Quinn Tsan, Jones and Female Basic at The Hideout, 6/12

By Gene Wagendorf III 

Female Basic

Female Basic opened up Thursday evening at The Hideout, kicking things off with a set of throwback tunes and oldies covers reworked as harmony-heavy uke ballads. The trio, Rachel Landrum, Bekah Miller and Anna Phalen, shared and swapped vocal duties, making for a playfully dynamic performance. The mood was set with a cover of Nancy Sinatra's "Bang Bang," a rendition as cool and mysterious as a late night breeze. Female Basic glided on a mixture of guitar, banjo, ukulele and stunning vocal work, giving the show a pleasantly nostalgic flavor. That isn't to call Female Basic a nostalgia act, because they're not. The personalities of the three singers came off as clearly different- individuals with a remarkable chemistry/magic whose electricity gives these traditional tunes a fresh sound. No, the word for that isn't nostalgic, it's classic. Sprinkled throughout their aesthetically on-point and plain fuckin' fun string of originals were covers of "classics" like "Jolene," "Leader of the Pack" and a particularly exceptional romp through Diane Renay's "Navy Blue" that ought to be the new anthem of the Coney Island Mermaid Day Parade. They wrapped it up with a charmingly awesome cover of "The Sign" that, as happens with the Ace of Base version, was stuck in my head for the rest of the night.

Show review: Mountains, White/Cream, Bitchin Bajas at Hideout, 2/27

By Andrew Hertzberg

Mountains (via Thrill Jockey)

Mountains came to the Hideout on Wednesday night in support of their newest album Centralia. An ambient album that explores various soundscapes, it experiments with analog as well as electronic components. One of my favorite early releases this year, I was curious to see how Koen Holtkamp and Brendon Anderegg would translate it live. Unfortunately, the Brooklyn-based duo (formerly from Chicago) didn’t touch any of the seven tracks during their 45-minute performance, but instead focused on a selection of sounds just as compelling, curious and even playful at times.

With a combination of synthesized loops, electric guitars, and feedback, the set brought to mind works by minimal composers like Steven Reich and even the post-rock dynamics of Explosions in the Sky at their loudest levels. The set was fluid with the two members playing off of each other, the outcome of meticulous practice as opposed to improvisation. While it was weird to see chairs set up on the floor of the Hideout, a Mountains live performance is not going to be a rowdy experience, but rather one to get lost in the textures of the music, to be delighted (or perturbed) by not the destination of each piece, but what it takes for them to get there.

Before Mountains was the noisier trio of White/Cream, featuring Tim Iseler and Jeremy Lanos on soundboards, and Frank Rosaly on drums. Rosaly used a variety of unconventional tactics during the performance: in addition to a basic drum kit, he experimented with chains and various cymbals, to an eerie, even uncomfortable effect. Coupled with the two other noisemakers made for a unique, if not entirely unsettling set.

Opening the whole show was Bitchin Bajas, featuring Cooper Crane from Cave and Dan Quinlivan from Mahjongg. The duo played on the floor of the Hideout (a trademark of theirs), with their analog keyboards facing each other. Much like Cave, the duo’s main inspiration is kraut-rock, but focuses more on creating ambient sound textures as opposed to the more upbeat jams.

Show review: Willis Earl Beal at the Hideout, 4/19

By Andrew Hertzberg

(photo credit: John Yingling)

Not many musicians start their sets by reading poetry, and Bukowski at that. So if one thing’s for sure, Willis Earl Beal is not like many musicians. He is often tagged as an “outsider artist” (for as vague a term as that is) and aspires to be the black Tom Waits, in regards to the range between dissonant and experimental songs as well as creating beautiful ballads. A listen through Acousmatic Sorcery (currently streaming on the Reader’s website) yields both, an album featuring an out-of-tune toy piano, decomposing drums, raspy vocals, and single plucked guitar strings bathed in a healthy dose of no-fi production.

For the live show, Beal is the only one up there. Most of the music is pre-recorded and played on an old school reel-to-reel (or at least used as an aesthetic accompaniment). While his vocals on Acousmatic Sorcery are certainly the focus, his voice takes on a whole new power live. What’s most impressive is his dynamic range, transitioning seamlessly from an operatic vibrato to an eardrum puncturing scream. And while he wore sunglasses throughout most of the indoor set, he doesn’t come off as shy or “outsider” as the mythology has begun to describe him as. He’s clearly not looking to make conventional music, and is comfortable as a “fringe” artist, but I think this generation of music lovers disenchanted with conventional and recycled pop and rock songs want something different. That he recognizes his voice is good in a conventional way coupled with his still progressing musical talent makes the dichotomy that much more poignant.

Show review: Star Anna, The Buddies at Hideout, 10/21

By Gene Wagendorf III
 

Star Anna (photo via Facebook)

The Buddies took the stage at The Hideout Thursday night, armed with enthusiasm and three guitar players. Usually that last point has me skeptical- so many times I have seen a third guitarist clang along unnecessarily, fucking up a song that two competent players could adequately handle. Excess was not the case during this set however, as The Buddies played their songs with an endearing pop and swagger, making each note count. Pastoral melodies combined with aw-shucks hooks to craft what was ultimately a fine set of rock music. Blues-tinged numbers featured staple lines like you’ve got a way of walking / I’ve got a way of messing things up, but slipped out of predictability courtesy of dismantled chords and sneaky punch. An endearing acoustic song was lifted by clever accordion play and some dynamic group harmonies. In all, an enjoyable set, made even more so by unplugged cover of the traditional Irish drinking song "I'm A Man You Don't Meet Every Day." Any show that ends with one of those is bound to leave good (drunk?) feelings.

Star Anna’s visit to Chicago was well-timed; the first song she played felt like the perfect soundtrack for a fall road trip. The colors of leaves change and eventually they fall, leaving the sappiest of us wishing the moment lingered a bit longer. I had the same feeling about this set. Described to me as “good singer-songwriter stuff,” Star Anna wasn’t what I expected. This show found her backed by The Laughing Dogs, and the group had a sound that moved effortlessly between subtle and energetic. Gymnastic piano melodies glided through brash southern-rock solos, the perfect support for Anna’s elastic delivery. Her songwriting chops were on full display, but rather than fragile ballads she offered up songs that kept the audience on their toes. Frogger bass lines tumbled over intuitive percussion, a rhythm section that held sway until the singer called for unexpected and mesmerizing conclusions. On several occasions I found myself moving in-time with a catchy tune only to have the rug pulled out from beneath my feet.

One of the most surprising songs of the night sauntered with a soulful, Baby Huey-esque flair. Lilting guitars and an almost apologetic organ rolled out of the speakers with undeniable charisma. Those two words might also describe Star Anna herself, who was powerful and sexy without straining to be either. In an age where any female artist who shows a little skin and throws come-hither looks at a camera is regarded as a sexual icon, it’s refreshing and attractive to see someone who leans on nothing but confidence and talent. That is sexy.

Like all good road trips, the moment passed too quickly, but left me looking forward to my next vacation.

Show review: Dastardly presents 'Catastrophe' at Hideout, 10/18

By Andrew Hertzberg

Well that was a perfectly awful show. I don’t know where Gabe Liebowitz and the dastardly folks of Dastardly found the other performers of the evening, but none of them deserved to share the stage with the local Americana quintet. In the tradition of Grand Ole Opry and Hee Haw, the group put together a night at the Hideout that was to showcase the talents of a variety of other acts. Instead, we had to put up with some of the most hideous creatures ever to grace a stage. The host for the evening was the pompadour boasting Dickie Phipps, saddled at the front left corner of the stage announcing acts and keeping the night moving along. Before I get ahead of myself, I must give credit where it’s due. Dastardly started things off performing two songs, the crooning ballad "Rose Marie" that warmed up the crowd into "Fever," which allowed Gabe to show off his Alpine folk yodel.

And that’s where things quickly took a turn for the worse. Joe Fernandez was set to perform a more traditional standup routine. After an uncomfortable silence, he reveals that his girlfriend of three years broke up with him just before the set. Gabe tries to encourage him; Joe whimpers a bit, then runs to the back room off stage. We wait. We hear him cry. Ummm, awkward? He finally composes himself enough to come back out, attempting his bits about grocery shopping and clit piercings, barely able to get the words out of his mouth. Fernandez’s performance was a sad display of a desperate human being, and the crowd was still laughing at him! Roaring even! This soul on the verge of self-destruction, who’s grandmother is coughing up blood, who is obviously abusing alcohol and has a gambling problem, is being laughed at not for his talents, but because of how sad he is. Of course, on top of this, he’s not the best at impersonations. Al Pacino and Robert De Niro at a bagel factory? Really? Come on. Let’s hope Mr. Fernandez can get over his issues and come back with some real material. And let’s pray to God that his next girlfriend doesn’t have to hear him serenade her with Jewel’s "You Were Meant for Me."

Show preview: Paper Mice, Capillary Action, Lord of the Yum Yum at Hideout, 4/1

Posted by Sasha Geffen

What better way is there to celebrate the one holiday of absurdism than by checking out some of the crazier music Chicago has to offer? The Hideout turns to the avant-garde this weekend, featuring an awesomely bizarre April Fool's Day lineup.

Opening will be Lord of the Yum Yum, who I've been lucky enough to see twice before. His act lies somewhere between the worlds of music and performance art as he uses samplers and other effect pedals to transform and layer his voice. He does electro-scat covers of famous songs from all eras, classical and beyond, as well as a number of strange originals. Also a filmmaker, the Lord delivers a highly entertaining multimedia grab bag of a show.

Hailing from New York, Capillary Action will bring their jazz-inspired experimental tunes to the Hideout as part of their Midwestern tour. Though structurally peculiar, CA's music goes down smooth with a wide variety of organic instruments and classic vocals. Those who miss the glory days of Mr. Bungle will hear plenty of their influence here.

Finally, local trio Paper Mice will headline, spewing their abrasive, mathy punk. These guys make a mature and biting counterpart to the art-punk movement of the last decade. They come recommended for fans of punk rock and math rock alike.

The show will begin Friday, April 1st at 10pm. Tickets are $8 and available here. As always, the Hideout is a 21 and over venue.

Spend Christmas with Scott Lucas and the Married Men

Posted by Frank

Photo: Audrey Keller Photography

Last Saturday, Scott Lucas and the Married Men hit the Hideout stage with their first ever holiday-themed show, dubbed "The Hideout Holiday Music Hour." If you missed it or want to relive the fun, good news: you can head to scottlucasandthemarriedmen.com on December 25 to hear the show streaming all day long.

Show review: The Postelles at Hideout, 10/23

Posted by Bobby

New York City's Postelles were in town for their first Chicago gig at a crowded Hideout Saturday night, playing the combination of an underground rock show and a sock hop without chaperones. It seems that many fans of rock and roll long to have been around when the culture was birthed from late-1950s attempts at perfecting modernity, so the Postelles’ stylistic connections to rock’s early days are irresistibly charming. Saturday night’s show was proof of that for local fans, and the NYC edge to the band’s material and looks allowed the crowd to enjoy it without having to feel uncomfortably innocent.

It should have occurred to me earlier that while I was listening to and mimicking the Strokes at 19, somewhere there were kids like the Postelles who were doing it at 12 - and you know, the earlier you get started the better. The young band performed as a confident unit at Hideout, seeming at ease on stage and at ease being cool. Lead singer Daniel Balk's delivery stretched between a croon and a squawk in a manner that made dancing seem urgent, and guitarist David Dargahi pulled off dynamics with one guitar that most bands need two to achieve. Also - and I can never stress enough how important this is - their songs were good. You can't fake that. I was among several in the crowd who had never seen the band, and they all left singing the songs. In a time when it’s so hard for musicians to get people’s attention, I'm pretty sure that's the desired effect.

There were a lot of big shows going on Saturday in Chicago, so it was nice to see so many folks show up and welcome these fellas. The will be returning to Chicago next year on the heels of their new album, and next time they may need a bigger room.

Tonight: The Postelles at Hideout

Posted by Bobby

It has been a while since the last album from the Strokes - a long while. And while their orphaned leather-clad children stumble from surf rock band to surf rock band, the Strokes are up in their New York City tower concocting a fourth studio album. But that's not all they've been doing. Take Albert Hammond Jr., who has been producing the Postelles, the newest young talented New York City prodigies of cool. If you like Sam Cooke, Buddy Holly and also Miller High Life, then maybe you should be at the Hideout tonight, October 23, where the Postelles will be performing as part of the excellent Life During Wartime lineup.

9 p.m., folks. $8. It should be remembered that sometimes out of the froth-filled mouth that is the indie rock hype machine, great music sometimes spills forth.

Here's the video for the single "White Night":

Video: Soft Speaker - 'Tennyson Tea' (live)

Last month we gave you a heads up about the quality new EP, Stranger in the Alps, from Chicago's Soft Speaker. Now, the band have some video to go with with audio. See below for an excellent live performance of one of the EP's tracks, "Tennyson Tea," from the release show at Darkroom on February 26.

Soft Speaker's next gig is coming up this Friday, March 19 at Hideout, with Cains & Abels and Village ($8, 10 p.m., 21 and over - tickets here).

Show review: Baby Teeth at Hideout on 3/4

Contributed by Colleen O'Neill

Chicago’s Baby Teeth took the stage at Hideout Thursday night, playing to a crowd of over 50 fans and testing new tracks for an upcoming album.

The band reverted back to their original lineup with keyboardist and lead singer Abraham Levitan at the helm, bassist Jim Cooper and drummer Peter Andreadis. The small lights flashed as each member stepped onto the stage and began to play one by one, until the melodies synched up and into their opening track “The Part You Play.”

The set oozed with the contagious pop melodies of the album Hustle Beach, with tracks such as “It’s Hard to Find a Friend” and “Let it Roll.” Each member of the band belted in harmonic symphony into their microphones, bringing to the stage a strength in vocals that is much more apparent live than on their recordings.

The atmosphere was lively and in tune with the band as fans danced, cheered and tightened closer to the stage as the heartfelt track “It’s Hard to Find a Friend” began.

The band’s attempt of filling the small homey space of the Hideout with vibrancy was successful. “There is something about the DNA of this place,” Levitan said. “You don’t feel like you have to play the hits. You can take more chances.”

The chances they took included replacing setlist spots normally reserved for sing-along tunes such as “The Simp” with newer songs slated for the upcoming release. The crowd danced along to new tracks “Banter 2.0” and “Space,” the latter described by Levitan as a song about severe depression.

Their latest work sounds equally as nostalgic as songs from Hustle Beach and The Simp, however seemingly more developed, providing a greater balance between music and lyrics. Songs are written by Levitan as a project of “52 Teeth,” a blog that follows the songwriter's thought process and inspiration as he cranks out one song per week. This approach seems to work well for Levitan, who stated, “it’s usually the songs that you write quickly are the better songs.”

The band ended their set with the energetic title track from Hustle Beach, leaving the stage to hang with friends, fans and locals. Baby Teeth are a band to watch, as they continue to mature their pop rhythms away from their seventies comparisons and into their own unique style.

Two Thrill Jockey shows tonight: Tortoise & Chicago Underground Duo

Chicago Underground Duo

Looking for a good show tonight, 2/20? Check out one these two quality options via Thrill Jockey Records artists:

Tortoise with Robert A.A. Lowe (from Lichens) at Lincoln Hall. 10 p.m., 18 and over, $20, more info and tickets here.

Download mp3: Tortoise - "Prepare Your Coffin"

Download mp3: Robert A.A. Lowe & Rose Lazar - Fantomoj de la Vitro Domo"

Another Thrill Jockey act, Chicago Underground Duo, will play tonight at the Hideout. This is a record release show. 8:30 p.m., 21 and over, $10, more info and tickets here.

Download mp3: Chicago Underground Duo - "Spy on the Floor"

Show preview: Pretty & Nice and Title Tracks at Hideout, 2/18

Pretty & Nice

The Hideout (1354 W. Wabansia) is the place to be this Thursday, February 18. Two great acts - Boston's Pretty & Nice and DC's Title Tracks - will play the bar as the Chicago stop on their current month-long tour. The show is 21 and over, starts at 9 p.m. and costs $8. Click here for tickets and read on for more about the bands.

Pretty & Nice call to mind the quirkier, giddier side of classic new wave (think Devo and XTC), freshened-up for modern-day indie rock audiences. Listening to songs such as "Piranha," "Tora Tora Tora" and "Nuts & Bolts" from their 2008 Hardly Art/Sub Pop debut, Get Young, it would be pretty much impossible for their live show not to be a wildly fun sonic sugar rush. This is the kind of stuff that makes you want to jump on a pogo stick while downing a packet of Skittles, or generally run around your place like a madperson (this is a good thing). The band toured for a good chunk of last year - including a few weeks playing the West Coast with The Get Up Kids and a month gigging Europe - and are getting set to record a follow-up to Get Young. Before heading into the studio, they'll test out their new material on this tour.

Download mp3: Pretty & Nice - "Piranha"

Title Tracks is the new solo project of John Davis, previously of bands such as Georgie James and Q & Not U. The debut Title Tracks LP, It Was Easy, was released on February 9 and breezes along with nods to hook-filled 60s rock and old school power pop. If you dig the likes of Nick Lowe, early Costello and Marshall Crenshaw just try not to love insanely catchy tunes such as "Black Bubblegum" and "Steady Love." Plus, Tracyanne Campbell of the wonderful Camera Obscura does guest vocals on the record. For more information on the project, check out this recent DCist Q&A with Davis.

Title Tracks : Steady Love from John Davis on Vimeo.

Show preview: Sissy Mena EP release at Double Door, 12/16

Sissy Mena is a recently-formed Chicago trio specializing in driving, melodic, shoegazey rock, which they're introducing to the world via their debut six-song EP, Young Girl. The band will celebrate the release of the EP this Wednesday, December 16 with a show at Double Door (FREE, 8 p.m., also featuring Future Ghosts, California Wives and Satellite 66).

Young Girl is a solid introduction from a unit that should have no problem winning over anyone who likes a healthy dose of fuzzy guitars and distortion with their rock. While it's apparent on songs such as "Udellia," "Pay for Some Sins" and the EP's title track that the three - Tyler Brinegar, Adam Bonich and Taylor Briggs - have a fondness for pure shoegaze, they can't be pigeonholed in that genre, sometimes seeming just as happy taking a more straightforward (but still deliciously noisy) approach (see "History," "Certain Smiles," "Main Drain"). This variation works in the music's favor, preventing the set of songs from ever sounding too abstract or monotonous and allowing the trio's skills to shine.

Listen to the EP and download a copy here, and head to Double Door Wednesday night for what promises to be an excellent show. In addition to this week's EP release party, the band also have a gig coming up on Friday, January 15 at the Hideout (10 p.m., $8, more info and tickets).

Hideout to host 11/12 benefit show for Scotland Yard Gospel Choir

Scotland Yard Gospel Choir (Bloodshot Records)

Late last month the six members of Chicago's Scotland Yard Gospel Choir were injured in a van accident while driving to an out of state gig, resulting in a heap of medical bills and damaged equipment. To help out the group during this difficult time, two fellow Chicago-based bands, The 1900s and Brighton, MA, will play a benefit show at Hideout on Thursday, November 12. Tickets, available here, are $12. All proceeds will go to SYGC.

According to updates from the band's label, Bloodshot Records, one member, Mark Yoshizumi, remains hospitalized, while another, Mary Ralph, was just released this week. Here are the three latest updates:

UPDATE (10/2): Mark had another successful surgery yesterday, but remains in serious condition.

UPDATE (10/12): Great news! Mark has been transferred out of ICU.

UPDATE (10/14): Mary is leaving the hospital today -- she says, "I've still got a lot of physical and occupational therapy in my future, but I've progressed to walking with a cane already."

If you can't make it to the show, but would still like to help the band, you can do so via a PayPal account set up for donations here.

For more information on The 1900s, check out our reviews of the band's various releases:
- Cold and Kind (LP)
- Plume Delivery (EP)
- Medium High (EP)
- Everybody's Got a Collection (single)

Chicago bands to celebrate Obama inauguration with show in D.C.

A group of Chicago musicians will head to Washington, D.C. in January to play a special show to celebrate the presidential inauguration of Barack Obama.

The show, dubbed "The Big Shoulders Inauguration Ball," will take place on January 19, the eve of the inauguration, at The Black Cat in D.C. It was organized by local rock club the Hideout and Interchange, a volunteer group that encourages political involvement through underground art.

Performers on the bill, almost entirely Chicago-focused, include Andrew Bird, The Waco Brothers, Eleventh Dream Day, Jon Langford, Tortoise, David "Honeyboy" Edwards, Icy Demons, Sally Timms, Freakwater and Judson Claiborne. Additional special guests are yet to be announced.

The organizers describe the event as a "celebration of citizen politics, independent music and Windy City civic pride."

Tickets cost $50 and are available here or at the Hideout, 1354 W. Wabansia. A portion of the proceeds will go to the Chicago Public Schools Marching Band Program and The Future of Music Coalition.The Hideout has chartered two buses to transport "performers, staff, friends and participants in its GOTV activities to the DC area and back."

Hideout Block Party this weekend with Neko Case, New Pornographers

It's only Monday, but it's never too early to start thinking about the weekend. Especially when - just when you thought they were over - your weekend can involve another music festival.

That music festival is the 12th annual Hideout Block Party on September 20 and 21, and it just might be your last hurrah for outdoor music fun in 2008.

The big attractions this year are Neko Case on Saturday and The New Pornographers on Sunday, so technically full-on Neko Case one day and Neko Case to a lesser extent the other day, since she shares vocal duties in The New Pornographers (though both are unique and worth seeing).

From HideoutChicago.com: "One-time Hideout bartender Neko Case will headline both nights of our festival with two very different bands. On Saturday, September 20, Ms. Case will lead her own band, performing her critically acclaimed material spanning her career. She will also break out some new unreleased material from her upcoming album scheduled for spring 2009. This will be the only performance that Neko and her band will play in Chicago this year. On Sunday night, Ms. Case will make an increasingly rare live performance with her increasingly popular 'other' band The New Pornographers. This will also be the only time this year that she has performed with them in Chicago. This is the first and only time that Neko Case has performed with both of her bands, back-to-back in the United States."

Click here to buy two-day passes or single day tickets, and check out the full lineup below.

Hideout Block Party 2008 Performance Schedule

Saturday, September 20

11:30 a.m.
Plastic Crimewave Vision Celestial Guitarkestra:

12:30 p.m.
Wee Hairy Beasties

1:15 p.m.
KatJon Band

1:45 p.m.
Giant Sand

2:45 p.m.
Little Cow

3:45 p.m.
Dan le Sac vs. Scroobius Pip

4:30 p.m.
Plastic People of the Universe

5:30 p.m.
Monotonix

6:15 p.m.
Black Mountain

7:15 p.m.
Vieux Farka Toure

8:15 p.m.
Neko Case

Sunday, September 21

1:00 p.m.
Jon Rauhouse Sestet

1:45 p.m.
Honey Boy Edwards & Devil in a Woodpile

2:30 p.m.
The Uglysuit

3:30 p.m.
Tim Fite

4:15 p.m.
Mucca Pazza

4:45 p.m.
Dark Meat

5:45 p.m.
Robbie Fulks

6:45 p.m.
Rhymefest

7:30 p.m.
The New Pornographers

8:45 p.m.
Ratatat

9:45 p.m.
Hercules and Love Affair DJ set

Five great places to see a show in Chicago

A venue can make or break a show. There are so many factors during a concert experience independent of a band and its music, including venue sound, layout, atmosphere and crowd. Chicago is home to a healthy amount of venues - big and small - so any local live music enthusiast is sure to have a list of personal favorites.

Below is a list of, in my opinion, five of the coolest and most satisfying places to see a show in the city. Admittedly, I've not been to every venue, so if your favorite isn't on this list be sure to comment with where you love to go and why.

1. Schubas (3159 North Southport Ave in Lakeview) - Schubas is pretty much the ideal place to catch a band in Chicago. It's intimate and relaxed, but features a diverse roster of musicians that includes both local favorites and more widely-known, national acts. On top of that, the sound is great, the prices are good and the staff is always friendly. What more could you want?

2. Hideout (1354 West Wabansia in Noble Square) - One of the main reasons to see a show here is the sense of personal satisfaction you get when you finally locate the blasted thing. Yes, the Hideout really does hide out. So much so that the first time I went there it resulted in a rather confused and strained relationship between me and my cab driver. That aside, once I made it inside I found a comfortable, unassuming place that serves as an ideal setting for checking out some of the many awesome indie acts that call Chicago home.

The Chicago Reader and its readers agree - they recently selected it as the city's finest rock venue. What the Hideout crew had to say for itself says it all:

"Of course the secret to our success is not a secret at all. It is a friendly staff, made up mostly of musicians, and artists, that are not only concerned with our community but actually participate in civic minded activities. Add amazing bands and cheap beer and you’ve got a great party."

3. The Vic (3145 North Sheffield Ave in Lakeview) - When it comes to a happy medium between huge venues and small venues - as well as the huge and small acts that go with them - the Vic is very effective. Every time I've been there the sound has been great, you can choose whether you want to sit or stand and it's easy to get to via public transportation. Did I mention the sound is great?

4. Park West (322 West Armitage in Lincoln Park) - Just been to Lollapalooza and still trying to scrub strangers' sweat and cigarette smoke off your skin? It's time for a more relaxed, intimate show. Lincoln Park's Park West is the perfect place to go for a more chilled-out (but often still quite rocking) evening in a unique, classy atmosphere. This venue is generally frequented by more thoughtful, singer-songwriter and veteran acts, which means you probably won't have to deal with trashed indie kids annoyingly preventing you from hearing or seeing the show.

The theater has been around since the 1920s, but turned into Park West in 1977. Since then, it has provided a welcome antidote to one too many consecutive dive bar shows.

5. Metro (3730 N Clark St in Wrigleyville) - Metro isn't a perfect venue, but it's undeniable that it's a mainstay in the Chicago music scene and usually features a strong selection of music that spans popularity levels and genres, including small, large, legendary and new acts. Plus, you get a good view pretty much anywhere you stand.

STAR Makes Noise at Hideout - 2/1/08

There are many reasons to love STAR. Here are some of my favorites:

1. STAR songs are edgy, noisy and thought-provoking, yet full of pop hooks.
2. STAR songs are short and sweet, never outstaying their welcome or venturing into the land of pretentiousness.
3. STAR songs have awesome titles such as Flesh Eating Mothers and Cock Swan.
4. STAR has a seemingly endless arsenal of material, and the majority of their setlists consist of songs that have not yet been released.

All of these STAR factors were in high supply at Chicago's Hideout Friday night when the band delivered its brand of noisy pop as first in a triple bill that also included Fun Club and The Prairie Cartel.

STAR is a band perfect for the studio - the drum beats are programmed, the vocals are almost otherworldly and the guitar is fuzzy and distorted. It always seems to be a challenge to pull off this kind of setup live, but as I watched the show I was happy to learn that STAR does so quite effectively.


As soon as vocalist Shannon Roberts, guitarist Scott Cortez and bassist/percussionist Theodore Beck took to the stage and kicked into Like Flies on Sherbert - an Alex Chilton song that does not appear on their debut and so far only CD, Devastator - you couldn't help but be completely captivated. Not many bands would be so bold as to open with a tune that virtually nobody in the audience knows, and go on to pull it off so beautifully. It sounded fantastic, and fans can only hope the band includes it on their upcoming second CD, Violence Against STAR.

While the entire set emphasized songs not yet released, Devastator material was not completely absent. STAR included four of that disc's highlights, including Pure Gold Reason, Champion of Love, Various Gun Designs and Liars in Love.

Among the other unreleased songs - most or all of which I assume will appear on Violence Against STAR - Flesh Eating Mothers was my favorite. What other band could produce such an infectious, melodic little number (at least loosely) based on a campy 80s B-movie in which mothers contract a venereal disease that causes them to eat their children?

The stomping Rock Hard was another clever take on a Chilton tune that was highly memorable on first listen.

STAR's 13-song set seemed to fly by, but how could it not when it was made up of material that rarely hit the three minute mark? That's OK, because the band's brief, loud stay on stage only left me wanting more - something that doesn't happen as often as it should at live shows.


Setlist:
Like Flies on Sherbert (Alex Chilton cover)
Pure Gold Reason
Champion of Love
Cruel 15
Various Gun Designs
Rock Hard (Alex Chilton cover)
Cock Swan
White Fear
Flesh Eating Mothers
I Am a Scientist (Guided By Voices cover)
Violence Against STAR
Artificial Planes
Liars in Love