Posts Tagged ‘Chicago’

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Featuring members of Braid, Their / Coaster and Stay Ahead of The Weather This is the third EP from Lifted Bells, but rest assured, they won’t be releasing new music in bite-sized formats forever. “The EP will hopefully be a fresh introduction to the band and what we’re up to,” Nanna says. “We’re already over halfway done with a full length and are looking forward to getting out on the road. It’s going to be a fun, wild ride.”

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Band Members
Bob Nanna / Matthew Frank / Matt Jordan / Kyle Geib / Seth Engel

 

NE-HI are a band from Chicago. Upon the release of their latest full-length Offers, the band has been praised for their lively performances and healthy blend of punk with ’60’s garage rock. The setting was absolutely perfect for enjoying their music, in a small room at the London Hotel, a home studio operated by The Wild Honey Pie. Chicago’s NE-HI have come out of the basement for their second album, one that sees the band shaping their wiry garage rock sound for larger stages while still honing their musical personalities.

They performed special version of our favorite song off their new album: “Offers,” a song filled with driving guitar riffs and only two brief moments of vocals, and electrifying rock gem “Out of Reach.” Directors Erik Rojas and Joe Micho really captured their high-energy recording process with constantly shifting perspectives of each band member as they lose themselves in the music. Be sure to check out full-length album “Offers” which was released in February of 2017.

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“Must Be Nice,” the first single from Chicago band Varsity’s forthcoming album Parallel Person, has a title that comprises a double meaning. The title phrase is habitually “bandied around sarcastically,” says singer and keyboardist Stephanie Smith. But she says it can also be an ultimatum, as in: “I must be nice in order to be liked/noticed/not be considered a b****.”

The song itself is a catchy slice of indie-pop, the punchiness of which is undercut by Smith’s self-conscious lyrics: “I know I can’t cry in front of them / But if I could,” she trails off anxiously. Smith says the song was conceived of more as “a mood and the idea of repetition rather than a narrative or a complicated structure.” Propulsive bass and drums give the song an urgent feel, while intertwined keyboard and guitar riffs lend a surfy, eerie charm.

The video for “Must Be Nice,” by animator Shane Beam, reflects the song’s mood and cyclical nature. Beam “totally honed in on the repetition, psychedelic imagery and playful tone of this tune,” Smith says. “The resulting video highlighted themes and images that we hadn’t noticed before,” she says, “plus it made us laugh, which is always good in this economy!”

From our new record Parallel Person out 4/27 on Babe City Records.

Throughout the second half of 2017, Chicago’s Twin Peaks released a run of a half dozen limited-edition 7″ singles the band affectionately dubbed Sweet ’17. Only 300 copies of each 7″ were made, and subscriptions sold out almost immediately. But due to popular demand, Twin Peaks have compiled all of the songs from the series onto a LP release. Sweet ’17 Singles follows in the footsteps of Down In Heaven, the band’s 2016 full-length release, which expanded on the garage-inspired sounds of 2014’s Wild Onion.

In the final two Sweet ’17 Singles“In the Meadow” and “We Will Not Make It (Not Without You).” We had a blast sharing these with you over the past six months and are excited to announce the compilation LP! The record is available on our webstore now and will also be on sale at indie record stores on February 9th

the Sweet ’17 Singles compilation LP is out on Friday everywhere. Buy directly from us on tour, Thanks to all of you for your support with this series; it was a different way to release music and we really enjoyed making and sharing the songs with you this way. Looking forward to sharing some of them with you live in the coming weeks, too…

Following the two fantastic singles that the band has put out in the past, Shelflife and Fastcut Records are incredibly excited to be releasing the debut full-length by Chicago’s Star Tropics. “Lost World” cements the band’s pop songwriting prowess, and its nine tracks all have equal likelihood of ending up ingrained in your brain.

Formed after a chance meeting thanks to an early Smiths b-side, Star Tropics have been playing shows since 2012, including a performance at the 2013 NYC Popfest. Their previously released singles “By My Side” (b/w “Tempest”) and “Summer Rain” (b/w “Swept Away”) have established Star Tropics as a group that fans of dreamy, jangly pop need to keep their eyes on.

Chicago’s Star Tropics blend of indiepop jangle, have come up with one the best Dreampop releases of 2017.
They deliver on the promise set up by its previous BC Singles.
Jangly Guitars, layered female/male vocals over pastoral melodies. Sarah records styled tunes, won’t win them any awards for originality, but the quality of their songs and the atmosphere they create is no rip-off either.

 

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Like fellow Chicago rockers Twin Peaks’ latest release “Down in Heaven,” Flesh Panthers are taking a step back from brash garage energy in favor of something a little more “mature” (heavy emphasis on the quotes). With more atmospheric moodiness in the album lead-in and outro, “Willow’s Weep” is much more meticulous and coherent than straight garage rock assault, bringing to mind late-60s Rolling Stones more so than 70s punk. It surprises me every time I listen to it, not because I didn’t think they were capable (their live versions of some of my favorite songs by the likes of Velvet Underground and Bob Dylan showcase their tightness and versatility), but because they’ve made such a remarkable transition from their high-energy garage punk into these really beautiful, compelling rock songs.

I really love Flesh Panthers. They’re a brilliant inside secret of the Chicago rock scene that deserves far wider exposure. With “Willow’s Weep,” they’re proving they’re a force to be reckoned with beyond our city walls. Great follow up album.Cant wait to see them on tour

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When Garage Punk four-piece Flesh Panthers dropped their first two releases last year—a seven-inch on Tall Pat and a self-titled cassette on Dumpster Tapes—they sounded like a group of kids looking for the kind of fun that’s hard to tell from trouble. And in case the ragtag, deranged shrieks and squeals of the band’s guitars didn’t make it obvious enough, front man Ryan Zombotron doubled down with his lyrics: on “Bleed Black Leather” from Flesh Panthers, he half screams, “I just wanna stay high forever.”

Zombotron says those recordings are faithful to Flesh Panthers‘ anything-can-happen live sets, but that for their full-length debut the band wanted to try something different. They went into the studio intending to mess with their sound, and they had a field day with noise boxes and the tape head of an old reel-to-reel player, among other gadgets. NGC 2632 puts a psychedelic spin on their messy punk punches: the woozy “Teethe” cleans up some of the band’s sonic muck and dials down the pace, but keeps their noisy euphoria intact.

Zombotron wrote the new album’s lyrics by drawing inspiration from a list of about 100 words and phrases—”flies,” “city living,” and “linear energy,” to name a few. “There’s an insect theme in the album, but there’s also a mysticism that has to do with the planets and stars and space,” he says. Zombotron hopes NGC 2632 is the first of many albums for Flesh Panthers: “Hopefully I can keep on putting out records and people won’t tell me to shut up.”

The songs of Flesh Panthers’ NGC 2632 swagger and sneer with unrelenting attitude, but rather than evoking anger and alienation, it’s the kind of attitude that says, “We’re here, we’re beautiful, we’re going to go wild and have another big ol’ party!” This fuzzed-out record rocks and reels, reminiscent of a mid-July major rager full of all your favorite weirdos.

Mid-tempo stompers “elevator girls” and “47 Eyeballs” allow a glimmering guitar lead to weave through the cocky snarl of vocals.

“Good-time punks, Flesh Panthers unapologetically bust down your front door with their new album, N G C 2632. At first listen, the 12 tracks embody a New York Dolls’ draw and swagger that’s much more glam than what came across on the band’s previous releases. These tracks are fully-fleshed, leaving a heightened ringing in your ears and putting a relentless stomp in your boots.”

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Very pleased to announce that Post Animal has joined the PolyVinyl label ,
Overflowing with riffs and reckless abandon, Post Animal is a psych-rock five-piece from the tightly knit Chicago music scene.
Since forming in 2015, the band has developed a loyal fanbase, howling from the depths of sweaty basement shows and packed rock clubs. Since forming in 2015, the band has developed a loyal fanbase, howling from the depths of sweaty basement shows and packed rock clubs. True to their DIY roots, the band has booked numerous tours and self-released two EPs, which have garnered them coverage from the likes of NME, Paper Mag, Vice, and PASTE.

Boasting the individual talents of Dalton Allison, Jake Hirshland, Javi Reyes, Wesley Toledo, Matt Williams, and Joe Keery (currently an inactive contributing member), Post Animal has toured and performed with the likes of White Reaper, Twin Peaks, and Wavves.
Check out the group’s two EPs as well as the new single “Special Moment” (video below) right now!
Get to know the band & then keep yr eyes peeled for more Post Animal news soon!

Post Animal

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Chicago rockers Melkbelly are as close as family thats because they are. Frontwoman Miranda Winters is married to guitarist Bart Winters, brother Liam plays bass, and they’re rounded out by chosen fam, friend and drummer James Wetzel. The detail is only relevant because it speaks to the sense of connectedness at the heart of their pure punk physicality:  Debut album “Nothing Valley” shreds, as evidenced in the first few seconds of the knife-sharp opener “Off The Lot.” If experimental, messy rock ‘n’ roll is your bag, look no further.

If “Nothing Valley” were a real place, it’d be mossy, verdant, and a little bit strange.

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Melkbelly, was formed by vets of Chicago’s experimental and DIY scene champions, organized noise and thoughtful freneticism on its debut full-length, “Nothing Valley,” fusing dreamy vocal lines and cantankerous guitar racket. Its songs clang and bang in stripped-down production that highlights the band’s sharp edges; multi-faceted slabs of sound serve harmonious, such immediate songs. So it shouldn’t be a surprise that the band members’ tastes run obscure as they tell us, “bands and musicians that draw on a sense of adventure.” The quartet’s membership overlaps with several Chicago noise and experimental bands and art collectives.

An efficient one-day recording session resulted in Melkbelly’s first EP, 2014’s “Pennsylvania,” which opened the door to touring and opening slots for Speedy Ortiz, Magik Markers and Built to Spill, The Chicago Reader calling Melkbelly “one of the most exciting new sounds out of Chicago.” Next, Melkbelly got back to writing and working, recording a pair of 7-inches with Dave Vettraino at Chicago’s Public House where it had made its first recordings ever for Public House’s Digital Singles Series and a Public House compilation tape. The sessions gave the band a chance to deepen its collaboration with Vettraino.

Miranda writes most of Melkbelly’s tunes on guitar and brings them to the band who puts them through the ringer, where they morph into a Melkbelly arrangement. Often, however, the band will take a guitar riff or two from an open jam recorded at practice and spin it into a song.
“Nothing Valley” was recorded in early 2016 in Vettraino’s basement studio to 8-track analog tape. Fresh off a West Coast tour, the band let the hours on the road and missed art tourism opportunities at Spiral Jetty shape the songs as well as the recording process itself, writing half the album material in the studio. “Nothing Valley” breezes gust fresh and forcefully.

Ratboys have always been a good band. But, with GN, they became a great one. The way in which they blend alt-country with buzzy, borderline pop-punk shouldn’t work, but it totally does. Julia sings and plays guitar Dave does everything else. I didn’t think it was possible to top their debut album, but their growth is hard to ignore on their second release. This album peels off its layers bit by bit with every listen.  Ratboys combines folksy roots, guitar rifts, and uncommon lyricism with a mesmerizing lead. Among one of my favorite albums of the year, easily

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