Andrew's 2012 favorites

By Andrew Hertzberg

The Top 5 Albums I Didn't Write About This Year: 

BBU - Bell Hooks (Mishka)
I know we’re technically a rock blog, but this one has probably had the heaviest rotation for me the past couple months. Unfortunately now disbanded, BBU’s hyper-politically-conscious hip-hop adds a much needed passion to a genre currently getting negative press for correlating drill with massive wave of violence that perpetually haunts this city (not to mention rising). Doesn’t hurt they made it sound good at the same time. (download the album from Bandcamp here)



Chandeliers - Founding Fathers (Captcha)
While EDM has become ubiquitous and pestering, it’s good to know there are still bands like Chandeliers out there who actually make thoughtful and captivating electronic music. The all-analog band has created a textured album that reveals a new layer with every listen. Make sure to catch 'em at the Hideout on New Years Eve.

Hollows – Vulture (Trouble in Mind)
For such an ominous title and beaten-down lyrics, it’s hard to find a deceitfully warmer sound in Chicago this year than Hollows' lead track "V Is for Vulture." While the band may have made their name off the girl-group sound, the album owes more to early 2000s indie-pop: quick hooks, grandiose ideas, and wondrous harmonies.

Gene's 2012 favorites

By Gene Wagendorf III 

Twin Peaks at The Whip (photo by Gene Wagendorf III)

It's the end of the year and we're a music blog, so you know what that means: "best of" list time. That said, "best" is a silly and subjective word that we at Windy City Rock are trying to avoid this year. Instead we're offering you some lists of local favorites from several of our contributors. Over the next few days we'll be posting about our favorite Chicago records, bands, shows and what-have-you from 2012. Enjoy, and happy holidays!

5 Favorite Records

Twin Peaks - 'Sunken'
The soundtrack to my summer came courtesy of a group of delinquent minors who, between burning trees, skateboarding and prepping for college, managed to put together a record filled with anthemic, sunny jams. Expect big things out of Twin Peaks in 2013. Read a full review of Sunken here.

Fave track: Fast Eddie
Get the record: here

Running  - 'Asshole Savant'
Get Bent nailed it when they described Running as "an incendiary blast of rock ‘n’ roll akin to smashing Lou Reed’s Metal Machine Music into the Stooges and then smashing that combo into Suicide." Asshole Savant does an admirable job of capturing the mayhem of Running's live sets. 

Fave track: I Can't Believe I'm Alive
Get the record: here

The Smashing Pumpkins - 'Oceania'
Oceania is Corgan and company's best record in the better part of a decade. Doesn't quite reach as high as it aims, but there are some beautiful moments here.

Fave track: Pinwheels
Get the record: here

Show review: Paper Mice, Lovely Little Girls, Unmanned Ship at The Empty Bottle, 7/16

By Gene Wagendorf III

Unmanned Ship

Monday night saw a few veterans of the local DIY scene bring their brand of noisy hijinks out of the basement and into The Empty Bottle. It was loud, it was sweaty and it was free.

The three-piece sonic goon factory that is Unmanned Ship kicked off the night's shenanigans, promptly leveling the growing crowd with their distinct blend of psychedelic swirling and behemoth riffs. Though focused on crafting grisly and challenging soundscapes, the group still managed to sneak some catchy (albeit crusty) hooks into their set. Evocative of Explosions in the Sky insofar as their approach to aural mood building, Unmanned Ship came off like that band's neglected step-brother, the one locked in the basement whenever the parents have company over. Each bent note seemed to have a chip on its shoulder, and each sludgy eruption sustained itself with maniacal gravity. The music was anything but vulnerable, though a softer, brighter collection of sounds late in the set, offered against more restrained and studious percussion, suggested that Unmanned Ship has depth beyond simply wanting to sear their audiences faces off. That said, the tenderness climaxed with a melting, distorted honk that spread thickly over increasingly speedy drumming. The final song shifted from it's militant, somber pacing into a tilt-a-whirl jam, almost playful in its severity. Whereas Explosions in the Sky construct shimmering epics that invite the listener to revel in their beauty, Unmanned Ship's take is far more empowering, confronting the audience with a raw musical sculpture before tearing it back down. Cathartic, to say the least.

Show review: Paper Mice, Lechuguillas, Snacks at Treasure Town, 8/20

By Gene Wagendorf III 

Magic Ian of Snacks

Chicago's music scene is filled with good people, kickass shows and raucous parties. Every now and then those elements collide for a cause and it turns into something both ludicrous and magical. Such was the benefit show at Treasure Town on Saturday where organizers reportedly raised $1,100 for housing, employment and prevention services for 1,400 Chicagoans living with HIV/AIDS.

The bill was loaded with local talent, but none stood out more than Snacks. The group was well-lubricated before their set and after a brief conversation with vocalist Magic Ian I couldn't help but wonder what the hell I was about to see. Was this about to be some fantastic debauchery fueled rock or was the group going to implode before this sweaty, punchy crowd? Guitarist Oliver Langrall halted my inner monologue with a flurry of distortion and a plodding riff that sent the band into motion and Magic Ian crashing into the crowd. The audience collapsed into a massive mosh pit with the singer leading the charge.

The songs were mostly drunk punk tunes in the vein of the Dead Kennedys and the Stooges, but manic violin shredding courtesy of Electric Ian (not to be confused with the Magic one) gave Snacks an added dimension of slap-happiness. The rhythm section was made up of the singer's Close Hits band-mates, with Dan Rico slugging the bass and Evan Burrows on drums. Every song played out like a race to the next- the flow only interrupted by the occasional diatribe from Magic Ian. The crowd ate up Snacks' confrontational demeanor, slamming into Rico and Langrall throughout the set with little worry at the possibility of being beheaded by a flailing instrument. By set's end the singer was crumbled to a fetal position, dotted with confetti and pants-less, howling into the mic over violin shrieks and tumbling percussion. I came away with a sense of disbelief, not at the chaos that is the band's live show, but at how tight they stay musically through it all. The songs are catchy- both deceptively melodic and adrenaline pumping. It's kitschy and pretentious to drop the "punk is dead" line, and just plain fucking stupid after you catch a Snacks show.

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.