Saturday, August 21, 2010

As Hiatus Continues...Enjoy Another Mix..




Hey All...As I continue to determine the next steps of this lowly artist's creative outlet and ventures in the music world I leave you with another Mixtape. It has been a busy yet great summer thus far and with the autumn like weather hopefully creeping up soon and all the kiddies are returning to their halls of education, I cant help but reminisce of the array of emotions that were always attached to this time of the year. Anyway, I will keep you posted on my progress and again...please follow me on twitter @drawingfromusic as I regularly tweet my contributions to The Music Slut, Brooklyn Vegan and of course Radio Free Chicago...Enjoy guys and see ya soon..


1. E Is for Estranged - Owen Pallett

2.Runaway - The National

3.I Want a House - Twin Sister

4. Wet Cement - Morning Benders

5.Nothing Like You - Frightened Rabbit

6. Salt In The Wound - Delta Spirit

7.Taxi Cab - Vampire Weekend

8. Dirty Cartoons - Menomena

9. I'll Never Leave You - Rogue Wave

10. Perch Patchwork - Maps & Atlases

11.Nobody Gets Me But You - Spoon

12. You Can Keep Me Runnin' Around - Suckers

13. Broken Horse - Freelance Whales

14. Cubism Dream (Daytrotter Version) - The Local Natives

15. Someone's Missing 2:30 MGMT

16. When I'm With You 2:58 Best Coast

17. Gone - Tokyo Police Club

18. Better Times - Beach House

19.Modern Man - Arcade Fire

20.Finish Line - Fanfarlo

21.Down River - The Temper Trap

22. I Only Wear Blue - Dr. Dog

23. Home - Edward Sharpe & The Magnetic Zeros

Thursday, June 17, 2010

Chhhanges..Mix of May:It's Summertime!!!

As this summer marks the one year anniversary for Drawing From Music, the daily blog will be taking a break for the summer months. I have recently had the opportunity to begin contributing work to the music site, Indie Rock Reviews based out of Seattle,WA; which you will see a bigger presence of my contributions in these upcoming months as we finalize our plans for festival coverage. I will also be doing some work with Chicago's local edition of The A.V. Club. Never fear though, Drawing From Music isn't going anywhere, this summer is the perfect time to make some changes to the site's format and return to my original concept of focusing on the discourse between visual art and music. To hold you over while these transitions occur, I put together a nice summer mix of songs that exude the sunniness of the summer months while touching upon the emotional duress that unfortunately makes it's presence known. Regardless where I'm writing you can follow me on twitter @drawingfromusic; I hope everyone enjoys their summer...I guarantee you will enjoy what's to come. Enjoy the music...



1. Solitary Gun-Rogue Wave
2. Dirty Thing-Telekinesis
3. The Arrangement-Beach House
4. Conversation 16-The National
5. Shadow People-Dr Dog
6. Sun Hands-Local Natives
7. A Different City-Modest Mouse
8. Beetles-Warpaint
9. Sailing to Nowhere-Broken Bells
10. The Loneliness and the Scream-Frightened Rabbit
11. One Last-Avi Buffalo
12. Riot Rhythm-Sleigh Bells
13. Stitches-The Morning Benders
14. Never See Me Again-The Vivian Girls
15. Got Nuffin-Spoon
16. Chase Scene-Broken Social Scene
17. Older-Band of Horses
18. A Mind I Knew-Suckers
19. Wandering Song-Kittens Ablaze
20. Pearls-The Union Line
21. Starring-Freelance Whales
22. Om Nashi Me-Edward Sharpe & the Magnetic Zeros
23. Slow Jabroni-Surfer Blood
24. People, Turn Around-Delta Spirit

Monday, May 10, 2010

This Week in Shows: Local Natives Yeah!!!!





I cant think of a better way to get excited about Friday's show than this great video by the boys of Silver Lake for their single, "World News". The band will be at Schuba's Tavern on Friday for a double header with openers, Suckers setting the tone for both sold out performances. It's the perfect match of East Coast/West Coast upcoming buzz bands, I will be shooting STAL ( Scene Through A Lens) sessions of both bands throughout the day for Indie Rock Reviews. The week begins at sister venue, Lincoln Hall where Freelance Whales return to Chicago for what seems their monthly visit opening for the Shout Out Louds. The former Three Penny Space, will be hosting an evening of film Tuesday with the double feature of Wes Anderson classics, Bottle Rocket and The Royal Tenenbaums. Saturday is a toss up evening as one could return to LH for Plants and Animals or over to the Empty Bottle for Greg Laswell


Friday, April 16, 2010

Coachella Set Times and Chicago's Record Store Day Festivities


The festivities commenced a little over an hour and a half ago, as many of folks flocked to the deserts of Indio, CA for this year's Coachella Festival. Unfortunately some acts (Frightened Rabbit, The Cribs) have been forced to cancel their performances due to the airborne toxicity from the volcanic eruption in Iceland. Fingers crossed these cancellations are kept to a minimum; also as Record Store Day has once again fallen on the same weekend as Coachella, the fine people of Zia Records will have a record store onsite. A bundle of artists will be stopping by for signings...On that note, in Chicago Permanent Records will have a free grab bag while supplies last and will conduct their annual Flaming Lips' Zaireeka Boombox Experiment. Reckless Records will host live performances from local acts at all three locations. And finally just past the edge of the city, Rogue Wave will be at Rolling Stone Records for a signing at 11:30. Pitchfork has been ever so kind to list out the endless amount of releases one could expect when making their way through the record store tomorrow. For those wanting to pretend they're in the desert Coachella's set times are listed here.



Thursday, April 8, 2010

A Grand Introduction of Lawrence Arabia-Lincoln Hall, Chicago, 4.7.10

With much intrigue, I arrive early to catch the opener New Zealander, Lawrence Arabia. The stage is filled with five bearded men playing in a gritty bluesy rock fashion, harmonizing and complimenting Lawrence's tender and warm hearted vocals. Psychedelic black lights flash as the guys shudder around playing with intensity a full-bodied guitar rock. His lyrics a personal recounting of experiences pleasant and forgettable maneuvering the set's overall tonality through an array of emotions varying from jovial, sentimental and bitterly nostalgic. Romanticism gushes from stage in the grand caribbeanesque “Aukland CBD Part 2”, as Lawrence smoothly croons the crowd of former love. He cynically notes another dream related song, softly singing in a Buddy Holly fashion slowly unraveling his adolescent fantasies.

His prime ministers compliments him in harmonic style returning to a higher tempo with a beachy melody as smoke rises and the tambourine clatters. The band playfully jests with the venue's fog machine controller, beckoning a spray then quickly proclaiming too much. There is an overall pleasant way of their sound, familiarly blending past eras in a poppy singalong aesthetic as though offspring of Sgt. Pepper. His music an orchestral retelling of lost love letters of life leaving a certain Joie de Vivre in the air. Thanking the crowd and Fanfarlo once more before singing their final melody; a playful song of the pleasantries surrounding a beach environ. Stalling with the echoing sonorous do das before ultimately deconstructing in a dissonance of sound and a fog of the smoke machine.


Lawrence Arabia

Saturday, April 3, 2010

"Go Home and Make Lots of Babies" Beach House-Metro, Chicago 4.2.10

Arriving to another packed house, the floor full of smooshed together fans gazing at the unveiling of the sparkly tacky chic stage d├ęcor the Baltimore duo has orchestrated for the evening's performance. Victoria Legrand's smoky sultry vocals have resinated in my head since their previous Chicago stop in November. The band's third album, Teen Dream a far front runner for the year's top spot has not left the current playlist since it's initial release in January. I am excited to see how these songs have evolved given the fact, I had some insight on many of the songs interviewing the pair prior to the album's release. After a brief introduction from sponsorship the lights dim and the duo arrive on stage with their touring drummer, Daniel Franz. Alex Scally greets the crowd thanking everyone for having them back, easing into the their set. Victoria dressed in what seems to be her “showman's” blazer half dancing as she pounds down on the keyboard. Alex taps along on his foot pedal as they sing of life's melodramas and the assortment of emotions paired with it's grand spectrum while epic chords overdramatize the mundane in an iridescently beautiful manner.

Hunched over her keyboard, Victoria gracefully moans and vividly unravels each line echoing throughout the theater, hanging in everyone's hearts sinking in as she sways back and forth. With demanding force she punches the air fiercely singing each delicately delivered verse, before the catchy hook rings in and Legrande sidesteps left and right. Thanking opener Bachelorette, Alex quickly explains the next song an R rated version of something (unfortunately I didn't really understand the subject of his commentary). Each song an epic vignette, disjointed noises echo throughout as the light shines hauntingly upward into Victoria's face. Playing with such ease, she drinks water while punching each note, as the anfractuous sounds come from Alex's mystery box. He alternates from sitting to standing with a half dance in a cock-eyed manner blaring the jovial lighthearted “Used to Be”.
Legrand dances while lyrically beckoning for her love's return home, missing one's enchanted past. She takes a moment to comment on the crowd's emission of excitement before resuming play with the opening chords of “Zebra”; passionately singing over the cymbal crash. Wailing her heart stricken emotion into the air, face dimly lit and hidden behind hair; Victoria serenades her innermost desires in dramatic fashion as the fog creates an ambience of mystery. She comically announces before they're last song the evening a perfect night for the audience to make many babies with love in the air. Swaying hunched over her keyboard singing her romanticized ideas, ensuring care to her focused love ending the evening's set. The crowd roars with applause staring up at the stage as the sparkled confettied diamonds rotate. They quickly return, jesting with pleasantries and stalling before beginning “Real Love” with an a cappella onset before raising tempo with each pound on the keys. Keeping that lighthearted atmosphere the trio finish off with “10 Mile Stereo” Legrand's voice reverberating a sense of longing for a former love. She desirously beckons in her entrancing slow delivery as Alex's playful melody sprinkles a dose of enchantment . The smoke rises clouding the stage and the three hunched over their instruments holding their note in conclusion.

Friday, April 2, 2010

"I Just Want it to Sound Good for You" Spoon-Aragon Theatre, Chicago, 4.1.10

Arriving in the nick of time, speaker music blares overhead the seemingly packed house of the mix of fraternity and hipster crowd of all ages. Lights turn off and the crowd turn around half-heartedly still conversing until Brit Daniel arrives on stage alone with his acoustic guitar. He greets the crowd and begins singing the classic, “Me and the Bean” setting the tone for the evening's set; ultimately fiercely strumming similarly to a mariachi guitarist. Stage lights shine and Eric Harvey joins Daniel supporting his intimate rendition of “Mystery Zone” on keyboards. The remainder of the band arrive, drowned in red and the bang on the piano keys raise the tempo while Daniel's scratchy voice reverberates throughout the theatre. Jim Eno begins pounding on the drums and Britt ditches his jacket, quickly revving his guitar prompting annoying drunken hipsters to cleverly invent peculiar dances. The Austin quintet have mastered this musical form of retaining this chaotic quality while orchestrating these harmonious melodies, playing these complex riffs in a simplified manner. The spotlight returns to Harvey, with a ghostly echoing effect Daniel quickly spills out the lyrically vivid lines of “My Mathematical Mind”. Hunched over his guitar, at times kneeling down with the distortions of his guitar ringing out slowly submerging the crowd into this musical sea of nostalgic excitement and introspective beauty.

Totally immersed in their craft, the evening's setlist thus far reads like a greatest his album. Daniel and co. play as though they've orchestrated this concerto of masterful play; brilliantly transitioning the tempo and gracefully creating this cinematic ambience in their synchronization and focused play exhibiting this awesomeness on stage. With the alteration of color of lights, the set's mood mellows down. An alarming sound blares overhead, before the familiar notes of “Small Stakes” come from Harvey's keys. Listening to this song, I can't help think of the last time I saw Spoon live; it was eight years ago at the Abbey, an unforgettable evening. Since then, much finesse and maturity are apparent in the band's stage presence and eloquent play. I have come to expect faulty sound in the Aragon, but did not realize how troublesome it is for the artists, Britt has now noted again his annoyance. He announces the next a song by Wolf Parade, an endearing cover of “Modern World” played with a delicate Southwestern flair.
A meticulous production, Daniel narrates his intricate tales, full-bodied sound with a seamless quality transitioning the performance's tempo, unraveling in guitar play chaotically complimenting Daniel's composed delivery. The crowd begins dancing and moving along with the opening notes, “Don't You Evah”. He returns to his acoustic guitar, commenting once more of his inability to hear what they're playing; causing a sound person to confirm his inability. Fiercely strumming before Eno's drums kick in, Daniel serenades the audience; an array of instrumentation surround his unaffected raspy voice. A soft passionate exhalation of works packed with a toe-tapping rhythm. An explosive sound with an ear shattering drumroll, the jovial melody plays on ceasing with a chaotic spill of notes in the air, maracas continuing to rattle until, “Black Like Me” ultimately commences. A passionate recounting of experiences is what finishes this wonderful collection of the Austin quintet's catalogue of songs. Brit bows and exits the stage. Quickly returning, Daniel expresses gratefulness for the crowd's presence noting this their largest crowd in Chicago and modestly admitting a desire to sound good. The encore is filled with many Spoon classic tracks, crowd swaying back and forth; the music comes to an abrupt halt before Daniel revs his guitar back up as the spotlights flash throughout the crowd. He plays with intensity as the band waves good evening leaving the audience with the shuddering sound of distortion in the air.

Friday, March 26, 2010

Vampire Weekend Return to Chicago: Riviera Theatre, 3.25.10

The young Brooklyn quartet run onto stage, seemingly more youthful in person than I expected; with high energy and excitement greeting the crowd and taking their places. They strap on their guitars and immediately begin with the newer track, “White Sky” the crowd goes in an uproar with elation. The set continues with “Holiday”the next track on their most recent release, Contra; playing with intensity in an upbeat tempo. Bassist, Chris Baio is dancing and jumping in place as Ezra Koening croons the crowd with his smoothly soft voice. Afterwards he casually greets the crowd, “Hello Chicago” he sings with this macho confidence, dancing around with his guitar. Koening has a “Jailhouse Rock” presence to his performance style, demanding attention as he serenades the audience with crowd favorite, “Cape Cod Kwassa Kwassa”. Keeping a playful manner with the audience, we are orchestrated to assist the band with the chorus; energy stays upbeat through performance as the crowd is ecstatic to sing along.



Quickly spitting out lyrics, Koening sings “California English” as the song breaks down to his bare strum on the guitar he shakes his hips and Christopher Tomson crashes in on his drums. The band continues raising the intensity and tempo; with a quick strum everyone on stage and in the crowd are jumping and moving their feet. The lights dim, Rostam Batmanglij takes a seat at his keyboards as the other three appear as though they are playing on a street corner with more classical instrumentation. The girls swoon, chandeliers hang above the stage and the mystery blonde(album cover) hangs as a backdrop, glowing overhead in an eerie fashion. Koening shakes his head as he reaches a high note, often on his toes, he points into the crowd. Taking a breather and “giving the audience a moment” checking everyone's status throughout; he flirts with his fans, smirking with confidence and beckoning all of us to bounce along. Continuing to brag about the number of stops through Chicago thus far, he reminds those of the warm temperatures from last year's Lollapalooza, once again requesting aide with the chorus. With strobe lights flashing, there is a rhythmic synchronization between the drums and Koening's fast guitar strum emulate the heart thudding sound of a machine gun reverberating throughout the old theatre weaving into a mixture of African inspired beats and chants. Each member has a unique approach to dancing about stage as they strum along with the song. The sea of teenagers sway back and forth in awe, singing along and pounding their fists in the air with the chorus. I think the appeal has a lot to do with the combination of these jovial melodies and this sense of adolescence in the lyrics as the Brooklyn quartet retain this playful disposition on adult hood as they dance and sing these sugar-dipped tunes on stage.
After a brief break, the band returns to stage thanking the crowd and requesting one more sing-along chorus. As Ezra utters the words, “In the summer...” the theatre explodes with excitement as everyone sings the verses to “Horchata”. Tomson continues to pound on the drums in a pseudo tribal/marching band fashion. Koening playfully teases the crowd to keep up the intensity for the next song, commenting on the early hour. He challenges everyone to move their body for the next two minutes, they begin playing “Mansard Roof” at a fast pace. Stomping his feet and speedily strumming his guitar, getting alarmingly close to the outreached hands of the crowd. Canvas Nikes are the new blue suede shoes, as the crooning New Yorker shakes his hips; he bids farewell pointing in the air and singing with a suave machismo. The drums pounding hard, lights flashing, crowd jumping...strums and an explosion of cheers.

Wednesday, March 17, 2010

SXSW: Day One-Warpaint Rules!!!

My SXSW festivities (first-time) began with an overwhelming mixture of excitement, confusion and a mild sense of nervousness unfamiliar of what to expect but confident regardless, I would have the opportunity to see some exciting acts and reunite with familiar faces I have seen in the past. Getting my bearings of Sixth St and laying out the land for Wednesday's day parties, I quickly headed towards The Mohawk for my first show of the week( The Austinist's day party). Taking pause to realize the crowds surrounding a parking garage were enjoying an AOL/Spinner pop up show featuring Broken Bells. The line wasn't too bad quickly squeezing through the packed bar; I am staring up at portraits of bearded men lining the bar (an obvious highlight of the bar, that had similarly bearded men slinging drinks to patrons). The crowd from the previous act's ambient environ depart the tiny room as the Silver Lake, CA quartet known as Warpaint set up for their performance. Definitely a band high on my priority list to see while in Austin, their debut EP, Exquisite Corpse has been on repeat since learning about them in early November. An album, which also made the year's top EP list.

Warpaint-The Mohawk: Austinist Day Party

Without note, music begins with a heavy thumping bass line and a delicately seductive delivery of verse creating a happy, yet funky harmony that has the crowded room dancing along. Almost in a meditative trance the girls establish an aura of ease and comfort. Genuinely one with their instrumentation there is a natural flow and transition in their song that captivates the audience as they seamlessly play into the popular single, “Stars”. Witnessing their music live is much more magical and ethereal than what's recorded as the quartet noticeably have a tendency to allow the music to control the length of play. Vocals are shared between guitarists Emily Kokal and Theresa Wayman; there is a warm contrast in style of delivery that unite in verse in a harmonious fashion. With a concentrated focus on their music the girls continue to play on, keeping an upbeat tempo throughout the set; bassist, Jenny Lee Lindberg spends most of the performance swaying and bouncing in the direction of the drummer, Stella Mozgawa. Stripping away the intensity to expose a gentle stroke on the guitar and a low intangible melody; complimenting the vocals of Kokal's (similar to Portishead's Beth Gibbons) serene and sultry sound with Wayman's (much like Karen O) delivery that has a sharper more punchier insistence. Finally greeting the crowd with a jovial, “how y'all doin'?” the girls take a deep breath noting two more songs and introduce “Elephants”. A song that has a soft onset and ultimately breaks down into a chaotic high tempo congruous explosion of sound. With an array of layers in their music which overlap upon each other transitioning back and forth from soft to heavy, it's nearly a system overload of music chewy center (almost something enjoyed more privately). Already with a yearning desire for more I quickly determine my next opportunity to enjoy the harmonic amalgamation of this Silver Lake, quartet.

Freelance Whales-Galaxy Room: Paste Party

I quickly bolt over to the Galaxy Room on Sixth, where the Freelance Whales are tuning up and a good sized crowd eagerly wait for their set to commence. Sunlight dims through the windows and Paste creator, Josh Jackson arrives on stage to express his excitement and honor to introduce, Freelance Whales. With a pluck at the banjo and orchestrated howls in the air, the set begins with “Generator First Floor” the opening track on their soon to be released debut, Weathervanes. There's a magical sensation that exudes from stage as the quintet from Queens,NY sings in an off-tune synchronized fashion and this rural fantastical tale unravels with each word Judah Dadone sings in verse. Quirky noises and orchestrated melodies ring from the rest of the band as Chuck Criss tings away on the glockenspiel. After a short greeting, Dadone continues with the set punching away at the keyboard. The group exhibits passion and emotion with each breath; resuming their high intensity performance, with second track, “Hannah”. They briefly mention their own excitement to be playing, this is Freelance Whales debut at SXSW. Continuing to play, alternating in tempo with intensive energy and animation on the arsenal of instruments arranged on stage; painting colorful imagery of a farmhouse love story that transitions through a bittersweet narrative emitting a combination of happy and sad simultaneously. Guitar distortion reverberates from Kevin Read's bow as Doris Cellar sways the harmonium back and forth. There's an introverted geek fashion of dance occurring on stage as this quintet continues this sweet saga, singing along eyes closed with affection. The set concludes with the happy sing along “Generator Second Floor” with plenty of the crowd dancing and assisting in vocals. Judah shakes with emotion, as the contrasting beauty of his voice with Cellar's exhibit this romantic magical affection.

Acrylics-Peckerheads: The Music Slut Day Party


Making it inside as the band begins their first notes with Molly Shea singing lead as Travis Rosenburg and Jason Klauber playing along with two additional band members. Im immediately re submerged into this cinematic weaving of layered sounds and romanticized lyrics. Saying hello and comically beckoning the crowd to approach the stage, Jason smoothly bargains for a beer before the music returns. Having a more full-bodied sound with the additional instrumental support while retaining the endearing intimacy present in an old Western love story. Travis delicately brings in the next tune plucking the melody on a slide guitar, before the tempo explodes in a crash of drums with the song's chorus. Jason and Molly quickly dispensing each verse, singing towards a symbiotic bright future. Keeping a conversational connection with the audience, Jason continues to jokingly banter back and forth with the lone howler in the crowd. Ultimately he announces the next song, “Molly's Vertigo” pointing over to Molly introducing her, who bashfully says, “hi”. Contradictory to her shy disposition she sings with excitement and passion exploding with personality on stage deciphering her thoughts and feelings through the song's subject-matter. After quickly swapping guitars and requesting more acoustic, Jason begins strumming a newer song; a sweet love song nostalgic for 70s era duet. This afternoon's set comes to a conclusion with the EP's title track, “All of the Fire”; ending a strong performance for a crowd seemingly unknowing of expectation but in awe with an imminent enjoyment of a lyrically amazing young band.

Finally getting an opportunity to catch my breath and feed my blood sugar level, and returned to the Galaxy Room and patiently wait for Paste's headliner of the day, Frightened Rabbit. The crowd slowly trickles in and begins filling the once emptied room chattering with excitement of the first day's festivities listing the day's parties that topped each other's lists. Keeping patience as it becomes apparent the band's having issues with instruments quickly determining a resolution to make the afternoon's performance worthwhile.

Frightened Rabbit-Galaxy Room:Paste Party

The sun slightly sets through the window dimming the room and the band is ready for their set. Scott Hutchinson wearily greets the audience mentioning equipment malfunction (but more colorfully) explaining they have pieced something together to play with. Apparently affected instrumentation are no big problem as with the crash of Grant's drums the Scottish quintet play a seamless rendition of “The Modern Leper”. Scott asks of our well-being with an excited expression, having success with the makeshift instruments and finally moving onto “Swim Until You Can't See Land”. The crowd cheers and the band eases into the set spotlighting the new direction taken in their most recent release, The Winter of Mixed Drinks. The Scottish band's third album exhibits its evolution as a band slowly gelling as a more united force tackling ambiguous subject matter rather than Hutchinson's past heartbreaks. Dancing about stage, Scott blurts out in his lovable Scottish tongue his tale of new adventures. Still struggling with instrument difficulties, the issue is remedied with the crowd favorite “Old Old Fashioned” The set is turning out to be a happy marriage of previous album's pains and their newer songs which displays the growth that comes along with life lessons. “Living In Colour” another new song beckons for the crowd to clap along; Scott wails with intensity into the air. Seemingly limited with material given the situation, they finish the set with “Keep Yourself Warm”. The music strips down to his pain stricken voice shedding his misery before returning to the upbeat tempo,leaving the crowd roaring for more.


Monday, March 8, 2010

This Week in Shows: A Preview of Austin


Inspired from image by Sebastian Kim

With one week until I head down to the warm weather Austin has to offer; I can't help not getting excited for a nice preview of some of the bands making their trek to SXSW.

Wednesday, March 10: Turbo Fruits and Surfer Blood will be playing Schuba's Tavern

Thursday, March 11: We Were Promised Jetpacks and The Lonely Forest make their first visit to Lincoln Hall

Friday, March 12: (Above painted) Vivian Girls head over to the Subterranean.


Aside from final planning and packing this should be a fun yet busy week.

Thursday, March 4, 2010

An Intimate Evening with Acrylics, Schuba's Tavern, Chicago,3.3.10

Tonight's show seems to be a well kept secret, the room is pretty spacious aside from the scattered local hipsters eager to check out the highly blogged about Acrylics. The Brooklyn, NY duo who are expanding to a full band;released their EP, All of the Fire with, Terrible Records in the Fall of 2009 are making their maiden voyage through the States in support. The noise and chatter of the audience cease as the initial notes of music commence, immediately a variety of harmonious tones blare from the stage ultimately deafening down to a pair of simple pleasant strums from the contrasting guitars. Molly Shea and Jason Klauber (joined on stage by Travis Rosenburg) , a hypnotizing pair of voices singing 70s influenced melodramatic pop music with a cinematic grandiose aesthetic. As the first song concludes, Jason expresses gratitude and introduces the band and their origin, noting how great it is to be in Chicago.
Cross breeding a variety of sounds and influences, its difficult to peg a specific classification of the trio's sound. A languid, gentle delivery of personal recounting swapped by the pair and complimented by contrasting guitar play (electric vs. acoustic) and a synth-pop accenting an upbeat, joyous chorus. After a brief miscue, the three quickly restart, "All of the Fire" an air of nervousness present but not affecting the band's pleasurable chemistry and personal enjoyment to share their tales and music. Aside from the minor mishaps from the venue's sound, an ingenious beauty exudes from the stage. After much of the trio's set, Molly finally speaks introducing the band's notable track "Molly's Vertigo." The song's lyrics paint an image of the past, surrounded by a bittersweet misery well beyond the years of the band. There is an introverted quality present, as the two expose each other's optimistic hope through their soul's aspirations and the dreamy melodies on their guitars. Thanking the audience once again, Jason introduces the set's final song, "counting sheep" an unreleased love song searching for a warm embrace for the night's end. A wonderfully warm lullaby to close the evening's performance. I am now more eager to see the band on my upcoming trip to SXSW, who will be playing 7 shows (including the first performance of the week's festivities).


Thursday, February 25, 2010

Atoms For Peace are Headed to Chicago???

Thom Yorke has declared an alternate moniker with which he would like to pursue his personal musical endeavors. What has now become his "other" band, Atoms For Peace will be making a tour through select US cities this Spring. Tickets for the Chicago stops go on sale, March 3.

04-05 New York, NY - Roseland Ballroom *
04-06 New York, NY - Roseland Ballroom *
04-08 Boston, MA - Citi Wang Theatre *
04-10 Chicago, IL - Aragon Ballroom *
04-11 Chicago, IL - Aragon Ballroom *
04-14 Oakland, CA - Fox Theatre *
04-15 Oakland, CA - Fox Theatre *
04-17 Santa Barbara, CA - Santa Barbara Bowl *
04-18 Indio, CA - Coachella

* with Flying Lotus


Dead Air Space

Friday, February 19, 2010

2010 Is Going to be Epic!!!


It's been five loong years since the last time we heard something new from Broken Social Scene. If you have not heard by now, we will finally get our hands on a new album (Forgiveness Rock Record) from the Canadian bunch in May. Today, the band upped their ante with their first single, "World Sick" an epic reminder of a heart-warming sensation that overwhelms the body after a life altering experience with someone amazing of the opposite sex. Head to their website below to download the single. When you feel you cannot repeat anymore dust off the rest of their listening goodness an remind yourself of the greatness that is headed your way.
(update 3.5, Broken Social Scene will return to Chicago to kick off P4K on Friday, July 16.)

Friday, February 12, 2010

The Antlers Fuel my Excitement for Monday with a Visual Interpretation of "Bear"



When I first heard this track, Peter was releasing the album out of his apartment in Brooklyn. My imagination went crazy with a variety of visual ideas to the lyrics. Monday will mark the fourth time I've seen the guys live in less than a year's time and each experience uncovers another layer of emotion and beauty. The Antlers as a trio have truly transformed this isolated tale of misery into this invigorating vigil.

Friday, February 5, 2010

Pitchfork 2010 (First Round of Lineup Announced)

Above is the 2009 Jay Ryan Pitchfork poster

In Chicago, things within the music scene begin to get exciting when:

A: an anticipated band makes their way through town in support of a recently released album

B: Lineups and dates are announced for the upcoming Pitchfork Music Festival

C: All of the above, plus whatever else you could think of that doesn't pertain to this posting.
Anyway, Pitchfork has announced the first round of bands for this year's festival which includes each evening's headliners and few of the young and exciting bands who will make their way to Union Park, July 16-18. Modest Mouse will kick things off on Friday, with Raekwon and LCD Soundsystem on Saturday and the freshly reunited Pavement ending the festivities on Sunday. Also noted to perform on the festival's final day are Sleigh Bells, Here We Go Magic, Cass McCombs, Lightning Bolt and St. Vincent. Tickets are on sale today along with any supporting information not mentioned above at the festival's site.

Monday, January 25, 2010

Port O'Brien Makes it Out to Daytrotter


Cold and dreary with a high possibility of snow flurries is the perfect day to find that our Rock Island friends at Daytrotter have chosen Port O'Brien for the session of the day. Preparing to kick off their second tour supporting the third release, Threadbare; a more somber approach is apparent throughout the album making for an excellent soundtrack for a less noteworthy day. Anyway regardless of how your day is turning out, head over to Daytrotter for a stellar set of songs.

Friday, January 22, 2010

Hope For Haiti Now



Hollywood is holding their event tonight blanketing the tv channels with a hope to raise funds for those in Haiti dealing with the catastrophe from the recent earthquakes. Live performances will be available to be purchased on Itunes and you can always head over to the website and donate there. The possibilities are endless, in terms of options to contribute to the efforts in aiding the victims of this horrible tragedy. Stay tuned to future news to learn how Drawing From Music is contributing towards the cause. Until then follow the links below to keep up to date on the support or to give what you can.




Thursday, January 14, 2010

Tomorrow Never Knows 2010 Day 1: Adam Green, Linoln Hall, 1.13.10

Arriving for the tail end of opener's The Dead Trees' set, whom from the audience's response were pleasing enough for requests for more music. It was quickly noted they would be returning to stage as Adam Green's band for the evening. Tonight's crowd is decent, but seeming to gradually trickle in for the opening evening of this year's Tomorrow Never Knows as Schuba's Tavern get a helping hand from their newest venue, Lincoln Hall. There is chatter all around and beverages are ordered and the room begins to fill up as The Dead Trees return to stage gearing up for the next performance. They begin quietly strumming the first chords and Adam creeps out from stage right, shirtless and donning a pilot's flight jacket with a beer bottle in hand. In a truly shagadelic fashion he begins jumping and dancing about stage, as he begins his lonely hearted crooning lyrics with a blank stare and drunken grin.
He greets the crowd in a warm friendly manner, peering out above the audience's heads exhibiting his inebriation. His stage persona continues to create new and innovative ways to dance along with his music, almost forgetting at times he was not alone on stage. Triumphantly announcing his renewed desire to return to touring jesting about some ridiculous reasoning behind his previous decision to reject touring, and a brief break he said he would rather not speak of. Adam casually jokes about world perspectives and his aspirations to still be performing a decade from now,wondering if the audience would still attend. Adam flails and jiggles about, belting out songs in his baritone lined octave while exasperation is exuded between verses through heavy breathing and slouching over. "Cant be witty, gotta be honest"was something Adam mentioned during one of his many comic reliefs throughout his set prior to his Jessica Simpson inspired melody and resonated as there is a certain honesty seen in his performance.
The music is stripped down, and Adam seemed to display himself on stage as opposed to some flashy light show. He bares his soul (or his chest..in this matter)singing softly of Jessica's fraudulent attempts to pursue a music career. Pouring water overhead, Adam partners up with his jacket shaking it about, gloatingly inventing alternate methods of shaking his body. Bringing his set to an end, he beseeches from the crowd the possibility of one crowd surf, who generously abide. A fitting action for a chorus he belches, " Baby's gonna be alright"; finally waving and walking off stage his jacket in hand.

Monday, January 11, 2010

As the New Year Continues to Reveal...

We are only in the second week of 2010 and the anticipation of what excitement continues to be revealed for the year is shaping up to be a wonderful encore to the wonders of 2009. This week on Wednesday, Tomorrow Never Knows 2010 commences showcasing some the year's up & coming artists who have had many bloggers rattling away with eagerness. Many of the heavy hitter's shows are sold out but check with Schuba's Tavern as tickets are still available for others and many prize giveaways throughout the week. If that wasn't enough tour info continues to make waves as Pavement,Beach House, Passion Pit and Spoon all announce stops in the Windy City. At Npr's First Listen, Spoon's Tranference can be heard, M.I.A will release her third album this Summer and Dirty Projectors give away a free single.

Check out the venues' lineup below and join the week's festivities if you're in town and mark yoour calendars for the what's still to come this year.


Wednesday, January 13
Lincoln Hall: The Dead Trees, Adam Green, The Cribs

Thursday, January 14
Lincoln Hall: Gemini Club,Maps & Atlases, Solid Gold, Voxtrot
Schuba's Tavern: Lasers Fast & Shit, Bear in Heaven, Freelance Whales, Surfer Blood

Friday, January 15
Lincoln Hall: Shapers, Icy Demons, Atlas Sound
Schuba's Tavern: Only Children, Truman Peyote,The Hood Internet, Neon Indian

Saturday, January 16
Lincoln Hall: Julie Doiron, The Rural Alberta Advantage, Bowerbirds
Schuba's Tavern: Peter Wolf Crier, Sharon Van Etten, Owen Pallett

Sunday, January 17
Schuba's Tavern: Netherfriends, Pomegranates, Skybox, Clues



Looking ahead, Pavement is said to be headlining this year's Pitchfork Music Festival, both Passion Pit and Beach House on April 2. The evening prior Spoon will be performing at Aragon.