ghosts aren’t putting up a front. ‘We make noise rock,’ they declare on their Facebook page, and their logo incorporates what looks like a diagram of the wiring inside a Big Muff—the almighty, burly fuzz pedal immortalized in the title of Mudhoney’s first EP. These dudes drop cinder blocks of chugging, evil guitar noise atop stomping, swinging drum rhythms that lean hard on the crash cymbals. The first half of their only release so far, the 2011 EP 001, contains the highest concentrations of metal-inflected heaviness—the later songs dip into more experimental postrock territory, with wan clean vocals instead of red-eyed screaming.”
From deep, ringing vocals telling the outlaw’s tale to story songs about hopping trains and leaving town, Brett Conlin is using his small-town sound to resonate with crowds all over Illinois. City Slicker or Local Yokel, you won’t want to miss this show when it comes to town!
As if from the soil itself, DIRTY GREEN emerged in 2005 and has continued to cultivate a hybrid of authentic, yet truly original music planted deep down in the ground of early american roots. DIRTY GREEN’s namesake comes from a song written by singer Aaron Mitchell which takes some digs on the lopsided and fictional attributes of the almighty dollar bill. Influenced by, but not limited to: american folk, Americana, bluegrass, blues, punk and early country, DIRTY GREEN offers a wide array of original ballads, blue-collar rants, pseudo-rockabilly romps, bar room jingles and a hearty batch of heart-wailing folk songs.
CAPITAL SHIPS
Progressive rock from Chicago, IL
HARD KISS
Hard Kiss:
…lives in Chicago, IL and loves it
…loves Jawbreaker, Elastica, and The Clash
…will take the last beer without asking
…recorded their debut album 100% DIY
…will step outside with you for a cigarette
…will play pretty much anywhere with a PA
…loves INXS, Prince, and T. Rex
…thinks making music should involve sweat, blood and saliva
…will come hang out at your barbecue
…loves The Replacements, Billy Idol, and Tom Petty
…thinks that sleeves are always optional
Ian Fell – Bass, Backing vocals
Johnny V. – Guitar, Keys, Lead vocals
Timmy Lydon – Drums
The band originally formed in 2006 with Eric Enger and Sean Blythe. Now in 2013 they added Mark Grieff and are ready to rock all across the United States. Keep your eyes peeled for this eccentric group of friends to be rocking in a town near you.
In August of 2008 frontman and multi-instrumentalist Noah Adams drifted into New Orleans and quickly found himself enchanted with its wild and authentic, booming musical styles.
After recruiting New Orleans native drummer Dane “Bootsy” Schindler, they formed what would later become the Dirty Bourbon River Show, playing their first show at the end of the year under the moniker “Buck Johnson and the Hootenanny Kid.”
After picking up ringleader/vocalist Charles “Big Charlie” Skinner and multi-instrumentalist Wayne Mitchell, the Dirty Bourbon River Show began to grow into an interactive multi-genre variety hour-style band. Drawing from a rich diversity of musical backgrounds, they began in American roots music and branched out into folk, rock, blues, jazz, latin, gypsy, circus, and traditional New Orleans styles.
The Dirty Bourbon River Show made their debut at the legendary Tipitina’s during homegrown night on March 11th, 2009. After picking up bassman Jimmy Williams that summer, they embarked upon their first regional tour of the south. The contagion of their whiskey-soaked New Orleans eclecticism began to spread fast. That fall they recorded their debut studio album, Volume One.
Less than a year after their homegrown debut, the Dirty Bourbon River Show headlined Tipitina’s on February 5th, 2010, releasing their first full length LP.
Showing no signs of slowing down, for their second summer of touring the Dirty Bourbon River Show cut a second 30 min record called Free Love and caravaned around the south – gypsy style – giving it out for free. The contagion doubled.
That fall they finished up a 6 month burlesque residency as the house band and ringmasters of the Big Busk! – blending together a unique rock’n’roll comedia erótica variety hour heralded by the press as being a “genetically theatrical love affair.” Additionally, they continued touring the surrounding area – going as far as North Carolina with the Holy Ghost Tent Revival.
The Dirty Bourbon River Show began their third year with the release of a 3rd studio album – Volume II – at the Blue Nile on Frenchmen Street in New Orleans. It was their most ambitious record yet; the already-lush orchestrations of the band began to see even more multi-instrumentalism, large vocal and horn harmonies, and an elevated level of musical interplay between the members. To support its release touring increased…
As spring turned to summer the Dirty Bourbon River Show saw the departure of Wayne Mitchell, leaving the band to pursue a career in biomathematics. New Orleans native Matt Thomas (Kirk Joseph’s Backyard Groove, Something Delicious) replaced him as resident soloist, bringing to the table both tenor and baritone saxophone, along with clarinet and vocals.
Now permanently aligned as a full-time professional touring act, Dirty Bourbon spent the 2nd half of 2011 extending the reach of their show further up the Eastern Seaboard and out into the Rocky Mountains. On 11/11/11 they released their 4th studio album – The Old-Timey AfroPop Jibberish Junction – attempting to give it away for free again like Free Love. They couldn’t keep enough copies on hand to quell the demands, and it had suddenly become obvious, now more than 200 shows later, that the Dirty Bourbon River Show was becoming something great…
Showing no signs of slowing down, Dirty Bourbon began the year by releasing their 5th studio album, Volume Three. To support it’s release they moved all of their stuff out of the 8th ward and into a storage unit and then took to the road, touring the country for eight straight months.
The tour proved extremely successful, solidifying their circuit across the South, Southeast, Midwest, and expanding their reach further into new North Eastern territories. To cap off the year they released their 6th studio album – The Most Peculiar Thing – on December 21st at the Blue Nile in New Orleans.
The Dirty Bourbon River Show released their 7th studio album – Volume Four – in New Orleans on May 25th. Following a four month tour to promote its release (which included high profile appearances at Voodoo Festival Main Stage w/ The Cure, Bristol Rhythm and Roots Reunion, and the 69th Annual Radio and Television Correspondents Dinner in Washington, DC), the Dirty Bourbon boys closed out the year by releasing their 8th studio album – Accordion Anthology – on the New Years Eve at the Maison on Frenchmen Street in New Orleans, fulfilling their goal of releasing 2 albums a year for their first four full years as a band.
The Dirty Bourbon River Show is taking 2014 by storm, with many high-profile appearances already scheduled, including the 2014 New Orleans Jazz and Heritage Festival.
Surgyn are an alternative electronic music project from Scotland. Their début album Vanity was released in 2011 and received widespread critical acclaim, along with two accompanying singles, Hit the Nerve and Sharp as Stars. Vanity went on to sell out in five different editions, two through the duo’s first label, DWA.
In early 2013, Vanity was re-released through Vendetta Records in North America. As well as this, a flexidisc edition of the ∆Aimon remix of The Stranger was released through DWA, with an accompanying full-length remix album of Vanity, called Restitched.
The duo are touring regularly and playing festivals across the world. They are also currently back in the studio, working on their second full-length release.
Kid Sister is from Markham, IL but currently resides in Los Angeles. She makes club rap and works at a childrens clothing store slanging bibs and teething rings. Yes, her DJ (J2K of Flosstradamus) is her real brother, and yes that does rule.
Silversyde was birthed from turmoil, chaos, and despair. Our lyrics tell a story of release from addiction to many harmful behaviors including drugs, alcohol, and an incessant desire to find acceptance in people and behaviors that sought to destroy us.
SILVERSYDE is a metaphor about finding hope in the worst of circumstances. Surrounded by the storm clouds, we each cried out for HELP and were able to find the silver lining in Hope, Eternity, Love and Purity. This symbolic metaphor for H.E.L.P. is the focus of our band and what our music is all about. We are the underdogs, the people who never quite fit in, and now through our genuine, raw, and emotionally gripping music we want to help other ‘outcasts’ and hurting souls find reconciliation.
Our calling is to show people a way through the stress and troubles of life that plague our everyday existence.
Our life experience and struggles are crucial in helping us relate to our fans/audience. Currently our focus is on suicide prevention and our own suicidal tendencies and near death experiences have given us the ability to relate to people and offer HELP to those who are in similar situations.
Our music, tells a story of a great emptiness inside that we have a longing to fill. No longer shall we be slaves to depression and addiction.
Our lyrics are real, our motives are pure and our hearts are set on reconciliation with the source of all purposeful, abundant Life.
Hard. Hard feelings. Hard work. Hard rock. SCREAMING FOR SILENCE powers through the lows with unapologetic roars, punishing percussion, sweaty bass lines and euphoric guitar riffs in their debut EP featuring the nu-metal – rock fused anthem “Separate” and the many-layered standout “Helpless.” Beaten but not down, SCREAMING FOR SILENCE commands attention in the studio and especially live on-stage.
Cut from the same vain of acts like Smile Empty Soul, Papa Roach, Drowning Pool, Trapt and Powerman 5000, SCREAMING FOR SILENCE has collaborated with some of the Midwest’s most notorious rock producers, including Justin McCain (Emphatic) and producer/sound engineer Matt Sepanic (Slipknot, Dirty Little Rabbits, Murderdolls). At its core, the SCREAMING FOR SILENCE sound is intricate with ravaged vocals and cutting lyrics. The guys are currently working on their 2014 debut album in Hollywood, CA with producer Erik Ron (We Came As Romans, Motionless In White), incorporating recording/writing in to their grueling tour schedule.
That same dynamic and power fueled energy is only equaled live in concert. In a comparably short time, SCREAMING FOR SILENCE has shared the stage with diverse bands such 12 Stones, Taproot, Prospect Hill, Eye Empire and Another Lost Year. Their resume doesn’t end there – SCREAMING FOR SILENCE has primed the stage for BUSH, Stone Sour, Seether, Candelbox, and played on the 2008 Rock the Ink Festival (Providence, RI) with Godsmack, Killswitch Engage, All That Remains, Sevendust and more.
SCREAMING FOR SILENCE is now on tour with plans to return to the studio in April to finish their album. The Omaha-based outfit is primed for another round of hard edge tracks.
The Gents write “smart write funny, sharp-rhyming songs that put them in the company of classics like Louis Jordan and Louis Prima.” -The Boston Phoenix
Textbook has been together for over ten years, perfecting their own style of midwestern pop-punk-rock that’s influenced by everyone from The Replacements to Naked Raygun. Fronted by former Not Rebecca singer/songwriter Dave Lysien, Textbook has released four full-lengths, a 6 song EP, and has appeared on numerous compilations over the years. Have a listen.
Tone Zone Skam was formed in 2010 seeking to have the Mexican Ska rhythm and style. From Chicago to the the world, TZS seeks that the people identify themselves with the band making them forget their problems for a while, TZS, through their songs, also fights for equality, unity, & brother/sisterhood, Wherever you are TZS will make you dance “Ska Without Compassion.”
Tone Zone Skam se formó en el 2010 buscando tener el ritmo y estilo del Ska Mexicano. Desde Chicago para el mundo, TZS busca que la gente se identifique con la banda y hacerlos olvidar sus problemas por un rato. TZS, a través de sus canciones, tambien pelea por la igualdad, unidad, y hermandad. Donde quiera que estes TZS te pondrá a bailar “Ska Sin Compasión.”
SO IF AN ASTEROID WAS GONNA TAKE OUT EARTH TOMORROW, AND YOUR FRIENDS WERE HAVING A HUGE PARTY TO CELEBRATE WHAT A WILD RIDE IT’S BEEN, WHEN YOU SHOWED UP THIS BAND WOULD BE PLAYING. JOIN THEM IN THEIR JUBILANT, DANCE PARTY SALUTE TO THE SUPREME ASS KICKINGNESS OF LIFE.
WoWo (Wax On Wax Off) is every Thursday at Reggies. It’s where you get to spin a set of your favorite records.
Sometimes touring bands can only play on a WoWo night. If it can be worked out, a member of the band will Co-Host Wax On Wax Off. The cool part is you get to hear them play some vinyl before the show.
Keep checking the schedule to see when Special Guest Hosts play some records before hitting the stage.
Scott Fischer’s brain is like a vast musical amusement park and he wants to take us all on a thrilling ride. Fischer’s Flicker is the latest brainchild of Fischer and marks the next step in a musical evolution that began over 15 years ago. While Fischer’s Flicker’s debut album, “Katmandon’t” is certainly more “mature” sounding than Fischer’s previous efforts, containing none of his trademark humorous rock tunes, it stays true to the core of Fischer’s music with big melodies and ambitious composition. This, coupled with live performances that include extravagant and imaginative video installations that sync up with the band’s live performance, will make you want to jump right back in line for another ride.
Since their unholy birth in 2001, Gutter Demons have been tearing up the scene across Canada, US, and Europe with their intense stage shows, raucous rock‘n’roll music, red-blooded rockabilly roots, punk potency, and downright dirty musicianship. Quickly becoming Canada’s most recognized disciples of Macabre, they have quickly gained a strong following by playing their unique brand of mutant Psychobilly.This hard working DIY three piece brought their unique approach to Psychobilly music. Often seen in some circles as uni-dimensional, the Demons psycho sound is refreshing and deeper than most of their contemporary peers. Playing the horror cards in a more subtle way, GD always took great pride in releasing rich & well written concept albums avoiding them to fall into the generic “zombie,hotrod, pin-up” category. The real madness happens on stage. GD is a fast & furious mean machine playing encores after encores even once clubs lights are on, no matter if there is a crowd of 10 or a 1000 people.
Way back when, during the ‘Rise of the Machine’ some time in the spring of 1981, Rockin’ Kurt and his Saur Krauts started pounding the well-rotten boards of the London Rock’n’Roll clubs and pubs.
Initially the line up consisted of Jeff Harvey — vocals, (Handsome) John Reddington — guitar, Alan (Junior, later aka Maggot) Power — saxamaphone, Robert (Boppin’ Bert) Boustead — bass, Mark (Rory) Lyons — drums, and after seeing their second show, Paul (Thwack) Laventhol joined on geeter in time for the third gig in July of ’81.
During the autumn of that year, Rockin’ Kurt & His SK’s took a trip up to Bangor, North Wales, where Jeff had some chums who’d set up two shows. They were well attended, at least 5 people came to both shows! After spending our hard-earned cash (20 pounds for both nights I seem to recall, and no, not each, altogether!), we drove back through the Welsh hills to London. On our way we decided to do a show for the passing tourists in their lovely warm coaches while we stood on a big rock. From that day on we dropped the ‘Roc’ from Rockin’ Kurt and his Saur Krauts (was too long and hard to say it pissed!) and became known simply as King Kurt.
‘Til spring of ’82 King Kurt remained the same, doing gigs around local London, the Fridge, Clarendon, the Pits, Old Queens Head etc, dressing up in silly clothes, playing to packed houses of at least three people, giving out prizes of sauseges and sauerkraut to anyone who dared dance. Rory had been busy getting King Kurt regular shows at the 101 Club in Clapham where he worked, and by this time the momentum of virual popularity was growing. Alas Jeff was getting itchy feet and wanted to leave the music bigtime and go to art school in Birmingham. King Kurt needed a replacement singer, and needed one fast! Along came The Smeg. Things looked good. King Kurt could say goodbye to Jeff and continue on the crazy lonesome train ride that was upon them.
KK gave Jeff a big farewell ‘do’ at the 101 Club in Clapham.
KK invited everybody they knew.
KK dressed up to the nines.
The club had more drink than a brewery.
KK baked Jeff a cake.
Oops.
KK covered Jeff in the cake.
Well, that was it. All over.
King Kurt’s fate had been sealed. As soon as Jeff got caked, all hell broke loose and it was a massive drunken food fight of a night. What a ‘kin great laugh it was too!
Ever since then, the audience, (not wanting to miss out on an opportunity like that), started bringing their own food to throw at the band, as well as each other! The news spread like a bushfire and, well, here we are now over 25 years later trying to tell the story!
Travelling back in time through a paradox in the year 1988 The Klingonz started their invasion of the planet earth. Four unknown aliens took over the planet with their debut alien platter UURRRRNCHK.
The cybernetic line up was Titch/Vox Doyley/Guitar Strangy/Bass Mocker/Drums.They toured planet earth spreading their alien sound from Europe to Japan. They recorded their second album Blurb and then changed their line up to Eddie on Bass. Strangy joined the Numbskulls, now named Karloff playing Rock n Roll Horror fronted by Strangy’s brother Ash.
Continuing the planets conquest they recorded a further 4 albums and the odd track for compilation albums changing the line up again to Mick (Phantom Rockers) on Guitar. In 1998 the line became Looper playing sixties garage punk recrording one E.P entitled The Mad are Sane.
Doyley and Strangy went on to form Celtic Bones, a three piece Punk ‘n’ Roll band with Skum on drums. They recorded Times up a four track E.P and Who Dares Gins an 11 track C.D.They continue to play at present.
In the year 2001 a Worm hole opened causing a rift in time meant the Klingonz could travel back to Earth again to cause more alien destruction. Also planned are gigs in Germany, New York and a one off show in London. Also a new 16 track C.D. “Up Uranus” with styles ranging from Punkabilly, Psychobilly and some Ska riffs plus two new T`shirt designs for New York More to come…
The Meatmen, brainchild of one Tesco Vee has been plying the punk rock waters since 1979 with their trademark cringe inducing very UN PC brand of aggro and knee slappin’ profundity.
Thru many line ups, and countless platters Vee continues to tour relentlessly to both ‘school the young-un’s on how its done, as well as satisfyin’ all the old school farts- who need another shot of old school punk straight up in a dirty glass’
Uncompromising as always , Vee’s latest line features his arguably most dynamic lineup with Hindu Kush on the Guitar, Biff Bologna on the basso profundo and Swarthy ‘Bun Length Franklin’ on the tubs…
Recent sold out shows at Chicago’s ‘Riotfest’ and Detroit’s Halloween Spectacular ‘Theatre Bizarre’ have catapulted the band back to the musical fore and they are ready to strike out again very soon against the Forces of Good on a nationwide tour!
Their stage show is unparalleled in the punk/metal/flamenco/comedy genre and features confetti guns, wild costuming, and many other props all used to create what Vee likes to call a ‘Hades meets Las Vegas Extrava-gonzo of cosmic fun and frolic!’
“Girls’ Night: Songs by, starring, or featuring Chicks”
GIRLS RULE, A HAIKU
Maddy and Sara
Like to dance to rock ‘n’ roll
And serve up hot hits.
PAVLOV
PAVLOV is an Instrumental Duo featuring Matt Tate on Chapman Stick (Destroyer Or Liberator – DjM Trio – The Odd Trio) and Paul Szlachta on Drums (Unique Chique – Papa Jupiter). Performing math/avant/metal Originals and covers of Bladerunner members’ bands (Naked City, Painkiller, Masada, Praxis, Slayer, Moonchild…)
Defining the musical style for POOR MAN’S COW is a near impossible task. Add equal parts of FunkyAmericana, Country, Bluegrass, and Rock n’ Roll, – mix them into a blender with a pinch of Blues – and you have FunkaRockaBillyGrass. We play in and around Chicago.
S’pocket is an up-and-coming funk fusion band from Chicago, IL bringing much more to the table than what one would expect. Featuring tight horns and rock solid rhythm section, the group delivers captivating compositions rooted in funk with elements of hard rock, jazz, pop and drum & bass. Many members of the group are music school grads, having attended the music programs at University of North Texas in Denton, TX, McNally Smith College of Music in St Paul, MN and U of I in Urbana, IL. They hit the ground running in the spring of 2013 and are quickly capturing the attentions of music listeners regionally. Be sure to keep an eye out for more show announcements to come as this exciting new quintet unleashes their funk upon the city!
This is the outcome of four guys striving to please your ears with a variety of sounds we’ve picked up over the years. This is what we love to do, and we’d like to experience it with all of you.
The hot summer of 2012 saw the renaissance of Downtown Detroit and the formation of the Mike Leslie Band out of the big bang of old structure, new generation and classic Motor City-born musical styles. MLB offer their eclectic jam twist on pop progressions over rock structure; these gentlemen have strong folk and classic-rock guitar chops yet write around hooks and lyrics to produce urban sonic jewels. Their influences span musical and literary generations, yet are honest and familiar, like your favorite pair of jeans and work boots. Imagine a block party jam session with Johnny Cash, Alabama Shakes, early and late career John Lennon, Sam Cooke, Government Mule, Nirvana, Gary Clark Jr., Hendrix and Jim James. Nietzsche and Capote offer prose inspiration to Mike’s songwriting. MLB’s live show is a three-ring circus of primal energy, Motown soul and spur of the moment surprises that translate this fine young Midwestern band from “great album” into “hell of a party”.
Since their Detroit debut show to a sold out crowd at the Magic Stick in December 2012, Mike Leslie Band has been a speeding bullet of buzz and critical acclaim. MLB have sold out headline shows at the classic Michigan market rock and roll mid-sized clubs as well as opened for Three Dog Night, Jimmie Vaughan, Rick Derringer, Sponge, Mitch Ryder and Larry Carlton. In 2013, Mike Leslie Band took command of the Detroit music scene with two Detroit Music Awards, including the People’s Choice Award. On the national scene, MLB showcased at SXSW 2013 and won DOUG FM’s regional crown at Battle of the Bands.
Releasing their first single “Insect Songs” and having their debut appearances in Berlin and Paris, the band soon established their own view of independent music philosophy. Apart from commercial music business they found their freedom in form and content on the small label Tank Records. Their debut album “How I Lost My Fear of Flying” soon became a classic, containing songs like “Heroine”, “In A Sleep” and “Picking Flowers On The Moon”. The following album “Flying Home”, that was reissued in 2007, shows them keen on making new experiences with songs like “I Gotta Run, Babe (Robert Hanssen)” and metaphoric anti-love song “Fascist Heart” which is more related to a timeless film noire style than to anything that is en vogue. Their third album “Ruby Light Shine” that especially elated the French music press contains the great “Something Beautiful”, “Free Like Houdini” and “Electric Star”. French magazine CROSSROADS ranks the PLANEAUSTERS among bands like dEUs, Dead Man Ray or Venus as one of the best and most interesting current European independent groups. The self-sufficient three-man band PLANEAUSTERS stand out with a weightless Independent Rock. The sometimes rough and archaic arrangements create a very own hypnotic tension. Their latest album “Nothing Cooked Up, Everything Cooked Up” that has been released in 2007 receives great feedback. Mike Scott from The Waterboys invited them to open for their “Book of Lightning”-Tour in Germany and Switzerland. In 2009 Planeausters performed in the U.S. for the first time and recorded new songs in Chicago. /
Mit ihrer ersten Single, die mittlerweile nach der 2. Auflage vergriffen ist, hatten Planeausters in Berlin und Paris ihre Live-Debuts und entwickelten schnell ihre eigene Auslegung einer Indie-Philosophie. Öffentlichkeitsscheu und introvertiert fanden sie Zuflucht bei Tank Records – einem Label, das ihnen absolute künstlerische Freiheiten bot. Ihr Debutalbum „How I Lost My Fear of Flying“ wurde vor allem mit Songs wie „Heroine”, “In A Sleep” und “Picking Flowers On The Moon” zum Klassiker. Das nächste Album “Flying Home”, welches nach einer Auflage von 2000 Stück vergriffen ist und 2007 wiederveröffentlicht wurde, zeigt sie experimentierfreudig, was sich vor allem in Songs wie “I Gotta Run, Babe (Robert Hanssen)” oder “Fascist Heart” niederschlägt. Ihre Nähe zu einem zeitlosen Film Noire Rock-Stil wird kennzeichnend für ihre Musik. Ihr drittes Album „Ruby Light Shine“, das besonders die französische Musikpresse begeisterte enthält unter anderem die großartigen Stücke „Something Beautiful“, „Free Like Houdini“ und „Electric Star“. Das Musikmagazin CROSSROADS aus Paris zählt sie in einem Zug mit dEUs, Dead Man Ray und Venus zu einer der zur Zeit besten und interessantesten europäischen Independent-Gruppen und widmete ihnen zum Anlass ihres neuen Albums “Nothing Cooked Up, Everything Cooked Up” einen mehrseitigen Beitrag (07/2007). Eine CD, die man sich nach den Worten des CROSSROADS-Redakteurs Phillipe Ross “…mit allen Mitteln beschaffen muss!” Mike Scott von den Waterboys hat sie auf ihre Deutschland- und Schweiz-Tour eingeladen. Im Jahr 2009 gaben die Planeausters ihr Konzert-Debut in den U.S.A. und nahmen neue Songs in Chicago auf.
Ode is a five piece group made out of sticks, strings and memories that stare at them from the past, like sling shots, drawn back, ready to let go any time something goes wrong. But they stick together, bass or no bass, rent or no rent, slowly but surely they are mistaken for a gypsy ensemble that plays rock’n’roll- punk and Bolero ballads, maintaining that yearning and earning just enough so they don’t burst in tears when they are exposed to clean cut jib jab joints and late night star dusting. Ode share their dark poems and dreams through an authentic rock vibe, a familiar, yet new wave of melodious tunes that creates a blend of Chicago rock music.
Jackanape: 1. A conceited or impudent person. 2. A mischievous child. 3. Archaic: A monkey or an ape.
4. “We’ll fuck up the world!”
Brought together by their love of whiskey and electricity, the Jackanapes brothers have decided to make the kind of music they like to listen to. Some have called them “dirty nerds,” but they prefer the label “angry chimps.”
Regardless of your taste in dance music, Ghosthouse knows your sign. The electro-funk trio provides a party anthem for the new scene. While embracing DJ culture, Ghosthouse prevails with live instrumentation and a dynamic stage show, which balances analog ideals and digital reality.
Deep V is a record guaranteed to have you dancing in the club or romancing in the tub. On April 30, 2013, Hot Dog Records brings you Ghosthouse’s funkiest, most diverse, and polished EP yet, featuring local heroes and international up-and-comers. Its disregard for genre fuses funk-soaked synths to fresh pop arrangements and searing guitar solos. Ghosthouse is synthesized but never synthetic.
Chuck New’s reckless vocal range bears the influences of classic mid-west R&B and British new wave. Jimmy Con’s swagger and presence on stage—and his ingenuity and vision in the studio-produced new heights for Ghosthouse this time around. Their evolution accelerated with the addition of drummer Dylan Hyde Castle, who acts as beat conductor and industry liaison.
Ghosthouse doesn’t apologize for the versatile array of singles on offer. Deep V is a taste of things to come, offered in anticipation of a future full-length release. Building on more than seven years of collaboration, the trio has moved massive festival crowds at North Coast and Wavefront and sold-out venues like Lincoln Hall, Bottom Lounge, and the Metro, consistently earning them recognition as one of Chicago’s best bands.
Logan, a 19 yo artists from Chicago’s Pilsen/ Little Village neighborhood. Started rapping a few years ago back in high school, but started taking it serious as a profession in August 2013. Being raised by a single mother doing her best, when it came to music he didn’t have much. He started off simply with industry beats, a mic in the closet, and a talented upcoming director J.Krown. Staying pursuant him and his director ended up being scouted by a talent manger/ consultant (Von Harris) and producer (Flight). Since the four have linked Logan has been professionally recording, and humbly making a stamp and paving a lane of his own within the industry. When you hear his music you hear his struggles, you’ll witness his growth as an artist, and you’ll hear a story from a perspective that doesn’t really have a voice at the moment. Logan is constantly honing his craft, steady learning, and passionate about becoming the best artist he can be. With a full sea of fish, the proof is there Logan will stand out from your average. 1636 coming soon.
Japanther is an art project established circa 2001 by Ian Vanek and Matt Reilly while attending Pratt Institute in Brooklyn, New York.
The duo have often been known to collaborate with a variety of artist including but not limited to: Penny Rimbaud, Dan Graham, Eileen Myles, robbinschilds, Dawn Riddle, Claudia Meza, Ninjasonik, Anita Sparrow and Spankrock.
Japanther was featured in the 2006 Whitney Bi-Ennial as part of the Don’t Trust Anyone Over Thirty puppet rock opera.
Japanther have since made a name for themselves in unique performance situations. IE along side synchronized swimmers, a top the Williamsburg Bridge, with giant puppets, marionettes and shadow puppets. Out of the back of a moving truck in SOHO, with giant dinosaurs and BMXers flying off the walls.
Cynic’s New Year” professes an ending but welcomes Horse Feathers’ fans with the promise of something new. To be sure, old friends return. Wrapped around the warmth of Justin Ringle’s vocals and sparkling guitar, fiddles dance in the spaces between, above the smoky banjo and woven through the foundation of the lower strings. The lyrics traverse familiar themes from natural disaster to the deeply personal, each through Justin Ringle’s uniquely American linguistic lens. New vistas, new stories, are explored with deep insight and fresh intimacy, always with an abiding respect and affection. The universe rises to threaten, inspire and sometimes punish, but always to teach a valuable lesson. Souls, lost and found, embark on thoughtful emotional journeys.
The single, “Fit against the Country”, renders a nation where working men and women shoulder their careworn lives with neither apology nor surrender. These are words that need to be held close, owing their poignance as much to the savor of their pure sound as to their meaning. “Where I’ll Be”, another single from this brilliant collection, has an infectious rhythmic cadence that marks it as one of the great train songs, and a compelling sentiment that belies the gray landscape it travels.
Justin’s melodic wizardry transcends without discarding the group’s post-folk harmonic vernacular. The skillful instrumental arrangements remain true to their acoustic roots but bring some surprising new voices to the circle. Horn, woodwind and brass appear and fade, lending broader timbral texture to the sonic canvas. There is a light hand on the reins of this music. By turns sweet or playful, it can unexpectedly rise to a swelling muscularity that never pushes, but steadfastly lifts the spirit.
Again joining Justin is instrumental coconspirator, Nathan Crockett, accompanied by a gathering of gifted Northwest musicians including Dustin Dybvig, Victor Nash, Justin Power, Catherine Odell, Jedadiah Bernards, Cory Goldman, Jenn Rawling, Adam Thompson, Scott Magee, Brandon Johnson, and sound engineer Skyler Norwood.
“Cynics New Year” is anything but cynical, but does not fail to deliver something beautiful and new. It navigates a thoughtful, thought-provoking expedition from the wide sky and rolling ocean to the most private corners of the human heart. I hope this “Year” is only one of many, many more to come.
