Alternative rock band, The Ocean Blue (TOB) wowed listeners with its brand of breezy Brit pop back in the early 1990s. Amazingly enough, the TOB was not British at all but a sweet melodic quartet from Hershey, PA. The band recorded its self-titled record back in 1989 to rave reviews and instantly caught fire with modern rock hits, "Between Something and Nothing" and "Drifting and Falling." The album showcased the band's ability to perform ethereal, easy listening songs with soothing saxophones, strummy guitars and bright keyboards meshed with introspective lyrics about pondering life and love. Sire Records signed the band to a three record deal when the young lads were still in high school; a deal that created a big buzz with MTV's 120 Minutes and fans of New Order, The Smiths and The Housemartins alike. Five albums later and a few EPs in, nothing has been heard of TOB since 2004's Waterworks, despite talk of a new album in 2009. Either way, either side of the side of the ocean, office rock has never sounded so good.
04/30/2010
04/28/2010
We Are Wolves @ Subterranean 4/22/10
A hotbed in independent music typically bludgeons genres into newfangled creative molds. And such with all hotbeds, eventually the critical public will lose interest and move on after sapping it to the core. Well, Subterranean on Thursday reaffirmed that, even after Arcade Fire and Wolf Parade erupted more than Eyjafallajokull, Quebec is still pumping out fissures of post-rock hotness. To boot, so too is Los Angeles.
04/26/2010
Charlotte Gainsbourg @ Park West 4/21/10
The Park West was a newfound discovery on Wednesday evening, despite having a storied history dating back to the 1920s. The tales told moments earlier that it was a former gentleman's club were easily confirmed upon first sight with its sprawling domed ceiling and elegant black lounge couches dotted everywhere; balcony, floor, and under the stairs. Similarly the svelte Charlotte Gainsbourg made her historic Chicago premiere, despite a music career dating back to 1984 encouraged by her father, Serge Gainsbourg. For the unaccustomed, think of Serge as the Mick Jagger of Europe and you will understand the landmark status of this sylphlike songwriter.
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04/23/2010
Flashback Friday: The Sweetness and the Light of the Lush Life
Shoegaze starlets Lush had a healthy doze of dazzling reverb and fuzzy feedback that penetrated the soul of wide-eyed listeners. Formed in London in 1988 and signed to indie cult label, 4AD, the band's first three EP's were backed by the genius production of Robin Guthrie of the Cocteau Twins. Gala was released in 1990 at the height of the shoegaze craze alongside My Bloody Valentine, Slowdive and Ride. At the time, Lush's sound was light and airy with sudden bursts of distortion, such as "Sweetness and the Light." The band often showcased dual female vocalists perfected a heavenly harmony behind crunchy guitar riffs and swirling atmospherics as on "De-Luxe." Lush was also genius at crafting pure pop bliss on catchy straight-forward numbers like Abba's cover song "Hey, Hey Helen" and the radio friendly "For Love."
04/19/2010
Adam Green and The Dead Trees @ Schubas 4/15/10
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04/16/2010
Flashback Friday: Some Downtempo, Dum Dum Baby
U.K. trip-hop trio, Babyfox recorded some dark downtempo electronica back in the mid 1990s. The band's two albums, A Normal Family and Dum Dum Baby went virtually unnoticed in the States, overshadowed by bigger beatmakers like Portishead and Massive Attack. However, their debut album received accolades from NME, stating "a startling and essential debut; a dazzling dub masterpiece." Their sound with its glossy production was more suited for lite trip-pop-oriented listeners of Morcheeba and Moloko. Their drum-n-bass style fused with some chill dark beats featured some great late-night grooves. Highlights include the reggae dub-vibe on "Celebrate/Curlylocks" and the sinister yet sexy singles, "Dum Dum Baby" and "Hallow'een."
04/14/2010
Hollows, Girls Rawk at Reggies!
Photo courtesy of Hollows
When I bought Hollow's LP at their record release, I knew I made a good decision. I spin the record close to once a week, and I get their infectious songs in my head daily. Their sound is original-- vintage, low-fi, and surf rock influences. I dig it.
And, here's a cute story, when my band (yes, just close your eyes and listen) played at Ronny's a few weeks ago with the Rooftop Vigilantes, one of the members of the band told us that they (naturally) looked at our MySpace page before playing with us. They said they really liked our sound and all that, and that they thought it was pretty cool that we listed Hollows as a top friend, because the first time they were in Chicago, they played with Hollows-- a feat we have not yet achieved. I love Hollows and I would kill to play with them-- not kill, kill. You know.
Anyway, they are playing at Reggie's tomorrow night with one of my other favorite local bands, the Runnies. Tickets are $8. Get them now! Oh yeah, and go to Hollow's MySpace and listen to the song "Bobby Blueheart." In fact, go to the show, buy the LP, listen to all of it, it rules.
04/12/2010
Get on the List: Adam Green @ Schubas 4/15
04/09/2010
Flashback Friday: Some Songs to Learn & Sing
by Ron Saemann
Formed in Liverpool, UK in 1978, gloomy post-punk pre-madonnas, Echo & The Bunnymen managed to mesh melody with poetry. Founded by frontman Ian McCulloch and guitarist Will Sargeant were first known as Echo and later added bunnymen bassist Les Pattinson. Back in the day, critics expected the band to be bigger than U2. However, after five consecutive albums released between 1980 and 1987, McCullouch took a break from the band to focus on his solo career. The band later reunited with him in the late 1990s. However, the self-titled fifth album always gets me sapped up with all its weepy wet romanticism. The crowd-pleaser is the band's seductive hit, "Like Like Sugar" and the haunting numbers like "Lost and Found" and "All My Life" that really make McCulloch's lyrics stick and Sargeant's dreamy guitars swirl.
04/05/2010
Deanna Devore, The Invisible and Bonobo @ Metro 4/1/10
Photo by Mike Hari
Until you have consecutive days over 70 degrees in Chicago, old man winter remains relentless, unpredictable and unmerciful. Thus, Thursday marked my unofficial start of the summer and second-layer of clothing emancipation with sun, microbreweries and rooftop patios wrapped by skyscrapers. While Wrigley and the Cell has yet to open to crowds, the stalwart Metro opened its doors to provide the perfect way to wind down the day with a mellow, chilled lineup of Deanna Devore, The Invisible and Bonobo.Deanna Devore is a Toronto songwriter who's chosen Chicago as her home away from home, working with local musicians Shawn Rios and Jody Miller since her arrival. This year she's added keyboardist Dan Moulder at her recent Double Door appearance and debuted backup vocalist Rachele Eves Thursday night. Even as she retweaked her music from her self-titled EP, Deanna returned the lush, lavish sound of the EP with the most recent addition. The uptempo newfound sound shone through with opener "In Stride," which gives into a dreamy, surreal breakdown over Deanna's unique singing. Her voice holds the warm resonance of a jazz singer, yet with the urgency of rocker.
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04/02/2010
Flashback Friday: All Aboard The Next Flight on Air Miami
One of my favorite indie pop albums released in the mid 1990s featured former Unrest members, Mark Robinson and Bridget Cross. Hailing from Arlington, VA, the post-punk trio, Air Miami recorded their first and only record for 4AD, Me, Me, Me. Robinson and Cross, who played together in Unrest for 12 years prior on Mark's brainchild record company, TeenBeat. Air Miami's debut didn't stray too far from Unrest's uber-catchy formula of hard-driven bass lines and manic guitar riffs, only adding some quirky keyboards to gloss over production. I remember seeing the band open for Luna at the 9:30 Club in Washington, D.C. back in 1995, not knowing that this might be the band's only tour, later giving way to Robinson's next project, Flin Flon. Although, Me, Me, Me was not an earth-shattering moment in music, it always holds a brilliant place in my heart, blending the best alternative bits of Wedding Present or New Order with some early helpings of Yo La Tengo or Pastels.
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