Chicago Music: Original Content from Centerstage Chicago
Moneypenny
We'd like to imagine that the day Austin's SXSW music conference (March 16-21) was born two decades ago, some crazy, boot-clad caricature of a Texan kicked up some dirt, shot a gun into the air and declared a showdown. At least that would explain the near 2000 bands that flock South each year to duel, en masse, for exposure. But if Richard Linklater's "Slacker" (a film homage to Austin) is any indication, some music geeks probably just promoted around town for a day straight and here we are two decades later, rounding up some of the best new talent representing Chi-town in this year's installment. Study up, then check out many of the artists at the fourth annual send-off concert on Saturday, March 13 at the Hideout.
Moneypenny Two hard-working DJs (Chess Hubbard aka Mother Hubbard and Jessica Gonyea aka A-Cup), one force to be reckoned with.
1700 venues and thousands of bands make up SXSW. Why should we be all ears for your sound?
I'd wager that not a lot of bands at SXSW are going to be tackling the dance-pop genre. With my indie-rock background (and uh, second-place status in Chicago's Air Guitar Championship) we're able to infuse an electro show with an almost punk energy - no guitars necessary.
Austin may have its weird but Chicago has _____?
Its Creative Winter. Some of the best songs and bands emerge out of the cold months here, spent holed up in a studio or crammed into a rehearsal space for hours. Once the festival season starts (with a sneak preview at SXSW, of course) it's a fantastic chance to check out the fruits of everyone's labor and discover your favorite band of the year.
When through conquering the South, what about plans back North?
Moneypenny's next Chicago show is at Schubas opening for Dan Black on April 9. He's sort of an up-and-coming Beck - fantastically weird and surprisingly catchy. Schubas is where we had our unofficial first show, opening for Thunderheist with a short three-song set, so it will be great venue to unveil a few new surprises of our own.
photo: Scot Stewart
Cast Spells Maps & Atlases' lead navigator takes an avant-pop solo road.
1700 venues and thousands of bands make up SXSW. Why should we be all ears for your sound?
I don't know that all ears should be all ears for my sound, but I hope that some ears like it! There are so many excellent bands everywhere and I feel you sort of just happen upon good shows at SXSW. I am really just going to SXSW for fun and to visit with people I don't see very often. I am also excited to appreciate the warmth of Austin. However, I would love it if people came and enjoyed Cast Spells.
Austin may have its weird but Chicago has _____?
A distinct and eccentric feel. But I don't know if I'm clever enough to think of one word that can encapsulate the overall energy. It also makes it difficult because each neighborhood is like a miniature city that has its own feel and own local coffee and food.
When through conquering the South, what about plans back North?
I actually don't have any shows planned in Chicago for the near future, but I am very excited to be home! I'm sure there will be something in the near future.
1700 venues and thousands of bands make up SXSW. Why should we be all ears for your sound?
I think we are doing metal a bit differently. Adding in a lot of sonic elements from '60s and '70s psychedelic with a lot of hometown blues roots. And we definitely try to land more on the artistic side of metal, rather than the meathead side. Not to mention, we are playing seven shows in five days. Logistically speaking, you will probably wind up seeing us a couple of times if you are into heavy music and are at SXSW.
Austin may have its weird but Chicago has _____?
BEARDS. Massive, giant, and oppressive beards. We also have bars that stay open until 4 a.m. every night and, just in case we need a few extra beers before waking up Sunday afternoon, 5 a.m. on Saturday. Take that Austin.
When through conquering the South, what about plans back North?
We are continuing our endless touring cycle thru the fall before we bunker down and finish up record #2 with a summer 2010 release thru Candlelight again.
Joe Pug Raspy twenty-something adds his two-feet to the great circle of folk.
1700 venues and thousands of bands make up SXSW. Why should we be all ears for your sound?
Because I play these songs 200 times a year and I'm easy on the ear.
Austin may have its weird but Chicago has _____?
Chicago is blue collar.
When through conquering the South, what about plans back North?
I'll be playing at the Vic Theatre on 5/15 with Josh Ritter.
photo: Colleen Durkin
Via Tania Australian transplant tickles folk with a little ethereal wonder.
1700 venues and thousands of bands make up SXSW. Why should we be all ears for your sound?
This is the first real band that I have had in about 12 years. Musicians have come and gone and solo shows have led to duos and the like. But this band would be showcasing at SXSW as a new phase, venture and beginning. Besides that, everyone has real music intellect. That is why it took SO damn long to find the right people. Really, if you want to see something a little different come along.
Austin may have its weird but Chicago has _____?
Eccentricity and Chicago I would really never put together. That's what I love about it though. When I am in Chicago I feel really grounded and really surrounded by people who are practical and warm and funny. It's nice being around people who put so much effort into their art and music and then treat it like it's a normal job. It's the reason I have been glad to really learn about all things art career-ish, in such a diverse city with such high standards.
When through conquering the South, what about plans back North?
First we go way north to Canada on a tour with Iceland's Seabear. Our last date of that tour ends very nicely at Schubas in Chicago on April 2!
Kid Sister Another Kanye West protégée rises from the ego-hip-hop ash.
1700 venues and thousands of bands make up SXSW. Why should we be all ears for your sound?
Wow there's that many? Haha! You should be all ears because you have them and I'm about to work yr ish on OUT! If you don't hear me comin', how you gonna get ready! HMMM?
Austin may have its weird but Chicago has _____?
Austin may have its quirkiness but Chicago has Kuma's, whirlyball and Bunny Hutch mini-golf, which looks like the course from the movie "Overboard."
When through conquering the South, what about plans back North?
Hrrm well...when will then be now? SOOOOOON!
Follow Friday is a weekly interview series in which each Chicago artist we talk to recommends a fellow local act.
This week's guest:Model Citizens Big Band Recommended by:Jeff Wichmann
The brainchild of local musician Brian O'Hern, the Model Citizens Big Band does not take easily to categorization. Swing? Sure. Psychedelic? Sometimes. Rock? You bet it does. If you really want to know about it, our best advice is to check out a show and experience the strange magic for yourself. But don't take our word for it; let O'Hern convince you...
Describe your sound in 140 characters or less.
I write music as Salvadore Dali painted; building a world for folks to visit. During an MC show we play many different genres of music but it all sounds like Brian O'Hern music.
Where and when was your first show - and what was it like?
Our first show was in 1996 at Martyrs' on Lincoln Avenue. It was late March and it snowed. There's four original members from that night though a lot of the guys have been in the band for many years.
Name three of your favorite Chicago spots (bars, restaurants, venues, parks - whatever).
I don't go out to eat much these days because I don't have a girlfriend or much money. The Gallery Cabaret is home away from home. We perform there every third Monday of the month. The Green Mill is a classic good hang. Lastly, the Mecca Supper Club is a really cool place on the Northwest Side. Good food and spirits.
What Chicago artist/band should we interview next and why?
The Sabertooth Jazz Quartet has been the late-night house band at the Green Mill since the early nineties. Pat "Flash" Mallinger is not only a member of that group but is also the original lead alto player in the Model Citizens as well as other projects of his own.
Like many artists before him, Daryl Stewart (aka Decay) has used hip-hop to express his deepest and most intimate experiences. Decay first began writing in 1995 while he was attending college, but didn't hit his stride as a lyricist until after school. The lack of available work frustrated him, and rhyming quickly became an outlet to express everything he was experiencing as an educated man in a world with few options.
Friendships within the hip-hop community led to his first album, In Retrospect, and since then he's been steady grinding away at his craft. Decay's last album, The Unlikely Hero (2008) was released by Molemen Records, and doesn't disappoint as he delivers swift punchlines over classic boom-baps via Memo, Panik, PNS and Scheme. Recently, though, Decay has decided to (respectfully) step away from the Molemen camp in order to pursue his own interests. This is where Centerstage stepped in to get some info on how he got interested in hip-hop and what he has planned for the future.
Growing up, what was it about hip-hop that spoke to you above any other style of music?
There was a lot that spoke to me in not just the musical element but other aspects of it as well. I always had a deep appreciation for words and the complexity of language. Through my parents I learned about music like reggae, R&B and soul music. Hip-hop was like a fusion of great storytelling and the music I grew up on. It had just enough ignorance and silliness in it to keep a young mind interested but enough information to educate. I also felt a connection to the artist that I listened to that made me feel like we were similar or I knew someone like them. It's powerful when you feel like you don't have anybody to talk to about things you're going through but you can throw on a record and feel connected. Not just to the artist but to other people like you, going through the same things, listening to the same music. It's wild. I think that whole feeling of people being connected to a movement is real powerful. Who can deny that?
When did you first decide to start rhyming?
I had always played around with rhyming since like '95 but I was never really serious. I was content being a listener and just supporting the artist. I always felt like I didn't have the kind of struggles that needed to be broadcasted. When I was in college, I recorded a few joints just messing around and nothing really came of it. When I finally graduated it was the summer right after 9-11, I couldn't find work and I fell into a depression. All I did was write songs all summer. When I finally was coming out of this messed-up situation I had so many songs I wanted to put it out in some form. I had a few false starts but I finally had all the pieces in place to drop something. In February 2005 I dropped In Retrospect with the help of my people Selfish and Maintenance Crew. That started this crazy ride.
Early on were there any MCs that you tried to emulate or were inspired by?
Being that I?m from the GO, I was really a big fan of Common. There were a lot of others though. Rakim, Kweli, Chuck D, Cap D are a few notable ones.
You've moved around Chicago quite a bit, and as we all know Chi can be very segregated. How have the different environments contributed to your development as an artist?
I've lived on the North Side the longest and there was a thriving artist community here. I think I really built my artistry from the whole city though. I was born on the South Side and I associate that part of the city with strong community and family. When I'm on the South Side I feel like I'm home. The West Side showed me in many ways the opposite. Places I lived had empty lots and abandoned buildings. It's real sad seeing that. The impact of that inspired my name. Inner City Decay.
Is there anything in particular about Chicago that inspires you?
This city is musical and full of entertainers. These streets are filled with hope. Seeing a flyer with names of people who've been holding it down here for years inspires me. Seeing cats come together to create something with each show is inspiring. Every new release here is inspiring. The skyline, the frost on the air in winter, the street lights through the city, it's all inspiring.
Perspective is golden as a lyricist. What separates you from other MCs?
I think trying to be honest in music is not as important today as it was a few years ago and it's a difficult thing to find in an artist. I don't just mean honesty in what you say but on all levels as an artist. You can't claim you all about the truth but deceive the listeners. Even when the audience might respond more to these fake personas these rappers present you have to keep it 100 percent. Period. That's the aim every time I spit a rhyme.
You mention that your first solo album was "a little too militant for the average listener." How do you keep in mind what the listening audience wants without letting them dictate the creative process?
I keep it in mind that I have to show the many sides to Decay and not just one. When I dropped the first album there was a lot of anger and frustration I had that had to be released. I feel the album was dope but I might have focused on the negative too much. The City Slick record I did with Fluent was really light as far as subject matter and as a result more fun to do. I always have that Chuck D, Public Enemy influence wanting to tackle social issues with music coming out. I was going to do that with The Unlikely Hero but the way things flowed it didn?t go in that direction. I never let others dictate what I should write as I'm giving the audience me. It wouldn't be me if I did that.
Tell me about how you linked up with the Molemen?
Scheme was the homie from a while back. I knew him before he got with Molemen through the Northeastern Illinois University Hip Hop Organization. He was putting a word in for me with them. I also connected with Memo through my guy DJ Monky. Monky got my music to Memo and then I got the beat for the song "Push." I knocked that one and a couple others out with Memo and then I met with Panik. It was a meeting with Astonish too and that was a wrap.
What was it like working with them for The Unlikely Hero?
It was tough. Before working with them I was shunning the whole studio production of an album. I felt with the right equipment and a good ear you don't need a studio. They worked in the studio so it was a rough transition for me. Previous albums I worked on I felt I had more control with everything and it was a challenge to put trust in another person. I don't really trust people and that has positive and negative outcomes. As far as making the music, everything was smooth. They gave me the beats, I wrote the joints, easy. Panik made beats specifically for me and it was a major honor to speak over them. Same for Memo and PNS. Great producers. Ultimately we just had different ways of doing things and I haven't dealt with Molemen since The Unlikely Hero dropped.
Follow Friday is a weekly interview series in which each Chicago artist we talk to recommends a fellow local act.
This week's guest:Jeff Wichmann Recommended by:Darren Garvey
Until recently, Jeff Wichmann's musical worlds have been divided into two camps - the trumpet and the Japanese koto (a traditional stringed instrument). He's put out four albums playing horns and keys with the Chicago rock band TENKI and has been seen marching around town with Environmental Encroachment. He's also been playing the koto in local and international ensembles, working with experimental artists like Rei Hotoda and HAL, and touring with the Steppenwolf Theater production of Haruki Murakami's "After The Quake." In 2009 he finally fused his two worlds and recorded his first solo album called Ahhh!!!, which will be released this spring. Catch a preview on March 19 at Hotti Biscotti.
Describe your sound in 140 characters or less.
Experimental Japanese koto brass rock: James Bond sipping a martini with Sun Ra in a digital tea house floating in space.
Where and when was your first show - and what was it like?
Well, I've had a hundred "first shows." I hated my first piano recital when 8 years old at McCormick Place. The trumpet has always gotten me involved in the wackiest as well as the most traditional of bands, jazz ensembles, orchestras - the usual. But in college, I went through my Harrison sitar stage and began studying the Japanese koto and Asian music. My first paid gig was in a funeral home in Rock Island. A family wanted something "Japanesey" and hired me. So there I was playing Japanese folk songs with a body in a casket 20 feet away while the whole family stood around me holding hands and crying. I'm still feeling that weird karma. Then, I moved to Japan to study under Kazue Sawai and had my first sort of official koto concert in Tokyo back in 1992. Huge concert hall. Hundreds of people. Half-way around the earth. Young, adventurous and scared. I was playing in a trio of koto players, a contemporary piece, and was like, here we go, big debut on an instrument I barely knew. I was so nervous that my hands completely froze and I could hardly perform. I slopped through the concert. It was a mess. There and then I learned the valuable lesson of failure before success.
Name three of your favorite Chicago spots (bars, restaurants, venues, parks - whatever).
Always love the Hideout for the rootsy atmosphere, the intimacy of shows, and cheap PBRs.
Chicago Food Corp./Joong Boo Market is the best place in the city for Asian market goods and the Snack Corner restaurant inside has the cheapest and best no-frills Korean food around.
To totally space out my mind and body I love a soak at SpaceTime Tanks - one of the oldest sensory deprivation tank facilities in the US.
What Chicago artist/band should we interview next and why? Model Citizens Big Band. For years, every so often I'll head to Bucktown's Gallery Cabaret every third Monday of the month to experience the musical madness of director Brian O'Hern and his big-band gang of top-notch cats. No jazz snootiness or shoe gazing here. Anything goes with 20 people on stage drinking beer and ripping the hell out of any chart O'Hern throws at them while the always packed audience dances, hoots and hollers. It's so under the radar and a total Chicago experience. Bliss.
The list of bands that Darren Garvey contributes to is long, including the Andreas Kapsalis Trio, Cameron McGill & What Army, Ernie Hendrickson, L'Altra, Paper Arrows, Buddy Nuisance and Like Pioneers. With all that experience, the drummer/percussionist should have little trouble creating his own one-man band, on his debut solo album, Under A Common Ceiling, to be released in March 2010. Garvey will play guitar, piano, bass, drums, percussion and sing on the record, which offers songs full of "advice for the struggle with technology and loneliness." You can find out what that means during upcoming shows at Tonic Room (March 14) and The Whistler (March 16).
Describe your sound in 140 characters or less.
Like when Phil Collins left Genesis' drum chair to begin his career of balladry; well, that's what I did, but it sounds completely different.
Where and when was your first show ? and what was it like?
My first show was at Malo's in Aurora, IL in the early '90s. It eventually became Riley's Rock House before closing its doors. This was the only legit all-ages venue in the western suburbs and we were taken advantage of with payment every time we played there. They used a hand-tally device to get the official numbers from the door, but would only count one-third of the crowd. Every night ended up in the back kitchen arguing over money; and when you're 16 it's pretty tough to win that one.
Name three of your favorite Chicago spots (bars, restaurants, venues, parks ? whatever).
The Tonic Room on Halsted has a special place in my heart because I played there with the Andreas Kapsalis Trio every Tuesday for almost 2 years. As a beer enthusiast, I truly enjoy the Beer School Bar at Sheffield's where Phil can recommend you an excellent beer. When I have a bit of extra cash in my pocket I like to take my wife to Green Zebra or one of Rick Bayless' restaurants.
What Chicago artist/band should we interview next and why?
Packy Lundholm graciously chose me to be interviewed. He is an extremely talented multi-instrumentalist and I'd like to put myself in the same category of, at the very least, playing many instruments well enough. I'd like to pass the baton to another great multi-instrumentalist in Chicago. Jeff Wichmann might best be known on the scene for playing keys and trumpet in TENKI, but his compositions on koto, his collaborations with theater, and his new solo project featuring himself on koto and trumpet (sometimes at the same time) are definitely worth checking out!
Long-regarded as one of the top female lyricists in the country, Psalm One (aka Christalle Bowen) has built a solid reputation with her commanding stage presence and effortless flows. She's helped change the way we perceive female MCs by staying true to herself rather than selling out to a more marketable image. Publications like URB, The Chicago Reader, The Onion, and the Sun-Times have recognized her as a rising star, but since her 2006 Rhymesayers release, The Death of Frequent Flyer, it seems like she?s kept a relatively low-profile. What gives? Centerstage tracked her down before her Dre Day headlining performance (Friday, February 19 at darkroom) to see what she's been up to since we last spoke.
When and how did you first get interested in making music?
There was always music playing at home, know what I mean? I had an organ in my dining room; my uncle is an accomplished blues guitarist. I began playing drums at age 10 because I became bored in church. I wanted to find an activity I could do in church so I could feel better about being there. I played the drums through college, and dabbled a bit in piano, guitar and saxophone in my life.
How did you first get interested in rhyming?
In high school, I wasn't as unpopular as I thought I was. I wasn't the most popular, but I wasn't a geek. I was, however, pretty weird. I carried these notebooks full of cryptic poetry with me and was constantly writing in them. From there a natural progression to rhyming occurred. Or maybe it was to impress this break-dancer boy I was crushing on. Either way, it stuck...
What was it about hip-hop that spoke to you?
To answer this question I would have to make a distinction between hip-hop and more mainstream rap. My mother owned Run-DMC records. I loved Kool Moe Dee and Heavy D, and Salt N Pepa among others as a young girl. However, as gangsta rap started making headway, it coincided with a time in my life that made it very difficult for me to appreciate a lot of it. I liked a few artists, but I sort of banned hip-hop out of my consciousness until 10th grade or so. But by that time I was hooked. Tribe did it. It felt right to me because a lot of the kids in my school were gravitating toward it, at least via fashion. But I really felt it, though. I felt like I had to be a part of it, even if I couldn't afford a lot of the fashion trends. I really had to fight for my first pair of damaged jeans and Jordans. I remember immersing myself in Digable Planets, Camp Lo, Busta, Masta Ace, and all that Native Tongue-ish, classic hip-hop music. I'm still a sucker for a killer pop formula, or a crushing soul groove, but hip-hop has my heart.
Was there anybody in particular that you looked up to?
I mean, as far as people I've never met, there have been many artists who inspire me. Snoop influenced my nimble raps, Black Thought [of The Roots] influenced my meaty raps. Of course, Lauryn [Hill] did a lot. I've met Thought, but the people I've come up with have ultimately influenced me more than my rap heroes ever will.
Take me back to your first performance.
Wow. I mean, my first rap performance happened when I was a senior in high school. Me and my dude Frame came up with a Kwanzaa rap for History class and performed it during an assembly. I think I was trying to get us to rap over the breaks on that song "Car Wash" by Rose Royce. I also had been diggin' on the "Pulp Fiction" soundtrack which, as you'll recall, was like all oldies. So we got real old school on them and had these rapid fire Kwanzaa raps over these older breaks. That was fun. We killed it, and became a lot more popular overnight, I might add. My first performance ever was at five years old and was a talent pageant thing for my private school. That one included acting, singing and dancing. I killed that performance, too.
You grew up on Chicago's South Side. How did it help influence your style of rap?
I think it influenced the emphasis on style. No disrespect to the North Side, but theirs is a totally different style up there. It's very in your face and classic. Even the battle rappers on the South Side could flare up and just style you out on sheer technique and finesse. The varied beats I get always challenges me to change up my styles here and there. Even if it's subtle - it's cool to challenge yourself via the music.
What about your time at U of I?
What about it? I majored in Chemistry, minored in Rhetoric and was birthing Psalm One. I was coasting easily through my studies until the end of sophomore year. Then it got tough. My best friend went from majoring in aeronautical engineering to English, and I know he's happier for it. But he would like, taunt me every day to quit Chem. and focus on writing. I never wanted to quit Chemistry because by that time I was really trying to keep my grades at an above-average level. I wanted to make the finest perfume on earth and teach organic chemistry in my spare time. So beautiful, that stuff is. I graduated with that Chemistry degree, which was an accomplishment. But a bigger accomplishment to me was making and releasing my first two projects before I graduated, Whippersnapper (EP) and Bio: Chemistry (LP).
How did you link up with Rhymesayers?
Regionally, I would always bump into them. By the time I graduated high school I was a hip-hop fiend. I went to quite a few shows down at U of I and the Rhymesayers crew would always represent, as well as in Chicago. I lived a few summers in New York City, too, and I remember bumping into Slug very randomly. I always gave him music. I met Brother Ali at a sound check for one of his shows and just sat with him talking before the show. I performed at the Oliver Hart release party for Eyedea in Minneapolis. Jay Bird and Kevin Beacham are both from Chicago. I guess you could say we knew each other already.
Are you still working with them?
Absolutely. I signed on for multiple projects. My next Rhymesayers release is currently being crafted here in Chicago and LA and will be released when it is done.
There's been such a long time between projects, what gives?
Following the release of The Death of Frequent Flyer I toured extensively for about 2 years or so. After returning, I moved to the Bay Area of California to work on albums with local producers and artists. I am a nomad of sorts, and the best perspective for me is a global one, so I took the time between albums to travel and grow as a woman. Since returning to Chicago last summer, I've been diligently working on my Rhymesayers follow-up. There will be a lot of music forthcoming, and you will be able to hear exactly what I've been doing with my time away.
Forthcoming projects?
Of course. I'm putting out a free record for my fans, the first in a series called Woman at Work. Expect it in March. Pick up the new DJ Rob Wonder Scion Sampler when you see it, because I'm on that project as well. I'm also on the new Canibus album, Melatonin Magik. Lots of goodies. My fans are the most patient people and I want to reward them for that.
What's a perfect Chicago day consist of for Psalm One?
Breakfast at Valois in Hyde Park, then over to the Logan Square Farmers Market to get food for the rest of the day, the Gym, the Studio, dinner, drinks at Crocodile with friends, then the after set at my studio in the FlatIron building.
Follow Friday is a weekly interview series in which each Chicago artist we talk to recommends a fellow local act. This week's guest:Packy Lundholm Recommended by:The Dirty Rooks
If you go to shows regularly, there's a good chance you've heard or seen Packy Lundholm even if you didn't know it. The multi-instrumentalist has plied his trade with so many different local acts, we've lost count. Most recently, Lundholm joined forces with I Fight Dragons, the Nintendo-Rock band (yes, you read that right) that just signed a deal with Atlantic Records. Consider this your official introduction.
Describe your sound in 140 characters or less.
Hippie-Nintendo-Funk-Drunk-Klezmer-Blues-Country-Core. My motto: Give the people what they want.
Where and when was your first show ? and what was it like?
I was 9 years old, playing drums with my older brother's band at a party with really cool "older" kids (Junior High-age, the coolest). We played some Lenny Kravitz, Hendrix, and Pearl Jam, and probably a few songs off Dookie. I was so excited and intimidated that I was playing every song pretty much in double-time, despite everyone in the band yelling "SLOW DOWN!". The jam at the end of "Alive" was especially amped up. I still have this problem.
Name three of your favorite Chicago spots (bars, restaurants, venues, parks ? whatever).
-Sultan's Market on North. I could eat the spicy falafel sandwich thrice a day for a fortnight.
-Charter One Pavilion. The only way to make an outdoor summer concert any better is to make the Chicago skyline the backdrop. Great sound, too.
-Any mechanic or body shop in the city. Every one of them is chock-full of Chicago attitude (i.e., people who say Montrose is at Forty-Four Hunnert nort).
What Chicago artist/band should we interview next and why? Darren Garvey. He's a frightening, worldly, musical power-genius, and I'm sure he's got some stories for you.
The Jordan Years is a five-piece band made up of Wes Restless (vocals), Mr. Anderson (bass), Michael "MC" Cole (keyboards), "Angry Joe" Dorenbos (drums) and Roger Panella (guitar). Together they combine elements of funk, rock and hip-hop into a groove-heavy mixture of vintage soul, reminiscent of Motown and Stax.
Wes (also of The Gent$) is at his finest crooning over the driving rhythms of Anderson's bass and Dorenbos' drums. Cole and Panella are the mellowing factor with their playful banter of melodic keys and choppy guitar riffs. Two singles - "See the Light" and "Warm Me Up" - have convinced fans that The Jordan Years is the real deal, and with a full-length looming, Centerstage sat down with the quintet to discuss its beginnings and what 2010 will bring.
How'd you guys meet?
Joe Dorenbos: Craigslist "men seeking men" ad.
Interesting name. Is it your homage to No. 23 himself?
Roger Panella: Yep...you got it. It's an homage to Ryne Sandberg.
Mr. Anderson: Legally it's based off a friend of ours named Jordan...but in all reality, it's more of an homage to Chicago and a time when the Bulls were winning and no one knew what an mp3 was.
JD: The Jordan Years is a moniker that is meant to elicit a deep personal emotional reaction, much like the words "Ferrari" or "America" or "Double penetration."
Michael Cole: This is the second "basketball-themed group" I've played in (Fly Williams was the other), and I did not help name either but I endorse them both.
What did you think of MJ's Hall of Fame induction speech? For the most part people seem split.
Wes Restless: The worst rapper I know is less humble on the mic than MJ.
JD: I don't think about it. What I do think about are off-color slogans to print on t-shirts for babies.
Who are some of your musical influences both past and present?
MA: In '95 I discovered V103 and spent countless hours listening to Herb Kent with notepad in hand, playing student to his radio show.
JD: My playing is influenced by stuff I hear on the radio, or the Weather Channel.
MC: Past influences: Stevie Wonder, Sly, Prince, Funkadelic, Herbie Hancock, Meters, Donny Hathaway, Fela. More recent influences: Animal Collective, Radiohead, John Legend, Lupe Fiasco, Kanye, Medeski, STS9.
What sort of inspiration does Chicago provide?
MA: This is the city that brought the world Curtis Mayfield, Barack Obama, Walter Payton, Mike Ditka, the Daley family, Mike Royko, Studs Terkel, Michael Jordan, Chess Records, Playboy, etc.
JD: The never-ending supply of pretty girls.
MC: Coming from NYC I originally liked Chicago because it was "cheap and easy," but there is an incredible scene in Chicago for creating music and art. Hearing other Chicago artists is inspirational and provides the drive to work harder.
Any favorite places to perform at?
WR: NYE at Black Gate Studios was fun, crunkness & indoor chiefing equals A+.
RP: Anywhere that will deal with our huge egos and our ridiculous riders.
MA: The studio.
JD: In front of pretty girls, rows and rows of hotties.
MC: A full room, a full darkroom.
What's been your most memorable show so far?
RP: There's only one gig I can remember clearly, but I'm not sure where it was at.
JD: I was asked once if I was as good in bed as I am on the drums. That kind of stuck in my head.
MC: Probably the last one. We are on a roll right now.
Listening to your music is sort of like inhaling a Motown-style breath of fresh air. What's the recording process like for you guys?
RP: Basically, we write music and play it through Andersen's computer. We run it through a plug-in, and it comes out sounding old.
JD: Hard work, decision-making and inhaling copious amount of...
MA: We really should have Bud Light, PBR and Camel Lights as sponsors, hopefully the staff at Food Smart get a raise from our patronage.
Tell me a little bit about West Town Recording.
MA: Heavily influenced by labels like Daptone, Stax, Chess, and Motown with recording studio, house band (The Jordan Years) and label all under one roof. The mission is to record and release through unconventional means the soulful side of funk, jazz and hip-hop. It started as a rehearsal space, it turned into a studio and then became a record label. The plan is to be the next Berry Gordy, but for now I will strive to be the next Gabriel Roth.
JD: I like to refer to it as the "spliff-bunker."
MC: It's a start-up operation, but it's built for the state of the music industry in 2010. We just try to handle as much as possible ourselves. Rehearsing, recording, screen printing shirts and posters, logo and website design, marketing and promotion - it's all done in-house at WTR.
There's a nice contemporary funk scene now. What's your take on people's revitalized interest in soul music?
JD: They should seek medical attention immediately.
RP: Feed people enough crap and they'll realize that they like watching people play instruments. Especially in a non-ironic way.
MC: We call it the second wave of soul. There's always going to be a market for original, soulful music because the sounds are so rich. It just makes people feel good, like comfort food. When you hear real, live brass horns and other fat-sounding instruments, it's noticeable. So much of today's music is heavily quantized sequences, sample and soft-synth stuff. It doesn't have the same impact as the real thing. People love fat analog sounds. There is no substitute for real instruments played by real people.
When can we expect a full-length?
WR: Never!
JD: We won't give you much in length, but we have plenty of girth.
MC: Hopefully by the end of 2010. If an investor wants to sponsor us, we can probably get it done faster.
Anything else on the horizon for 2010?
WR: The Jordan Years, Wes Restless, The Jordan Years, Wes Restless...
MA: The house band spot for Dre Day with Rhymesayers artist Psalm One on February 19th at darkroom, and a trip to NYC in April backing Chicago comedy legends Schadenfreude, tentatively titled "The City That Works."
JD: Hopefully lots more gigs with lots more pretty girls dancing.
Follow Friday is a weekly interview series in which each Chicago artist we talk to recommends a fellow local act. This week's guest:The Dirty Rooks
Blues rock is all the rage nowadays, but The Dirty Rooks have been at it for some time now. The band's latest album, Sugar Mama feels both fresh and classic at the same time, as the ever-expanding crew throws down a mix of soul and classic rock. Guitarist/vocalist Grant Gholson (second from left) took some time to answer a few questions in advance of the band's album release party, February 14 at Lincoln Hall.
Describe your sound in 140 characters or less.
"Booze rock" aptly describes the sound of our big, noisy, inebriated musical community. Think, The Faces, with moments of soul & country.
Where and when was your first show ? and what was it like?
Phyllis' Musical Inn, like everyone else's first show. It was the night the Sox won the World Series. Our set was delayed an hour because of the game, immediately after which most of the patrons left the bar. We played a hastily-improvised version of "Sweet Home Chicago" to the remaining stragglers. There were just four of us at the time, and I'm sure it was awful. But it felt pretty good to be in a rock band.
Name three of your favorite Chicago spots.
As a venue, Martyrs', absolutely. Big stage, great sound, lots of support. For listening to music, it's hard to beat B.L.U.E.S., since you're about two feet from the stage and they bring in A-list blues talent. And we'd be remiss if we failed to mention Laschet's Inn near Lincoln Square, which is one of those special little enclaves of the Old Country that has somehow managed to stick around.
What Chicago artist/band should we interview next and why? Packy Lundholm. The man is a musical polyglot. He's playing guitar in I Fight Dragons right now (great band), and several other instruments in several other bands. It's not a case of if he gets huge, but when.
Let's face it there are few things on this planet that are cooler than ninjas. They're sleek, mysterious, deadly, sexy and, in the case of Ariel Rogers and Anika Trujillo, quite good at rocking shows. The duo (aka The Universal Ninjas) originally met while attending Evanston Township High School, but didn't start developing a sound until 2008 when they scrounged up enough loot to invest in their own recording studio. The do-it-yourself ethos led them to co-write, produce and mix an EP aptly titled Homemade. Together, Anika and Ariel mix humor and soul into a rhythmic blend of varying styles, from funk and R&B to house and electronica. Their upbeat and often sparse instrumentation provides an appropriate backdrop for their easygoing style of speak-rap. Initially it can seem very tongue-in-cheek, but upon closer listen, The Universal Ninjas broach subjects like love and womanhood with a sensibility that goes far beyond their age.
They're relatively new to the scene, but it's only a matter of time before the rest of the city takes notice. Centerstage tracked down The Universal Ninjas and found out a little bit about their past and how Lollapalooza could be approaching them in the near future.
Interesting name, what's the significance?
Anika: It comes from two parts; first is my choice to not say the "N" word, not for any single reason more than the other. Ninja is a great replacement word because it invokes none of the same ideographs that the "N" word itself does, and Eastern culture as a whole is awesome and has influenced me on many levels. Universal comes from the style of music we make.
Ariel: "The" is just a good place to start. "Universal" rolls and "Ninjas" bounces. Together it is a pleasing phrase to wrap your lips around. Alongside mathematics, music is the only other universal language. How humbug hypocritical to exclude any of the universes sounds, essences and messages from this all-encompassing medium.
Do you remember your first performance together?
Anika: I remember going, I remember waiting and I remember leaving but not the performance. We did "a round" at an open mic at Exedus II, I wouldn't call it nerves but getting on stage is a huge boost of energy. It is all about controlling that flow; at that point I didn't know how to wrangle it in and throw it back. I'm a bit better at it now, but our sound carried regardless and people received it positively.
Ariel: I burned my left eyeball with the "don't-use-and-then-put-contact-directly-into-eye" contact disinfectant earlier that day. My eyeball was watering all day and was hurting in the light so I wore my glasses and sunglasses on top of them. I was sick with nerves, but I kept it cool for Anika's sake. I didn?t want to rattle the fragile, 'fro-fitted chrome dome of my musical cohort. The performance is a blur...I remember thinking, "The music is so loud -2-3-4...These lights are brighter up here 2-3-4-than they appear 2-3-4-from the audience...2-3-4." Playing the bass and singing on beat amongst the rush of excitement and nausea, while feigning complete calm and control was a doozy. At the end the crowd was silent. There were some faint claps from the "anyone who tries is a winner" supporters, bless their hearts because it was much appreciated. We were gushing with energy afterwards, like kids that just got off the new Super Steel, Omegatron, Optimus Prime rollercoaster.
How would you describe your sound?
Anika: Adjectives are hard to correlate to music. I would say that it is made up of all the senses combined having seeped into our relative spheres over the course of our lives. I can't think of anything other than a sum total of everything that has ever happened to me, will happen to me and is happening to me at this moment.
Ariel: Universal, soul, funk, jazz, hip-hop, electronic, house, R&B, folk, trance, spoken word, blues, country, pop, classical, cultural and spiritual. We prefer to a la carte.
Influences?
Anika: It's hard to pinpoint what has influenced me more than the other. I would have to say the everyday stuff more so than anything else. Random thoughts while riding the train, something delicious I am eating, a good conversation, etc.
Ariel: Aretha Franklin from my mother, Jackson 5 and Smokey Robinson from my father. We'd go to musicals often growing up. Mama and Papa Rogers infused music into me before I could make sense or use of it. I just liked going and they always took us. Music by Michael Jackson and the Beatles are fabulous. But so are weird Al Yankovic and MC Hammer, Stevie Wonder, Ella Fitzgerald, Bob Marley, Lauryn Hill, Bob Dylan, Billie Holiday, Ms. Etta James, anything with Cee-lo, Daft Punk, Outkast, Zero 7, Lykke Li, Little Jackie and Missy Elliot was a biggie growing up. I still prefer Michael over anybody any day.
What's your take on the current hip-hop scene in Chicago?
Anika: I am learning a lot about the music in Chicago. I think the Chicago scene has always been progressive, I hear as much spoken word as I do gun talk. The scene is definitely huge, I'm constantly meeting new artists. It's easy to recognize though that familiar faces mean something, and to see so many familiar faces that are genuine and positive is always a bonus.
Ariel: There are so many people who say they're artists. Unfortunately there is still a lot of the pre-fabricated music. I'd rather not hear another lyric about money stacked high and taking your girl and so forth and so on. There are a lot more subjects that matter right now in Chicago. I invite more space cadets to grab a mic and spit a more conscious message.
Are there any artists that you're looking to collaborate with?
Anika: We have done a couple things with Drunken Monkee, as well as DJ Freez Rock. I plan on continuing to work with them as long as the universe allows me. Honestly we jam out with anyone. It is a part of our core principles that music exists everywhere and can be created by anyone so whenever someone approaches us we are apt to oblige more often than not.
Ariel: Anika's nephew, Jackson - he's four. He's got that insta-learn ability with percussive instruments.
In what ways does Chicago inspire your sound?
An: I would say some of our songs have a heavier house-music sound and Chicago originated house music. I would also say that a song like "Birds" is the direct product of life and circumstance in Chicago and how we focus so much on the wrong things sometimes we lose sight of the real city right in front of us; segregation in Chicago, police brutality in Chicago, poverty and homelessness in Chicago things that have been repeated so many times they sound cliché. It's a hodgepodge of inspiration; all the reality of Chicago but through different mediums.
Ariel: I love Chicago. It's the best city in the whole wide world, yes. House is proudly a child of Chicago, that upbeat cadence is one of The Universal Ninjas' signatures.
So if The Universal Ninjas have a day off, what would a perfect day in Chicago entail?
Anika: Sleep! Ha, well it depends on the season. Winter, I'm more apt to stay local but the summer, an outdoor festival is the natural first choice. I must say though my personal favorite is the Art Institute. It is an endless source of creative mind candy.
Ariel: If we had a day off from playing music I'd want to go play some music outside on the 4th of July with a barbeque and fireworks - the kind you buy off the side of the road in Wisconsin or Indiana.
At times it seems like female lyricists don't get as much respect as they should. Thoughts?
Anika: There is truth to what you're saying, female lyricists face a great deal of opposition especially when not trying to play into traditional roles. However, carrying a demeanor that commands respect is a person's greatest asset no matter the gender. Staying oriented towards a solution is always the goal so I focus more on the desired outcome of respect rather than the current situation or reality which is a lack thereof.
Ariel: "Female(s) don?t get as much respect as they should."
Any forthcoming projects?
Anika: We are building on our existing EP, Homemade, the goal is to convert it into a full LP. We just finished a podcast live session at The Black Gate Studios, so that should be out soon. Continuing to build with other artists hopefully will yield a collaborative EP, sometime in 2010. I guess you just have to stay in tune.
Ariel: Lollapalooza. We're not booked for it yet, but we've been speaking that one into the universe.
The Universal Ninjas perform at darkroom on January 27 with Ill Legit & DJ Alo (9 p.m.; $7).
Progressive blues band Bailiff has been getting a lot of buzz lately for its throwback sound. Fresh off a headlining set at Lincoln Hall on January 9, drummer Ren Mathew tells Centerstage about the band's past, present and future.
Describe your sound in 140 characters or less.
A friend recently described Bailiff as "Indie rock slant to a raucously syncopated Chicago blues aesthetic, all tied together with some of the tightest composition you'll hear on any side of the Mississippi..." I think he said it best.
Where and when was your first show ? and what was it like?
Our first show was at the Beat Kitchen back in April of 2007 and it was definitely a special night. Mainly because the room was unexpectedly packed, but regardless of the turnout, we were excited to debut the sound. We kicked off the show with "What I Was," and I remember when we hit the verse beat, the crowd erupted. Instant gratification I say. I also remember the show flying by (six songs total + one half-completed song for an encore). But the overwhelmingly positive feedback was early validation for the sound we were trying to create. So, that first show gave us a real good launch.
Name three of your favorite Chicago spots.
The Green Mill is my favorite nightclub in the city. Folks always seem to be having a great time there and the musicians that come through are amazing.
Art of Pizza serves, in our book, the best deep-dish pizza in the city. And there's never a long line for the food.
Myopic Books, classic hipster hangout, with tons of good books to read. Good call to keep it open til 1am too.
What Chicago artist/band should we interview next and why?
This past summer, we played a show with a talented group called 2Bijoux. Two beautiful ladies with soulful voices and energetic beats backing them up. I also remember them singing as much in unison as they did harmonize and they just put on a great, energetic show. They bring a lot with just two voices.
Black Bear Combo is a sextet made up of Doug Abram (saxophones), Gerald Bailey (trumpet), Ehsan Ghoreishi (accordion), Rob Pleshar (tuba), Andrew Zelm (euphonium) and Dersu Burrows (bass drum). Its sound is an eclectic blend of traditional folk music (from eastern Europe and the Balkans) and brass-band style funk and soul. The group first played together as BBC in 2002, and has performed at events all across the nation including Mardi Gras and a Halloween Party at the White House, offering a mix of pontificating horns, thundering drums and buzzing accordions. Centerstage corresponded with frontman Doug Abram to see what brought BBC together and how Chicago's notoriously tough crowds contributed to its stage presence.
How and when did you guys come together?
At the end of 1999 I was wandering in central Europe for awhile and heard Rom (gypsy), bohemian and other kinds of bands playing in bars, hotels, on the street etc. The sounds and energy of it blew me away. At the time I had been a drummer in noise and punk bands, but this inspired me to play a horn and start something different. When I got back to the states I started learning and looking for players. The Combo played our first show in April of '02. Over the years we've had about 15 musicians come and go. The lineup has usually ranged from three to five people, and has gone from being mostly strings to the current brass-band lineup, which has been stable for roughly the last three years.
Can you give me a rundown of your influences and how they mesh into your distinct sound?
Still love Rom music, Balkan brass bands, and central European stuff. Even aside from the sounds they put out (which are often amazing) there is the energy and passion for life they deliver, as well as the lack of boundaries: bands that will come in through a doorway and stand in the middle of a crowd, playing away. We are influenced by that for sure. We also bear the influence of the punk rock and metal we grew up with, and some of the noisier practitioners of free jazz. It makes sense to me, I personally feel all of these types of music come from the same place, draw from the same energy. Then of course each player has other influences at work which may only show up occasionally but make the whole thing richer.
Tell me a little bit about Game of Death. Game of Death is something like our 11th CD, and the first one recorded in a proper studio. We made it at JoyRide on Chicago Ave. this past September. Our earlier CDs were all pretty casual, sometimes a tune made it onto two or three different albums played a different way, or with a different solo instrument. Also those CDs were usually very small editions, a hundred at most. So this time we wanted, in addition to getting the best possible sound quality, to put down somewhat definitive takes of the originals that have remained in the set. A declaration of where we are now. The title incidentally comes from an old tune that we don't play anymore. The album is available on Amazon, iTunes, CDbaby or from us at shows.
It looks like you've had some pretty memorable performances. Where has your music taken you and is there one show in particular that stands out?
We have had a huge amount of memorable shows. We've played rock clubs, cafes, basements, street corners, weddings, funerals, parades, festivals, parties - both very swanky and very not so. We've played on both coasts and many places in between. During Mardi Gras '05 we ended up playing at the Hi-Ho Lounge in New Orleans. This was after we had spent about seven hours in different parades. At the time there were three of us: sax, bass drum, and electric bass with portable amp, and we had been hammering away all day. We were reclining on the sidewalk outside of this club when somebody asks if we're such and such a band. We said no but we could be ready to play in two minutes. So we went in and the set was amazing. People were dancing on tables, screaming, the whole bit. Such a great time.
We played at the White House this year for their Halloween party; on the lawn out front for the kids earlier and then inside for the party later. We walked through the rooms playing our music. It's not uncommon when you're a band walking into a room while playing for everybody to turn and get excited about what's going on. It's a great feeling. We walked into a room at the White House and among the crowd: the President, Tim Burton and Johnny Depp all looked happily around and watched us. Memorable for sure.
In what ways has Chicago contributed to the development of your sound?
Chicago has had its influence on the band definitely. We play to the fullest. Chicago audiences can take work to reach, but when you do they're great. In general plugging away, without need of a pedigree, making a good time out of thin air is what we got from forming (and for the most part growing up) here.
Any favorite spots in the city?
We like lots of spots in Chicago. One notable one is a basement venue we've played in that's all rigged out like a cave. Rounded ceilings etc. And the sound was great when we played Double Door last week, can't say we have an actual favorite though, all good.
Forthcoming projects?
Keeping on. Shows in New York and Seattle over the next few months then who knows.
Cribs look to catch on in the States with a stop at TNK.
The year is over. People are squawking best album this, decade-defining that. It's mustache-freezing cold, as always, forcing you to read said lists more than you probably want. Meanwhile, the Schubas brothers, for the sixth year in a row, have found nearly 30 artists (double the talent than in years past) ready to surprise indie nation. The 2010 installment of Tomorrow Never Knows (January 13-17) features a new venue (the recently opened Lincoln Hall) and Zipcars shuttling fans from stage to stage. Should you enjoy warm mustaches and discovering new music, before it's even listable, consider this guide to the year's first big fest.
Wednesday January 13 9 p.m. at Lincoln Hall; $15
Dipped in platinum by NME and spit upon by Pitchfork (which has changed its tune since ex-Smiths guitarist Johnny Marr joined the band), the UK's Cribs has yet to experience America's warm embrace. No matter, as the angular punk band's fourth LP, Ignore the Ignorant, outsold Beatles reissues across the pond in September. New York's Adam Green is looking to finally shed the skin from his Moldy Peaches anti-folk days; his forthcoming record, Minor Love was inspired by a quote from Leonard Cohen at a BBQ: "We are all living in a butcher shop." Portland-based openers, The Dead Trees, do a charming job of ripping up Pavement with some roadhouse blues.
photo: Rebecca Miller
Voxtrot
Thursday, January 14 9 p.m. at Lincoln Hall; $15 Voxtrot frontman Ramesh Srivastava quit his English Literature program in Glasgow to focus on the band's Morrisey-trapped-in-a-John-Hughes-film angst; seems like it's working, as the Austin indie-pop group headlines tonight's action. Also on the bill are Chicago's Gemini Club, which appears to believe that computers are the savior of rock 'n' roll, and Solid Gold, a Rapture-in-space dream-pop crew from Minneapolis so captivating hipster dance floors that Keds tapped the group for a shoe line.
9 p.m. at Schubas; $15
Schubas slings guitars in spades tonight - jabbing like punk knives with Chicago's Lasers and Fast and Shit, layered in squabbles over keys with Brooklyn's latest psych-rock set, Bear in Heaven, blossoming like spring flowers in a garden of banjo-clad folkies with Freelance Whales and reaching for the upper deck of arenas while arm-chairing it at the beach with Florida group Surfer Blood.
Truman Peyote
Friday, January 15 9 p.m. at Schubas; $15
On the most genre-universal of the five days, both venues feature bands forging new frontiers in knob-twiddling. Schubas will be a bit heavier on the psychedelic scale, with Truman Peyote pleasing fans of late, more hook-friendly Animal Collective and Neon Indian sourcing 8-bit nostalgia on songs about failed acid trips. Meanwhile, Chicago's Hood Internet is making a push to be the next Girl Talk, mashing primarily hip-hop with unlikely singer-songwriters like Bon Iver. Fellow Chicagoans Only Children take aim at neo-funk and soul.
10 p.m. at Lincoln Hall; $15
Lincoln Hall will ruminate more on space and atmosphere, led by another hometown crew, Shapers, which channels the thrashier side of Explosions in the Sky. Another Chicago act, Icy Demons, quirkifies synth and bass into jazz jams like Tortoise on a funk binge. The night closes with Bradford Cox's aqua-shoegaze project, Atlas Sound.
Owen Pallett
Saturday, January 16 10 p.m. at Schubas; $15
Singer-songwriters abound at Schubas, with the artist formerly known as Final Fantasy, Owen Pallett, leading the way. The most orchestra on the bill, Pallett teases Andrew Bird violin backbones with digi landscapes and a bit of Rufus Wainwright lull. Sharon Van Etten, meanwhile, is capable of quieting pub clamor with just a guitar and hum, likely pushing songbird tunes from this year's break-up beautiful Because I Was In Love. Opener Peter Wolf Crier brings a bit of percussion aggression to his otherwise barren, Minnesota-spawned folk rumblings.
10 p.m. at Lincoln Hall; $15
Canadian Julie Doiron comes equipped with the post-grunge howl of her native counterparts Land of Talk and various starlets in Broken Social Scene. The northern exposure isn't over, as she'll be followed by The Rural Alberta Advantage, which pairs a Midwestern-esque isolation with really flighty snare and cymbal backbeats. The evening closes with 2009's loneliest boyfriend/girlfriend duo, the Bowerbirds, and their bass-drum-heavy, acoustic-guitar-teased parlor shtick.
Lee Fields
Sunday, January 17 9 p.m. at Schubas; $15
Usually one night of TNK taps some fresh faces in hip-hop. Not the case this year. Instead, Schubas will deliver another dose of scrappy guitar-pop, spotlighting two more Chicago upstarts, the spoon-wielding yelps and plateaus of the Netherfriends, and the keys and cheer-layered charm of Skybox. Also on the bill are Cincinnati reverb darlings, the Pomegranates, and the new goth-tinged Unicorns project, Clues.
9 p.m. at Lincoln Hall; $15
Lincoln Hall will blast a double-shot of the finest in contemporary soul and R&B, first with Chicago hybrid JC Brooks & The Uptown Sound, which seethes with early '70s punk guitar hooks. Lee Fields & The Expressions will headline; Fields is a from-the-gut crooner who worked clubs during soul's heyday, but is just now blowing up proper.
Violetness is a local songstress whose voice is as hauntingly beautiful as it is prophetic. She initially came to Chicago (by way of California) to record an EP, but decided to stay when she found the music scene here too magnetic to ignore. Violetness wasted no time fitting in; she's graced the stages of both Beat Kitchen and Empty Bottle, opening for some of the most revered indie acts touring through Chicago, including Eyedea & Abilities and Themselves. Centerstage caught up with the budding artist to get the skinny on how she got started in music and when we can expect the new EP.
Tell me a little bit about your background and how you got interested in music.
As long as I can remember music has been part of my life. When I was really young my father would turn on his record player and listen to Sinatra, The Ronettes, Tina Turner, Creedence Clearwater Revival, and more of course. I can remember dancing and belting at the top of my lungs to the songs with my sister while my dad washed the dishes. By putting these divergent bands together in the same "session" he inadvertently paved the road to my eclectic approach to music.
How'd you come to the name Violetness?
I wanted a name that was genderless but still derived from my name. In this process I thought of my grandmother Violet who also was a musician. Unfortunately I never got to know her but she has always been this mystic and fascinating woman I would have loved to know. It's a bit of an homage to her.
Do you remember the moment when you realized that music is the creative route you wanted to take?
I do actually. I don't think I will ever forget it. I started singing in church at a very young age. One day after singing at mass this old man came up to me with tears in his eyes. He told me that my voice touched him so much it brought him to tears. After he left, this overwhelming feeling took over. I can't explain it I just knew from that moment music was not only something I wanted to do but needed to do.
You moved to Chicago from California; tell me a little bit about the transitions from there to here.
I am definitely someone who adjusts quickly so when I moved back here my transition went seamlessly. The obvious issue might have been the weather but I actually prefer cold over warm.
You came to Chicago to record; who were some of the musicians you worked with and what studio did you record at?
I work with an amazing production company called Cassette Company. It's made up of three extremely talented guys: Stefan Clark, Sean Geyer and Justin Eisenbraun. Ryne Estwing (Louis and the Hunt) and Baron Harper (Scattered Trees) also contributed to the recordings at Reel Sound Studio in Skokie.
Who produced the songs you have posted on your MySpace page?
Stefan Clark of Cassette Company produced those tracks. I had been looking to collaborate with a producer but everyone that I had met with never felt right. The problem was that I had a lot of ideas but as far as direction I was lost. Within our first meeting I knew he was the right collaborator; he understood the craziness going on in my head and saw the vision I was going for.
You mention that you have different artists that inspire you at different times; who are the ones that speak to you right now?
This question is really difficult to answer because it changes month to month or day to day. I kind of obsess over an artist for a few months, then I break up with them. Tomorrow it may change but today it would be Themselves. I opened up for them the other night and their set was unbelievable. Album-wise I would say Deep Puddle Dynamics,
The Taste Of Rain...Why Kneel is pretty mind-blowing right now.
Do you prefer a specific genre?
Hip-hop music definitely speaks to me; it's been a genre that constantly re-enters my life. My very first tape was Marky Mark and the Funky Bunch. Unfortunately my relationship with that tape was short-lived because my dad heard all the profanities. I moved on quickly to my next idols, Salt 'n' Pepa. Evidently my dad was ok with profanities as long as it came from a female voice.
How does Chicago contribute to the overall development of your sound?
I think all of the people/musicians I have met in Chicago have helped me discover what sound was in me. The more like-minded people who hop on a project the better. It's kind of like excavating with a group. I needed help in digging away at the crap to get to the gold. It's taken some time to realize that.
Tell me a bit about the forthcoming EP. Do you have an official release date?
My forthcoming EP will be out by the end of January, beginning of February. It will be a four-song EP with additional remixes.
Being a relative newcomer to the stage, what sort of impact are you looking to make with your music?
I just want to make music that's fresh and honest. I want people to feel emotion when they see me perform or hear my recordings. I like things that are raw and real to the moment and my only hope is that people can and will feel that from me.
H20 Soul is a hip-hop collective made up of six members; Clever (MC), M.P.L.I. (MC), Mike Soul (MC), Just Nick (Guitar), Big T (Bass) and Cuz (Drums). The core (Clever, M.P.L.I. and Mike Soul) originally met in 2003 while attending Northern Illinois University, and it was there that they cultivated a strong narrative voice that would serve as the eventual backbone of H2O's style. In 2006 they added a live band, which helped them develop a fuller, more organic sound. Since then the group has been on a steady rise, evolving its rhythms into a unique blend of hard-edged rock and classic '90s boom-bap. Centerstage recently caught up with M.P.L.I. to get a better sense of what the budding group is all about.
How would you describe your style?
100 percent hip-hop. To clarify, hip-hop is a fusion of different musical genres, we just lean towards an edgier rock sound.
You cite an all-star line of artists as your influences. How does H20 build from that sort of history?
Good music is timeless. We only hope that the art we create will have that quality. We will always remain progressive and relevant as long as we keep living and having experiences to relate to our listeners.
You mention that DJ Slim Kid (of the Pharcyde) gave you some sound advice. What were some of the things he told you?
He told us to always stay true to ourselves and never to change for anyone. He assured us that we had something "special" and he liked our vocal textures. He also shared some stories from his experience as part of the legendary hip-hop crew the Pharcyde, inspiring to say the least.
Any other people that have helped you along the way?
Absolutely too many to count. We've been grinding side by side with many of Chicago's aspiring and successful artists and help has come in all shapes and sizes. Columbia College Chicago, Genuine Music, Sticky, Lenny Gilmore Photography, ARS Studios, DuSable Museum, Partners in Comunity Building, our fans, our families, the list goes on and on.
Tell me a little bit about Class Is In. It's got a heavy rock influence, was blending rock and hip-hop a natural thing for you? Class Is In is our first full-length project as a band. It is our wishful thinking for the music industry. "Class" in this sense refers to a high standard. This album represents us finding our artistic identity, taking us to the next level of our artistry. The blend of rock influences was inspired by our band's musical ability and us wanting to create a more edgy sound that would define us in the crowded hip-hop genre.
How was that project different from your prior work?
Because it is our first full-length project as a band, we had to make a major leap in our writing and recording process. This is our evolution, a definite turning point in our evolution.
Hip-hop is an ever-evolving style, even more so on a local level. What's your take on the Chicago hip-hop scene?
Chicago is so diverse musically and hip-hop comes in all forms. It does, however, seem the city is following national and global trends more attentively than ever and that's creating new opportunities for relationships in music and fashion and just lifestyle in general. It's a good time to be in Chicago.
Hip-hop has gotten so big, sometimes it doesn't recognize itself. It will continue to grow as long as there is music out there to inspire the next person to pick up a pen or a PDA and write.
Does Chicago play a big role in your sound?
From growing up on the South Side to recording downtown, from re-gentrification to Obama, we are products of Chicago so it is absolutely one of the major influences on our sound.
What was your first performance like together?
Oh wow. It was at NIU for our organization's first informational, all of us had written poems to perform. At that point we were more of a spoken-word group. We had a full room of interests and the performance went over well.
Do you have any collaborations coming up? Adad mentioned that he would love to work with you guys.
For the record, we'd love to work with Adad too. We've reached out to a few people. Primeridian was a part of our album release in September. Just keep your eyes and ears tuned, you never know what we might do next.
Any forthcoming projects we should know about?
Right now it's all about Class Is In. We're always working on new music though and we'll absolutely keep you in the loop.
So, you missed out on tickets for Girl Talk and Jens Lekman, huh? Join the club. Don't worry, though, you can still hear some high-quality tunes on New Year's Eve in Chicago. Here are our picks for the best of the rest:
Roy Hargrove Quintet 8 p.m. and 10 p.m. at Jazz Showcase; $50
Trumpeter Hargrove just can't stand still. Though he won much acclaim (and a Grammy) playing relatively straightforward jazz in the '90s, he soon switched gears and expanded his sound to include elements of hip-hop, funk and gospel. You young'uns are just as likely to know him from his work on albums like D'Angelo's Voodoo, Common's Like Water For Chocolate and Erykah Badu's Worldwide Underground as for his collaborations with the likes of Wynton Marsalis and Herbie Hancock. With his quintet, he's been exploring a lot of soul-jazz of late, but come here expecting pretty much anything.
Todd Hembrook & The Hemispheres 9 p.m. at Bottom Lounge; $25
If you're down with the new soul trend, but don't want to spend an evening with a DJ spinning dusties, head on down to the Bottom Lounge, where Todd Hembrook's band of revivalists will treat you to an evening of classic covers. Everything from the standards to obscure gems will be on tap. Openers the Lowdown Brass Band, whom we interviewed at the beginning of '09, will add some funkified originals to the mix.
The Crystal Method 9 p.m.-4 a.m. at Green Dolphin Street; $40-$80
Want to dance? This massive club event is for you. In addition to electronic legends The Crystal Method (whose creations have been heard in clubs, on TV and in movies since the mid-'90s), you'll find 13 other DJs throughout the space, including Mario Florek and Just Joey. Forty bucks gets you in the door, while another $40 gets you open bar from 9 p.m.-midnight.
The Fiery Furnaces 9 p.m. at Lincoln Hall; $20-$25
One of the most exciting new clubs of 2009 (from the folks behind Schubas'), Lincoln Hall closes out the year in style with this eclectic brother-sister duo. Though the band's latest album, I'm Going Away (and its alternate version, Take Me Round Again), has something of a '70s pop feel, expect a variety of styles, as these two have run the gamut from experimental psychedelia to soft indie pop (they have a lot of love for the Beatles, it seems). This is also something of a homecoming, as the Friedberger siblings hail from Oak Park. Cryptacize (featuring former Deerhoof member Chris Cohen and entrancing vocalist Nedelle Torrisi) will open.
The Jesus Lizard 10 p.m. at Metro; $50
The recently reunited rockers have been drawing rave reviews for their appropriately raucous shows (wow, that was a lot of R's), and you can expect that David Yow and company will take the mosh-inducing energy to another level on New Year's Eve. Whether you're nostalgic for the '90s or just a newbie looking to thrash around, this show will not let you down. Buzz band Disappears will open.
Between the hours of midnight and one a.m., an interesting transition begins to take place. The experiences of yesterday meet the promises of tomorrow, making the present a fresh canvas where anything becomes possible. It's a blue-collar mentality that's been the unofficial creed of the Chicago hip-hop scene, and one that Diverse (Kenny Jenkins) religiously practiced while masterminding his aptly titled album, One A.M.
The album, released in 2003 by Chocolate Industries, helped usher in a new era of boundless collaborations. Working outside the control of a major label, Diverse commissioned a phenomenal cast of independent producers, including K-Kruz, RJD2, Prefuse 73, Madlib and Jeff Parker of Tortoise. The combination of intelligently crafted beats and slick lyrical sensibilities provided a fresh sound that contrasted the grittiness that most underground hip-hop fans were accustomed to.
Publications like the Chicago Tribune, Daily Northwestern and Illinois Entertainer quickly took notice, but it was voices outside the local media spectrum (URB, XLR8R and Remix for example) that validated Diverse on a global scale.
In the six years since the critically acclaimed album was released, however, Diverse has been criticized for responding modestly with just two singles ("Escape Earth" and "Big Game/Die Slow" ft. Vast Aire and Juice), and for a seemingly anemic touring schedule. The criticisms, as with most blind judgments, were unjust and vastly misinformed.
"Realizing what I put out with One A.M. - tangible proof that I have the potential to touch people and affect people thorough music - why wouldn't I delve deeper into that process of inspiring people?" says Diverse in regards to the length of time between releases. And while his touring schedule in the U.S. has been slow, he's maintained a healthy pace of shows overseas. Diverse has left an indelible mark in the many countries he's visited, and is even considered a pioneer in places like Australia and Japan.
The give and take between Diverse and the people he's met over the years has been fruitful, and as I spoke to him during this interview, his growth was evident.
His newest album, Round About, is the culmination of all these experiences, and thanks to the contributions of producers like Madlib, the late J-Dilla, Oh No, and Sa-Ra Creative Partners, it looks to be an inspiring story. "The new album is more intimate, as I've formed tangible relationships with the people I've collaborated with," he says. "And for those who have been waiting, I think I have made it worth the wait."
Well, we have been waiting. But before one of the most anticipated albums of the year drops, we thought it would be a good idea to sit down with Diverse and shed some light on the nature of his newest project.
Many fans haven't heard from you in a while. How has the success of One A.M. changed things for you?
Well, it afforded me a cost of living which is fortune in terms of the struggle. At this point music has been full-time for me and I?ve been working diligently in the studio, but over the past five years I've toured all over the world. I've had many opportunities to leave town. Essentially that first album afforded me the opportunity to commit my time and efforts full-time to music.
Did your departure have anything to do with lack of local support or opportunity?
Well you know, as an aspiring artist in the record industry you want to expand. Initially I had aspirations to travel through music, and it's essential in order to be successful on a larger scale. I don't perceive music or hip-hop in general as a regional thing either. Granted Chicago is a home base, but I don't really feel like the music appeals only to individuals from Chicago. So with that being the case, my frame of mind has always been to create music that extends way beyond my borders, and reach out to people on a global scale. I mean the content can relate to people whether they grew up on the streets of Chicago or in Sydney, Australia or Oslo, Norway whatever the case may be. I'm just trying to personify the human experience through music, and I think we can all relate to that.
My push to tour and travel had nothing to do with any level of support here in Chicago. It was mostly my initial ambition to tour and travel through music, and that is directly attributed to my willingness to travel worldwide and push and promote and market myself as an artist.
It seems like so much of who you are now is directly attributed to what's happened in other countries. Were there any countries that stood out as particularly supportive of your work?
Yeah, yes, I've done...there's a lot. Australia has been a real strong suit for me, I mean there have been others, but that country in particular stands out. I've toured there twice, and it's interesting to just go there. For example, I was touring here in the States and I was touring with Aceyalone and Ugly Duckling - it was a six-week tour - and about a week into it I had an opportunity to travel to Australia. So I left off of that tour for a couple of weeks to tour Australia and it was an interesting A-B type of experience; the contrast in regards to the reaction I was getting from the fan base here in America and picking up and going to Australia. And just seeing the energy and the reception that was being shared and given to me became overwhelming in comparison to what I was getting here, and that's not to undercut the support here and the shows in Chicago. But Australia in particular seemed to really revere One A.M. and dare I say it, but it's considered a classic release there.
That's interesting because when I think Australia, hip-hop isn't the first thing that jumps out at me. Is the hip-hop scene there relatively young?
Yeah it is young. And I'm working with one of my good friends who runs a record label called Earshot. He's one of the first promoters to start bringing hip-hop acts to Australia. He's been at it for about 10 years and it's an evolution. It's getting really big, over the past couple of years they're starting to show a lot more support to the local acts. But I think it's commonplace for most major-label artists or bigger indie-label artists to license their record over to Australia. There's a heap of touring opportunities and potential to sell records.
So during this time you've been touring and spending time overseas has Chocolate Industries been supporting you? I've noticed there isn't much pub going your way. Is the relationship still there?
Uh...ah...that's a tough question man. That's a tough question because I'm just not necessarily sure of it. Um, well the label is really good in regards to the support that goes into the production, which entails studio time and guest appearances and things of that nature; you know all the elements compiled to make a record. There is a lack of exposure in terms of promotion, but in today's world with so many different forms of media and so many different ways for artists to push themselves and market themselves, I can't put that solely on their shoulders. But I think that Chocolate Industries are just now sort of coming of age in terms of their promotional website and the online store and all of those things. So you know, I'm answering the question diplomatically [laughs].
Tell me about the new album.
Sure - the album is called Round About and the title pertains to the cycles of life we go through, and for me this record is taking it back to a place where I originally started musically, which is a little bit more soulful. I think with One A.M. I appreciated the musical backdrop, but I think some of those tracks were deviations from what I was doing, and what I was very much in love with at the time. And that just came about from `working with different artists and purposely trying to push myself outside of my comfort zone. I think it worked out well in regards to me sitting down and conceptualizing the new record, which I started quite a while ago. I have seen fit to make it very soulful, it's a very musical album. So I think that I accomplished that.
I got a great cast of characters who contributed to the project: Madlib, Sa-Ra Creative Partners, Jaydee, Chuck Inglish from the Cool Kids and Blu. It's great 'cause I think that One A.M. secured me with a little respect and appreciation. See One A.M. was forged with the label assisting with premium producers and bringing in guests, but this record was just sort of me having personal relationships with a lot of these artists that I ended up working with, you know. I toured with Madlib in Australia, and that's how we started working on some of the songs for the record. And a tour with Oh No, his little brother, he contributed to the record as well. It was more of an organic process this time around. But I'm extremely excited about it, I definitely paid attention to detail.
You mention things being more organic. So was One A.M. one of those situations where they sent you a beat via mail and you just rhymed over it?
Yeah with One A.M. that was pretty much the case. Working with RJD2, that came about by the label and working with Prefuse 73 that came about through the label, working with Madlib that came about through the label. I mean it's true that having worked with them happened through the label, but then subsequent to that, I toured with RJD2, became friends with Prefuse, toured with Madlib, became friends with Jean Grae and toured with Lyrics Born. I did a bunch of tours with Lyrics Born, about three separate tours with Lyrics Born. This time was a little different because most of the artists that contributed to the record I formed some sort of relationship [with].
It seems like two parallel experiences from one album to the next. So how does spending time with an artist like Madlib bring out a different side of you?
I don't necessarily know if any time spent with them or any articulation of thought or energy in person necessarily pushed me to the point where I felt inspired. More than anything else it was the music. But what it does do, you know sharing the same space with someone, does allow you to get a sense of who they are as a person and I think that when you have a better understanding of who someone is as a person I definitely think that you can contribute to their physical progression. I think that touring with Madlib and getting the opportunity to hang out with him every night gave him a better sense of what kind of beats he wanted to shop for the record. Sharing space with someone, doing a tour with someone and having the opportunity to interact with them on a nightly basis I imagine it would give someone a better understanding of who I am as a person. I personally try to reveal myself through my words as much as possible, but I think that people spending time around me definitely gives them a better impression of my character and what type of person I am and my likes and dislikes. I'm not necessarily saying that played any particular role in the material he sent over to me, I'm just imagining.
Other than Round About, are there any other projects we can look forward to in 2009?
The mix-tape that is sort of the promotional tool, the vehicle we?re using to get people invested. And that comes out with Nick Boogie, a great hip-hop DJ. That's like 18 songs worth of material; it's got some exclusives from Madlib on it, and it's got some exclusives from Oh No. It's a record and album; I'm as equally proud of this as I am of the actual album.
As I mentioned before, you've been gone for a while and Chicago misses you. What do you miss about Chicago?
I love...you know Chicago's home, Chicago's home man. Like I said, I?ve had a great opportunity to do so much traveling, but whenever I'm on that flight heading back to Chicago and we fly over Wrigley, and get the opportunity to see the landscape from above, I always get that giddy feeling. Chicago's a special place, family's here; it's got an amazing creative energy that I tap into. And the people, people with high aspirations and ambitions, but a balance with a sturdy sense of being grounded. So there's a million and one things I love about Chicago and I'm not at a loss. Regardless of where I might be resting my head, Chicago will always be home.
When it comes to the local hip-hop scene, it's safe to say that there is no one definitive style that embodies Chicago. Instead what we have is a diverse selection of tastes that span from one neighborhood to the next, and at any given moment you can hop on the L and sample a different flavor.
In the case of Vertual Vertigo, Ezekiel38 and Cerebral Vortex pull from many different influences, both locally and abroad, and capture a style of hip-hop that blends the nostalgia of the golden era with the progressive sounds of the underground. In the eight-plus years they've been performing they?ve released three EPs and two full lengths all of which have maintained a very entertaining tongue-in-cheek style of play. Centerstage caught up with the two to get a more thorough introduction to the budding artists.
You guys met in Germany. What brought you there?
Ezekiel38: yeah we met in the Nuremberg area in like 2000. I was in the military stationed over there, and Vortex was doing some school stuff. It's really coincidental that we met, and it turned out to be the best friendship and musical collaboration that I've ever experienced!
What's your take on the hip-hop scene there?
E: It's dope! There's a lot of things over there that are somewhat extinct over here. The graffiti scene is nuts! The government seems to be less concerned with buffing and locking cats up for graf, they seem to be more level-headed and committed as fans over there too. I mean every time we go back we see our fans growing with us. Not that that doesn't happen in the states or Canada too, but it just feels like we belong there a bit more. Maybe it's because we started Vert over there? Who knows?
Cerebral Vortex: Lots of hunger and dedication. The kids are really eager and righteously studying the science of hip-hop.
Tell me a bit about how you first got interested in hip-hop.
E: I was sitting on a bus, going on a field trip from a summer camp that I was in, when I was six or seven. I guess we had the cool bus driver because he was letting kids play tapes on the bus stereo. This one kid busts on LL Cool J's "Bigger and Deffer" and as soon as I heard that beat and LL like "I take a muscle-bound man and put his face in the sand..." It was over for me, I fell in love that very second. Stayed tuned in ever since.
CV: My uncle was the first rap artist to sign with the punk rock imprint Alternative Tentacles in the early '90s. Just being around that type of environment as a kid made me want to play a hands-on part in the budding culture. It was interesting to me how all of these equations formulated into one.
Who are some of your influences, both inside and outside the genre?
E: Inside, I mean there's the obvious ones that you can't help but be influenced by - Mos, De La, Tribe, Common, Nas, J etc-but then a few of my personal influences are Boogie Monsters, 3rd Bass, and Slum Village. Outside ? I have always drawn inspiration off of Edith Piaf, Shirley Bassey, John Lennon and Dylan, and actually quite a bit of punk rock from the '90s. I'm a huge NOFX fan!
CV: Eric B and Rakim, Bjork, Cyndi Lauper, Kwame, Prince, Fast Eddie, 3 Times Dope, Portishead, De La Soul, ATQ, Outkast, Gant Man, Kilo Ali, Boogie Monsters, Digable Planets, TV on the Radio, Biz Markie, Pete rock and C.L. Smooth, Zelda, Tracy Chapman and A Gun Called Tension.
You mention a lot of members (of Vertual Vertigo) who have come and gone. What's kept the core together?
E: Yeah, I mean when we started it was just me and Vortex, back then Cea3 and Medisin, but we had a bunch of different cats join the group for a little while and then leave. I think when it comes down to the Vert, it comes down to the brotherhood that me and Vortex have. It makes a big difference on the road, it can get ugly, and after 2 or 3 weeks touring in a cooped-up minivan, true colors come out of cats. DJ Japandrew is here to stay though! I would do anything for that dude!
CV: What's kept the core together has been essentially the foundation. We're brothers by cause, binded by a mutual love for what was, is and will be.
What's your take on Chicago's current hip-hop scene?
E: I think the scene in Chicago is always changing, constantly. When I first moved here, it was way underground, and we used to go to jams at ITC, shouts to PYRO, PUKE, WYSE and PEPS, ALL AIR CREW, or Tuesday nights at Sub-T when Bucktown was buck. But now, it's finally all the way out of its shell. It's nice to be able to go to shows and not worry about cops or gangs, or BS nowadays. I think it took the city's most relentless heads to build the scene to what it is today, and now everyone can enjoy it! Big ups!
CV: One thing about Chicago's hip-hop scene is that it's deeply rooted, very passionate and soul driven. And on any given day or night you can be walking down the street and come across your fave artist or DJ, past or present and acknowledgement is born. That's love and respect.
Tell me a little bit about the Good Will Hunting EP.
E: When we sat down and recorded the EP it was cold as hell outside and we were all twice as broke. Japandrew started cooking up beats in my basement on a super-old PC and a dusty ass turntable, it was really minimal, but during the height of the recession it seemed appropriate. At the same time the thrift stores were our only means of new gear and a Link Card was our only means of avoiding starvation. The EP pretty much paints a picture of how much we love hip-hop, and that no matter what we can keep it moving! You can download the whole EP for $5 at vertualvertigo.bandcamp.com. Our new full length LP is on iTunes too, Sparkies Bungalow.
I've noticed that the sneakers are always fresh. Any one in particular you're feeling right now?
E: This year's drops have been kind of disappointing to be honest, but I'm scoping for a pair of the Vans pea coat Chukkas. My guy Ike showed them to me yesterday and the jelly mode kicked in my stomach instantly. I totally slept when they dropped. Also the Reebok/Bodega pumps that just dropped, those joints look like you rocking tanks on your feet, but I always keep a fresh pair of J's and Alpha force 2's in the stash. Barkley had the dopest kicks in my opinion.
CV: Being fresh is part of hip-hop. The one pair I'm feeling in particular right now is the Nike Air Carnivore trainer hybrids. I'm losing sleep at night praying that Nike is going to officially release these and they won't go out as another pair of dope ass samples that never see the light of day. Other than that I'm burning rubbers in my fives with no laces.
Any favorite spots in Chicago to relax, shop, eat, perform?
E: Shopping: St. Alfred's, Uprise, Good Will and Salvation Army, Belmont Army, Juggernaut, Gramaphone, Reckless Records, Aurora Outlet Mall. Relax: Lava Lounge, The Crocodile, Sonotheque, NV, Moonshine, Smartbar, and Nick's Beer Garden after hours is always fun! Eat: Maxwell St Polish, Underdogg, Portillo's, Logan Square Farmers Market on Saturdays, Jewel Osco and Dominick's, the Link Card baby! As far as Performing: The best spots for shows are at: Sub T, Abbey Pub, darkroom, and Black Gate Studios.
About three months ago I received an email requesting my presence at the Red Bull Big Tune Beat competition, a tour that pits producers in head-to-head beat battles. I've been to functions like this before, but I wasn't sure what to expect considering this one was sponsored by Red Bull, which, as a brand, seems to have its finger on the pulse of the underground hip-hop scene. Walking toward the entrance of the Metro, I noticed a mammoth black SUV with the Red Bull logo splattered on the side. Inside the beast a DJ was spinning and in the trunk was an Xbox 360 available to pretty much anyone wanting to play. It was obvious that a lot of money went into this event. Could these producers measure up?
There were some notable names among the 12 competitors, including last year's winner, Tall Black Guy. As the competition progressed, though, it was clear some belonged there while others didn't; it was also clear that the producer who stood head-and-shoulders above the rest was Chicago's own J-Rell. The ease with which Rell dismantled the competition was noteworthy in itself, but what really impressed me was his humble, matter-of-fact demeanor. It's clear that regardless of who he's "competing" against, ultimately he makes beats for himself.
In the end, J-Rell edged out J-Mac of North Carolina, and the affluent crowd there knew they had just witnessed an important moment. Since the competition, Rell's name has been floating around some deep circles and big projects seem to be on the horizon. Centerstage recently caught up with him to see how he got started in producing and how winning the competition changed his life.
What was it about hip-hop that spoke to you?
Two words: no restrictions. To me, hip-hop is a culture that many misinterpreted as a bad culture to be part of. In the world of hip-hop you can turn nothing to something, from something to a much greater height of discovery. I first got into hip-hop around the age of ten. First group I ever heard of was Wu-Tang Clan through a relative. As time flew by I started listening to artists from mainstream to underground to unsigned hype. Overall I just love everything about it from the music, fashion and the creativity behind it.
How did you get interested in production?
I started off DJing at the age of twelve. The mentor who played a huge part in why I do both DJing & producing is Boolumaster. He's a well respected DJ in the city and I was the lucky kid who received the pair of turntables from him on Christmas day. It was also on his MPC 2000 beat machine where I had my first taste of making beats. I didn't start getting more into it until I received my first computer on which I downloaded a version of Hip Hop EJ. The program was loop only and you can only use the sounds built in it. As years progressed I was able to buy more equipment and software to help mold my sound.
Who are some of your influences inside and outside of hip-hop?
I'll have to say inside the genre will be producers such as J.Dilla, Kanye West, Focus, Nottz and Rza. Outside the genre I'll have to say the veterans such as Gamble & Huff, Quincy Jones and also Daft Punk. Doing your research on producers before you can really help your style in a good way.
As a producer you're the architect. What's your philosophy going into it?
Making whatever feels and sounds good to you. A lot of "beat-makers" go out of their way to just make what seems right for the radio or playing it safe. Not realizing that they are just a clone of the original creator of that particular sound at that moment. Hence why a lot of songs out now sound the same. When I approach a beat I go through my checklist. Is it creative but not over the top to where it'll be hard for the artist to express their creativity over it? Above all else, do I like it? I'm my own worst critic and won't save a beat unless I feel like I can play it twenty times that day and enjoy it every time.
Do you have a different approach if you're producing for an MC?
Not really. What normally happens is I'll know beforehand what that particular artist likes. I'll play or send a few beats that I can hear he/she over, give them my idea as far as a song subject matter and we'll build from there.
Are you working with any MCs right now?
Yes. To be honest ever since the Red Bull Beat Battle, the demand has definitely increased. I'm currently working with artists such as Enigma, Prallem, Dave Pracyse, YP, 3tre, Esohel and a list of others. I'm focused on making the best music possible with those that appreciate art.
Tell me about the Red Bull Big Tune Beat Battle?
It's a head-to-head producer battle that was held here in Chicago. Out of around 220 submissions, twelve producers were chosen. Each producer played two beats and the crowd made the ultimate decision on who stayed and who went home. I was blessed to be able to win the crown as Chicago's '09 Big Tune Champion and compete in the finals in Atlanta in November.
There was an interesting blend of competitors there; you had your old-school heads, the younger generation and some progressive-minded producers. In what ways is this batch of producers changing hip-hop?
I wouldn't say it's changing hip-hop but that it's what makes hip-hop what it is today. A melting pot of different sub genres and regions that you can go to based on your personal preference. You need variety and without it you're stuck with an abundance of the same thing. If you get tired of mainstream you can run and find something fresh and new underground and vice versa.
What do you think about the underground's relationship to mainstream hip-hop?
Unfortunately it has always been segregated. Underground you have more freedom musically but less perks - no huge budget, or extravagant tours - to where mainstream you lose a bit of freedom but you gain much more as far as marketing to get more fans, radio play, and in most cases money. But at the end of the day both influence each other and I would personally like to hear more underground heard on a wider scale, but that's another interview.
How have things changed since the competition?
For the better! More people have reached out for collaborations, the name J-Rell is ringing a little bit more, and it's something I can add on to the resume so I can't complain at all. I'm very humbled by it.
What's the next step for you in terms of continuing your success?
Not limiting myself to just one thing. From here, I'm working on building my brand not only as a producer but also as a DJ which is my first love, music artist, and artist development for musicians I work with. I feel that's one piece missing from the industry, which is the molding of an artist past their one hit single and to help bring longevity in their careers. Mark my words, Jeff; it won't stop here.
Terrible Spaceship is a group of musicians who get inspired simply by looking up. Its sci-fi sound features an incredibly funky combination of head-nodding drum breaks, gravity-defying melodies and choppy guitars, which are all weaved together by cleverly placed snippets of film dialogue. Thanks to polished musicianship (five of the members are also in longtime Chicago funk collective Bumpus) and elaborately crafted stage shows, the group seems destined for intergalactic fame. Still, bass player/composer Travis Chandler took some time out to give Centerstage the whole story on Terrible Spaceship's mysterious origins and futuristic plans.
Who makes up Terrible Spaceship and what are your respective talents?
There's a small army of us. I'm [Travis Chandler] the bass player and composer of the music, Zack Marks is on drums, James Johnston plays guitar, Andy Rosenstein is on keys and glockenspiel, Brent Pulse and Adam Kaltenhauser play a wide variety of bells, whistles and samples we collectively refer to as the "science," and Whit Nelson runs our video show, which Tim Frick helped to create.
How did you guys form?
I'd been saving up break-beat instrumentals for years while playing with the band Bumpus, but hadn't really done anything with them. One day I was in a thrift store with my girlfriend and found a record of the 1938 Orson Welles "Invaders from Mars" performance on sale for 99 cents. I brought it home and threw it on, and was totally mesmerized. It's such a great story, and Orson Welles is an incredible narrator. On my second listen, I started realizing how fun it would be to wrap my instrumentals around the narrative told on that 1938 record. I never thought it'd be a live act, but when a couple of my bandmates pushed for the idea, we decided to give it a shot as a performing band. We took clips from old science and social education films from the era and developed an accompanying video that tells the story as well. So far we've played three shows, and it's going really well, I think. We're not like anything else I've seen, and I'm proud of that.
The science-fiction theme seems like a fully realized concept for you.
I've always been drawn to cinematic music and big beats, and with this project I've really been able to do both, which is exciting for me. It's also incredibly fun for me to work this material into a narrative, and that's really become the hallmark of this band. The first record was completely driven by that 1938 Orson Welles record. The second album, which we're performing the first five songs of live, is based on an old sci-fi movie. It's the story of Zontar, an alien determined to rule the planet. Come see the live show, and more of the story will unfold.
With so many heads involved, what goes into making a song for you guys?
I write all the songs at home on my couch. Sometimes other places, but I'd say 99 percent of the tunes I write are put together on my laptop while sitting in my living room. How exciting is that?
The songs are composed exclusively in Garageband, the free software that comes with Macs, and I bring it to Chris Harden at IV Labs for mastering. Then the band and I work the song over like crazy for live performance. Usually we memorize and play everything exactly as it is, and then begin to branch out slowly from the original tracks. I am very, very lucky to work with such talented and patient bandmates on this stuff. It's a really difficult act to pull off live ? when you are syncing the music to video, there is no room for mistakes. The guys put everything they've got into it.
What's a typical day like for Terrible Spaceship?
Run the set, run the set with video, have a beer, run the set with video again...
How did you link up with Stephanie Izard (of "Top Chef") for her new show?
We all like Stephanie. She's great, and one of James' old friends. They go back long before her victory on "Top Chef." James asked me if I'd be up for scoring her podcast, and I love that kind of work, so I agreed. Stephanie is incredibly fun and easygoing, which makes her a delight to work with. Her new restaurant, The Drunken Goat, is opening up soon, and I plan to eat there as often as I can.
How does Chicago inspire Terrible Spaceship?
This is the city of my birth, and I love it. I feel like Chicago artists are always trying a little harder than everyone else, struggling to be heard above our noisy coastal competition. I'm proud to be a Chicago artist.
Where can we grab an album?
The first record is currently available on iTunes. The follow-up record, Terrible Spaceship presents: Zontar, The Thing from Venus! will be available by the end of the year. You can check us out at http://www.myspace.com/terriblespaceship.
What other projects do you have coming up for this year?
Raising my four-month old daughter. That ought to keep me busy enough.
Extraterrestrial life in Chicago, your thoughts?
Yes, please.
Moneypenny
Cribs look to catch on in the States with a stop at TNK.
Truman Peyote
Owen Pallett
Lee Fields
