That time I "sang" with Les Savy Fav.

Les Savy Fav played the Frenchkiss Records 20th anniversary party over the weekend, and to promote it the band got together to play "Let's Get Out Of Here" on Late Night With Seth Meyers. Why "Late Night" in particular? It certainly didn't hurt that the 8G Band's Syd Butler is also the bassist in Les Savy Fav and the founder and owner of Frenchkiss Records. Synergy!

Their appearance reminded me of a memory I had largely forgotten. Years ago Les Savy Fav was playing a street festival in Wicker Park, at a time when indie bands I actually liked were just starting to infiltrate and take over those bills from the usual regional cover bands. During the set, singer Tim Harrington ran through the crowd towards the open door of the building right next to the stage I happened to be standing next to, and as he passed me to run through that door he handed me his microphone. I stood there confused for a half second before deciding I wasn't going to pass up this opportunity and immediately started to improvise vocals over the vamp the band was doing as Harrington ran rampant. Eventually he popped out of a window of one of the apartments on the second floor and everything went completely bonkers. I kept singing until he finally came back down to collect his microphone and they finished the set.

And I was left with a pretty fun story about "that one time I was the singer for Les Savy Fav."

I dug through the Chicagoist archives and realized one of our writers actually wrote about it in our round-up of our favorite music moments of 2011, so I'm not crazy. It actually happened.

This "Roadkill" is filled with super tasty licks from People Years.

I admit I went back and forth with that headline. The joke was just too easy, so I hope you'll forgive me.

So, People Years. The four gents in the band are based in Birmingham, Alabama and apparently each member plays in a bunch of other bands as well. I've never heard of any of the other bands, but that's not surprising—I'm not really well versed in the Birmingham scene. But if People Years' debut single is any indication of what the Birmingham scene is producing, I need to get far more familiar with it.

"Roadkill" takes it's sweet time to build up over the course of its six-plus minutes. Things start out spacey until the drums kick things up a notch at the 45-second mark, and then things get even more interesting as a David Gilmour-esque guitar line that would fit right in on Pink Floyd's "Breathe" continues to suggest a spiraling inner journey that tugs against the brisk beats. Dreamy vocals kick in around 2 minutes later, and then the tune dips and grooves swoons and crashes into a thundering crescendo. Just strap in and listen—the lyrics are minimal so this is really one of those compositions that's pretty wide open for you to create your own space within.

The band's debut album is still in the works and isn't due until early 2020—assuming we're all still around by then—but this should wet your whistle for what's to come.



If video is more your thing, then you can watch the accompanying video below. Personally, I prefer it when my mind runs free on songs like "Roadkill," but to each their own!

Big sounds from a Tiny Desk courtesy Charly Bliss.

Photo by Beth Eisgrau-Heller/KEXP

We were trying to remember a show from last winter we were both at, and K kept telling me, "You know their name. They're your favorite band! You played them all the time when we were in my car back then!"

We finally remembered the band in question was Charly Bliss, and based on how much I have listened to them over the past few years, K categorizing them as my "favorite band" seems accurate, even if at the time my brain immediately leapt toward the groups with longer histories I'd usually jump to based on that description.

Charly Bliss recently stopped by the NPR studios and today they've released their own contribution to the excellent Tiny Desk Concert series. So, everyone, enjoy this unconventional show from my favorite band!

Which Joker is your Joker?

I just saw the new Todd Phillips movie Joker, and I have thoughts, but I'm not going to share them right now.* But it did get me to thinking about what people expect when they encounter the Joker in either print or film.

I think it's safe to say that for most people, the way they expect the Joker to behave is heavily influenced by the manner in which they first encountered the character. That would explain why folks have such strange feelings about each incarnation.** If it doesn't hew to their initial imprint, they're going to view this or that Joker as intrinsically "wrong."

For me it was the 1973 story "The Joker's-Five Way Revenge" by Neal Adams and Dennis O'Neil. Until recently I didn't even realize this was the first time he really returned to the comics as a homicidal mad man after years and years as more or less comic relief, albeit of a criminal nature, in the comics. To my little still-forming mind—I had to be between 6- and 8-years-old when I read it, probably in one of those miniature DC digests I habitually begged my mom to buy from the grocery store magazine section—this Joker was CUH-REEPY. And I loved it.***

Over the years, I've absorbed the other Jokers, and it's no surprise the ones I like the best are the Jokers of The Killing Joke graphic novel and the film The Dark Knight, since both of those share quite a bit of DNA from that 1973 Joker that first caught my eye.****

Anyway, "The Joker's Five-Way Revenge" just happened to pop into my head again on my way home from viewing the Joker film, and I just wanted to revisit it for a second (and recommend it to you on the off chance you've never read it).

How about you? When did you first encounter the Joker, and is that still the image you hold all other appearances of the character to?


*One, I'm still digesting. Two, I spent a lot of time over the last month avoiding all spoilers, so I don't want to be the one to spoil it for anyone else. I will say I think all this handwringing over its violence or possible uptake by far right groups or any of that other stuff is overblown. Will idiots adopt its tale as their own? Probably, but I don't think that's a fault of the film. Idiots will twist anything to suit their purposes, in my experience. I can say that Joaquin Phoenix is terrific, even if he still doesn't top my list of favorite Jokers.

**Speaking of strong feelings, I am still confused over the fact many will espouse Mark Hamill as the definitive Joker. However I was never really into the Batman animated series, so that just goes to underscore my point. Why would I think he's the best? In my mind, he's the last one I' would've encountered in the role! He does do great voice work though. Can't argue against that.

***A few panels have always stick with me; the Joker's face seen through a shark's jawsJoker about to crush an unconscious Batman's neck but holding back because that would ruin all his fun, a final scene of him beaten by Batman's fist with dirt and sludge dripping off his face, and of course that amazing opening shot of him driving and laughing (seen within this post).

****They are also both amazing portrayals of the character that just about everyone agrees upon, so it's not like I'm making any grand statements here. Duh.

The Hood Internet returns!

My Hood Internet buds have resurfaced from their hiatus (not like neither has been musically active at all under other guises, but THN is obvs their most famous face) with a video of 50 songs from 1979 mixed into a single supercut. They promise additional years every Thursday through the rest of October.

Get down and dig it!

Need a pick-me-up? Cruise on down "Paradise Drive."

Gotta be honest, these folks do look like they know how to have a good time!

Just a quick hit of musical dopamine for you today. Flamingods' "Paradise Drive" off this year's Levitation is an undeniable groove that would probably get you pulled over for a speeding ticket, but hopefully its sunshine vibe bouncing out your car's speakers would compel the officer to tear up their ticket book and join you in a get-down dance party on the side of the road.

Naturally, cowbell plays a prominent part of this formula.

Try it out and tell me how it goes.

Hey there, I think it's time for a check-in!

In case you missed it, THIS happened last week and every time I look at it a smile crosses my face.
Via @hallandoatesoffical.

You would think I'd have tons of free time to write since I'm still looking for a new job, but for me unemployment is a full time gig. As in, looking for a job takes up a lot of my time. I'm actually putting together a "how to" (now know as an "explainer") on surviving bouts of unemployment, but it's not ready for prime time consumption yet.

Another irony is that despite having no steady work, I very rarely make it out of the house for social engagements or shows. Don't get me wrong, I do get out, but it's mostly for things like the gym, or hanging out with my partner, or exulting in the true rare luxury that is watching a movie in the middle of the day with a tray full of nachos. So I'm not exactly a hermit, it's more that the night life has less allure for me than ever before. That said, I'll be drinking a pot of coffee after dinner tonight to try and make it to this fabulous show in Chicago featuring some of my favorite local bands Pink Frost and Touched By Ghoul, along with a new-ish (?) project from some longtime friends and current practice space mates.

My mom texted me the other day, worrying about me as moms are wont to do, and I assured her that despite my unease over what the future holds for me, I am also in the best physical and mental place I've been in far too many years. Ergo my in-the-works "guide for the unemployed" since there have been definite steps I've taken to ensure that continues to remain the case, and said step might help others out. I'm all about helping out others.

I imagine you'll also see more regular writing from me on a regular basis very soon since we're about to enter the month of October, which means it's also Rocktober and the festival season is over and the quality of local shows swells into a tidal wave of rock and/or roll goodness that spurs me to proselytize about the beneficial effects going to see this band or that band will clearly have on you.

So yeah, there you go. As always, if you have a job lead for a copywriter / creative director / strategy person like myself, please feel free to send it my way! Every little bit helps.

The Mizzerables most definitely do not suck.

Every scene has 'em: the bands that quietly put out music that's much better than lotsa stuff in the same genre that gets widespread acclaim. They clearly just enjoy creating and while they'd love some more attention, just getting their music out there seems to be enough for them.* From a distance, this is how Chicago's The Mizzerables seem to be operating.** And I couldn't respect them more for it.

On their latest, Whatever... This Sucks, the trio blasts out 14 pop-punk numbers coated in sweat and then rolled around in a fine grit to add just enough bite. The band has been refining their successful writing formula since their debut caught my (and my respected colleague's) ear in 2013, releasing one other full-length and a spate of EPs and singles since then. But Whatever... This Sucks is probably my favorite thing they've put together yet.

Yadda yadda yadda, Jim, just get to it and give us the music! O.K.! I will! Stream or download Whatever... This Sucks below. As I always say, if you like it as much as I do, consider supporting the band's efforts with a few bucks.




*I would argue this is how the majority of Chicago's really great under-the-radar bands are operating. We're a city of music lover; not glory seekers.

**It occurs to me this statement could be interpreted as the band being slackers and not caring about "professionalism" but this couldn't be further from the truth. The recordings are top notch, their visual identity beats most bands on major labels, and they take great care in how they present their work. But this seems to be more a result of their love of creation than some sort of bid for superstardom. Not that I would begrudge them a higher level of exposure—they certainly deserve it!

Podcast Week: Improv musical theater that pops...

Wrapping things up for this podcast week is a crossover episode between one of my longtime favorites Switched On Pop, and another fantastic podcast unbeknownst to me until this week called Off Book.* I've been onboard with Switched On Pop since the beginning, and they're already relatively popular, so I hadn't planned on highlighting them, but this team-up changed that equation! Off Book creates musical theater pieces through improv, which sounds really difficult because it is. But holy wow are they really good at it. And the Switched On Pop crew comes in to add some color commentary from the commercial music world as it applies to the magic this musical created from scratch. It's edutainment that will have your brain cranking and your sides in stitches.

Trying to further explain what happens in the episode below is just going to take you time to read it, when you should be listening to it. So prepare to set sail on an adventure in a hospital the likes of which you've never seen heard.



*And believe me, Off Book has since found a place in my regular podcast subscription queue!

Podcast Week: A slightly different view of a subject on many minds...

This week I've been primarily focusing on music podcasts, but now it's time for something a little different. And in Illinois, this topic has been all over the media, so the timing of this relatively new podcast couldn't be more perfect.

The On Something podcast is a joint effort of Colorado Radio and PRX about cannabis and the effects the spread of its legalization is having. But you don’t need to live in a state where it’s already, or soon-to-be, legal to appreciate how it approaches its subject from so many different directions.*

The series begins by investigating just why cannabis was made illegal in the first place—and I admit I fund many of the answers they uncovered pretty surprising—but doesn’t just stick with history or jingoism. Other episodes deal with folks who used to love cannabis and now don’t (Neal Pollack), pot’s carbon footprint, how walking into a legal dispensary at the wrong time can destroy a relationship, and even cannabis’ place in the LGBTQ community (and how those ripple effects have gone on to be felt by just about everybody).

The series debuted in June, and since then I’ve learned something from every episode. I think you will too. Whether you’re a cannabis diehard, have a casual interest, or are opposed to its use, I think there’s something here to interest everyone. Just don’t pick and choose what you want to hear—no matter where you fall in your beliefs—and just take in the whole complicated quilt that covers the discussion of this subject.

Snag the first episode below, or go to the podcast's homepage (or the podcast platform of your choice) and check it out.

DOWNLOAD: Episode One—Why Was Weed Illegal Anyway?

Podcast Week: Falling deep into 'Spilt Milk'...

Let's file this one under kismet.* But first, the beginning.

I've loved Jellyfish since I first saw the video for "The King Is Half-Undressed" and then staked my record store for the cassette tape of their debut, Bellybutton. This being the pre-Internet days, I had no idea when the album would be released so I stalked my local record store(s) for weeks until it finally hit the shelves.** Then I continued to stalk stores for subsequent singles and tracked down everything I could read about the band, which wasn't much at the time. I was also lucky enough to see them play with The Black Crowes (a show that at the time felt like watching The Beatles and The Stones play together), and that was a religious experiences for l'il Tankboy—the dummer was the singer and he played standing up? What was happening?!

I continued to now very little about the band—again, aside from TV promos and scarce articles that focused more on the band's clothes than their music or background this wasn't that unusual in the early '90s. When they finally released their sophomore album, Spilt Milk, the band had grown into an ornately intricate songwriting machine that left me out of breath and a little confused. It'd actually take me a few years to truly appreciate the depth and complexity—both musical and lyrical—of that album.

Years passed, the group disbanded, and I only heard snippets of what the former members were up to. I saw Roger Manning Jr. battle with The Flaming Lips as Beck's backing band on one tour, I heard whispers Andy Sturmer was writing music for cartoons, and Jason Falkner graced the world with new solo albums at an excruciatingly slow pace. And over the years I ran into other deep fans who slowly and surely educated me about the areas of the band magazines and radio interviews never uncovered.

Just last week the folks that own the rehearsal space I rent posted a long YouTube interview with Manning Jr., and just a few days later I stumbled across a podcast (that appears to be now defunct) from 2013 that spent over 3 hours on Jellyfish's history, with a primary focus on exploring the depths of what was behind Spilt Milk's creation.*** In a single chunk of content, this recording does the best job of summarizing the band's entire career and catches you up to what each member is up to now, along with the aforementioned musical deep dive. If you're a fan you will love this. If you're not, this is by far the best introduction to Jellyfish I've encountered and will probably have you digging out everything they ever recorded after you're done listening.

So, without further ado, let's get deep into it, shall we?

DOWNLOAD: The Hollywood Gauntlet - ArenA II: Still Crying Over SPILT MILK

(You can also find it on all your podcast platforms with a little search action on your part.)


* Starting in paragraph 5, I suppose. But read the whole thing, eh?

**For all I know, the album had already long been out and just wasn't a priority on the shops' ordering schedules.

**What's even crazier is that this podcast—The Hollywood Guantlet—actually usually covered film and not music, with the Jellyfish episode being an incredibly out of character outlier!

Podcast Week: Digging you out of '90 music...

O.K., I swear I didn't plan this when I decided this would be podcast week (more on the reason for that here) but the timing is perfect!

I was introduced to the Dig Me Out podcast years ago, though I can't exactly remember how it initially happened. In the early to mid aughts I wrote for the music site Donewaiting, based in Columbus, OH, so I think my connection to bands in that area probably had something to do with it since the hosts Tim Minneci and J Dziak were in The Stepford Five, a band I booked a few times and was a fan of.* They also were both active in their college radio scene in, wait for it—the '90s!

The concept is simple: the duo—with the frequent help of guests ranging from the famous to, well, me—tackle albums or trends from the '90s for re-evaluation. Most of the focus is on the "alternative" and "indie" scenes and they tackle everything from the massive megastars to the tiniest regional successes. And The tragically Hip, who I guess fall into both of those categories, depending on where you live.

They also host roundtable discussions occasionally on topic ranging from city-specific music scenes, sophomore slumps, and various other topics. Minneci and Dziak aren't afraid to wade into waters unfamiliar to them personally, but always bring a reasoned and thoughtful skill set to their evaluations of every act and topic. All of their episodes are available through all the usual platforms, so I would recommend starting off in the archives and snagging episodes on bands and topics that interest you. I guarantee that by the end you'll have ended up listening to their whole run. That's what happened to me.

This week's episode deals with the question of sophomore successes in the '90s, and features some debate over which groups actually meet the standard of outdoing their often lauded debuts. And I happen to be one of the guests on the episode, so a big bonus for you, dear reader!**

So, dig in to Dig Me Out!***


*If you're interested, the band's output is well worth a listen.

***Before you jump down my throat on the "rules" of the discussion, I realized after the fact that Nirvana's Bleach was actually released in June of 1989 so that should make them ineligible for this conversation. So yeah, I got that wrong. However, in my defense, I don't think you can have a conversation about the 1990s and sophomore albums without a nod to the band that arguably changed the decade and the way music evolved after 1991. At least that's the excuse I'm using. (But, I admit my mistake.)

***There's no external streamer / player for these podcasts so click through and start at the link. In case you didn't figure that out.

Podcast week! Kicking off with a deep dive into My Chemical Romance...

As I've been searching for a new job over the last couple of weeks, I've managed to catch up with all my regular podcast subscriptions, so I started hunting for new shows to listen to while I was at the gym.* Most of them have been self-contained runs I can just binge, or one-off episodes about subjects that intrigue me. So I figured this week would be a fine time to share a few of these lesser-known treasures to help enhance your listening pleasure (and possible education).

The first podcast I'd like to highlight is the My Chemical Romance-focused My Chemical Fancast, because it is a fantastic undiscovered gem.

First, a little background about my own relationship with My Chemical Romance. I've loved the band for years and years, but my relationship with them has been strictly musical. Even though they rose to prominence during my days as an editor at Chicagoist, I never really wrote about them. I just bought their albums and enjoyed the music. In retrospect it seems odd, since I would usually instinctively do a deep dives into a band whose work I bought religiously, but their background was a blind spot to me. I'd play "Teenagers" when DJing at 4 a.m. / 5 a.m. bars and had no idea it was even a single from the band, much less a hit. And I had no idea Gerard Way had pursuits outside the band until The Umbrella Academy premiered on Netflix and I read the press around it. That is just how intellectually incurious I was about the band outside their actual musical output.

Again, I don't know why this was. Maybe since I just assumed they were part of the emo revival of the aughts, and I avoided most writing about that scene since it was mostly either blindly fawning or fiercely combative and trolling, and therefore missed learning of the band's background.**

So a few weeks ago I decided to see if there were any podcasts out there that might fill in my lack of knowledge and holy moly did I hit the motherlode with My Chemical Fancast. It's hosted by friends Kat and Hallie, who have both been massive fans of the band since their teenage years (and earlier?). They go through the band's entire catalog, song by song, including a wealth of background knowledge and detail that could only be supplied by folks with a deep passion for MCR's music.

But this ain't just a podcast with fans fawning, no! They both appear to have a solid musical background so while they discuss the stories behind the music, they're also adept at picking the actual music apart, focusing your attention on the tiniest of details that really helps the band's catalog blossom with new possibilities.

And the duo is so entertaining and easy to listen to: I blew through the first 25 episodes in less than a week (which means I spent over a full day with their critical evaluations in my head) and never got bored.

My Chemical Fancast has covered all the band's original catalog, and they are currently dissecting the Conventional Weapons releases that were recorded before but released after Danger Days (right, I think? I'm still learning!), so you can binge the whole thing or dole it out as you see fit. However, if you enjoy MCR at all, this is a great way to appreciate just how deep their history and musical acumen runs.

Here's the first episode, but I really recommend just using the app of your choice to subscribe to the whole thing. And, oh yeah, I went through all the old episodes at 2X speed and it sounded just fine, just in case you're the type that likes to pack as much content into as short a period of time as possible.




*Podcasts long ago replaced music as my listening content of choice while working out. I'm not sure why, but it might have something to do with my cognizance of song length and constantly using that to track the time I'm running or doing aerobic work, while spoken podcasts allow me to get more lost in the zone. I dunno, works for me!

**Aside from the knowledge that an acquaintance of mine went to high school with Way and was MCR's first manager.

A-ha, it seems summer ain't giving up yet!

Hahahaha, talk about speaking too soon. Today's weather was the exact opposite of yesterday's—it was sunny and beautiful and I walked miles and miles outside to take it all in.* While I was walking, a-ha's "The Sun Always Shines On T.V." popped into my head, so as soon as I got home I had to blast it as loudly as I could. Then I remembered I had the extended version of the song and blasted all 8 minutes 26 seconds of that as well. Too many only know a-ha as that one band with the insane video with groundbreaking animation, but they did write more songs than "Take On Me," and "The Sun Always Shines On T.V." is right up there with their best.

So whether this video brings back memories, or it's the first time you've realized a-ha actually wrote more than one song in their long (and still going—they're about to tour Europe and Australia!) career, dig on the above and everything'll be all right.


*I also forgot my Fitbit charging at home before going to the gym, so after I retrieved it, a few of those miles were also in service of getting my steps "officially" in despite already nailing it via treadmill. But hey, any excuse to get outside, right?

So long, summer!

Yesterday was Labor Day and the weather was lovely. But it was also the "unofficial" end of the summer and it appears Mother Nature wanted to make that crystal clear by delivering dreary, rainy weather to Chicago starting in the wee hours of the morning today. I'm sure we'll still have stretches of lovely weather over the next few months, but the difference between yesterday and today is both amusing and oddly symbolic.

I was unemployed for about half of the summer, but even so I didn't spend that time at the beach or outside or going out at night. Nope, I hunkered down and established a regular schedule of working out, job hunting, reading, and catching up on various TV shows and movies. Oh, and I treated myself with the occasional trip to the cinema to take in a new release. It's been a positively Dionysian summer for me!

Seriously though, aside from the lack of work, it's been a good few low-key months. Just what the internal spirit ordered, if I'm being honest. I made a few major changes that have improved the quality of my inner life, and I'm grateful for the opportunity to do that.

All that said, I'm eager to get back to work—something that appears increasingly likely now that folks looking to hire are both off the extended vacation schedules that naturally occur between May and September and potential clients for those companies are entering the third quarter (a period that frequently loosens up marketing funds). So I'm feeling optimistic!

Also, Riot Fest is in a few weeks, so that means there's still some summer fun left to be had, and based on the music line-up, fun will be had!

Brat Curse delivers a fizzy, bubbly, raucous, wild good time.

Brat Curse's sophomore full-length got a lot of play by me earlier this summer and then got displaced by the realities of currently being unemployed and a bunch of other stuff.* I had put them on the back-burner since I got the album in the spring, but it wasn't due to be released until August. So I offer my apologies for only talking about them now, because they should definitely find a place in your own regular music rotation.

The quartet hails from Dayton, Ohio and—in keeping with my personal experience with Ohio-based musicians dating back to my donewaiting days—Brat Curse's members are also in a slew of other regional bands. Their new album is self-titled, which means either they've jumped the shark or have latched onto a perfect formula for their sound.**

In the case of Brat Curse, Brat Curse is firmly in the latter camp. Thank gawd.

Brat Curse speeds by with 12 songs in 30 minutes without sacrificing subtleties frequently lost by other bands attempting the same economy of songwriting. The guitars buzz and saw back and forth, holding up hooks defiantly nosing their way forward of the din. It's a collection that in a parallel universe would spawn hit after hit after hit, so let's bend our reality to a different plane and make that a reality. If you dig energy that's on the side of controlled musical spasms that expand and contract, rushing you along from one song to the other, you'll love this.

As good as the album is, I get the feeling the band is even better live, though I can't know that for certain since the majority of their "touring" is limited to the Ohio region. Their publicist does saw "the band will tour extensively in the second half of 2019" though, so that opens up hope those of us not in Ohio will have a chance to catch them in the near future.

Until then, give Brat Curse a listen below. It's currently available, along with most of their catalog, as a free download, though if you really dig it, as always, you should throw a couple bucks or more the band's way.




*Speaking of which, if you know of anyone—agency or in-house—looking for an Associate Creative Director or Sr. Copywriter in the Chicago, Portland, Los Angeles, or San Francisco areas, please feel free to send every opportunity my way!

**Think of it. Usually self-titled albums that are not a debut are meant to "define" a band, but more often display a group that is stagnant and hoping some new direction will revitalize their work. Just sayin'.

Monday motivation.

Photo via Carly Rae Jepsen's Instagram

It's a rainy, dreary day in Chicago. The good news is that means my call to wait until today to water the plants at K's house while she's out of town was a good one! (Silver lining FTW.)

I have a few things on the docket, writing-wise, this week. But I've been up since 4 a.m. and am champing at the bit to hit the gym. When you're unemployed, routine is really important—more about that later this week—and starting every day off with a good workout does wonders for my mood.

So for today I figured I'd just share a recent tune that seems to straddle the positives and negatives of today's weather. It's winsome but optimistic, and the chorus is one of those things that gets stuck on repeat in your head and might brighten up your day with it's drive. Plus, it features Carly Rae Jepsen, so it's obviously a win-win of a tune.

Happy Monday, and may this morning set your week up for happiness and success. No Monday blues here, only Monday motivation!

Let's take a peek behind the scenes into why music festivals cost consumers so much money.

I've been marinating on a piece about music festivals—primarily Lollapalooza—and wondering where most of them go from here. I've been thinking about artistic choices made by festival booking agents, but I admit I hadn't really thought about ticket pricing since that doesn't seem to act as much of a deterrent to attendees.*

Luckily for me The Economist comes to the rescue, opening my horizons on the subject with the video above. I would've gotten around to this angle eventually, but they did some of the initial legwork for me. Hee. Check it out as I continue to work on my longer piece about mega-fests in general.


*My primary hypothesis is that line-ups are so similar amongst big fests it's growing obvious music is the secondary draw when it comes to getting people inside the gates, so ticket pricing hadn't really initially registered with me. The interviews with attendees in the video supports that notion, and kinda breaks my heart a little. And makes me thankful there are still a handful, albeit shrinking, number of festivals like Riot Fest that focus on the music as the draw, then provide an experience on the grounds to support fans having a good time. But the main focus at a festival like that is the music, not the party.

The Lilacs prove their classic sound will never go out of style.

The Lilacs. Still busy rocking. Still playing clubs with static, single-color stage lights.

Ken Kurson and David Levinsky form the core of The Lilacs, a Chicago power-pop band releasing their first new music in over 25 years. The Lilacs Endure is a 4-song EP that sees the group picking up exactly where they left off, crafting timeless little guitar crunchers that are sticky as warm bubblegum on a hot summer day.

The group’s sound is exactly what you’d expect when you consider Kurson once played bass for Chicago legends Green, and Material Issue’s Jim Ellison provided the band with their name and produced their debut 7” The Lilacs Love You, released way back in 1991.

I’ll admit I’m new to the band, which is odd since they ran—and presumably now run again—in many of the same musical circles I do. But you can certainly count me as a fan now. My initial take on the new material, before I read any of the band’s history, was that they sounded like a slightly more aggressive version of The Pooh Sticks, a Welsh band that was primarily a studio project with a rotating cast of musicians giving voice to the fictional band members a la The Archies or, well, Gorillaz. Theirs was a shaggy sort of pop that had roots in the late ‘70s with multiple nods to other artists, and The Lilacs share some of that musical DNA, albeit with a more focused and organic approach.

It’s wickedly fun stuff.

“Monica” is the lead track off the new EP, and though the video was posted months ago I’m betting you, like me, never saw it. So check out the video below. Want more? Sadly the band seems to be avoiding my streaming player of choice (Bandcamp!) so there’s a Spotify stream below, though those are always wonky once you step outside the player. No matter, it’ll bring you to the EP one way or another … and you want to hear this!





The Lilacs will celebrate the release of The Lilacs Endure at Phyliss’ Musical Inn on October 19 at 9 p.m. The new EP is out now.

In the nighttime.

Photo by Dara

Chicago has been lucky this summer. We're closing in on the tail-end of August so I feel secure I'm not going to jinx us too thoroughly with this observation. While much of the U.S. has dealt with miserable heatwaves and storms, we've had lovely weather most of the time. It's my first time in a decade living somewhere without central air, and I've only had to turn on my window AC unit a handful of evenings this year.

Mostly I just sleep with all the windows of my apartment wide open, inviting in the soft late night breeze and oddly, the sounds of nature.

I live in the city proper, blocks away from both an expressway and an L station, yet if I close my eyes in the middle of the night all I hear is the steady buzz of nature punctuated by the occasional cricket chirps. The thrum of the cicadas is heaviest around dusk and melts away to a pleasant hum by total nightfall. But once I block out any visual stimuli I swear I could be lying in a tent in the middle of a forest in some remote location.

It's peaceful. It's soothing. At times if I really give into the aural quilt it's almost like floating in a sensory depravation tank with a new age soundtrack constructed from the fabric of the outdoors. My breathing slows. My heart rate drops. It's meditative. It balances out the uncertainty of the daylight hours and helps me recharge. So much so that I'm back to waking up at 5 a.m. every morning feeling fully refreshed and eager to make some coffee and bounce out of the door toward my gym as quickly as possible.

And I'm grateful.