Deconstructing Jim - Chicago Innerview Preview

Well I'll be damned, if it isn't yet another reason to visit Joliet — the heavy rock trio known as Deconstructing Jim adds another layer of intrigue to the diamond-in-the-rough allure of Chicago's southwest. Combine syncopation, fuzz, distorted bass and full, strong vocals and you get the heavy sound of Jeff Julian (vocals/guitar), Matt Yeager (vocals/bass), and Brennen Chouinard (drums). You can look forward to a rhythm section that makes the Running of the Bulls sound like ants fleeing an anthill, and guitars that sound like frogs being crushed by the dozens. Pretentious solos are not the style of Mr. Julian, nor are lyrics about topics being covered daily on the WB. The songs I heard from their newest album, A Future Told By Swords, reminded me a lot of Queens of the Stone Age — some good riffs played loud with that sweet and spicy Joliet flavor. Who is Jim? Maybe someone whose head spontaneously exploded while listening to this band. - Billy Kenefick, ChicagoINNERVIEW

Deconstructing Jim

Lusine Concert Preview

From the dusty plains of Texas comes the Seattle area's finest abstract electronic innovator, Lusine (a.k.a. Jeff McIlwain). Makes sense right? But then again, a lot of electronic music thrives on not making sense in the traditional, pardon the pun, sense. Lusine's sound has bits of everything in it; ambient hums, record pops, obtuse bass lines, melody and of course, good rhythm. There's a variety in his sound, seeming to derive from the whole family of electronica, including distant cousins like hip hop. Lusine is a DJ that has not only done his homework, but paid attention in class as well. That being said, with all his learnedness he still respects the integrity of a dance song and won't nerd out with too many blips, screeches and pangs. Your best bet is to get a spot away from the bar so you can hear and appreciate the intricacies of his tracks instead of the constant sound of sticky vodka tonic glasses clinking together. (Appearing at Sonotheque on May 17) --text: Billy Kenefick-

http://www.chicagoinnerview.com/archives/may07_previewD.htm

BUSDRIVER - RoadKillOvercoat

Busdriver is nuts. But in a good way, and I can explain.


After living in Los Angeles for four years, I learned about a special type of person that is most easily described as a “LA Person.” This has less to do with TV stereotypes (surfer, weed, blonde, gangster, hippie, skater etc), and more to do with a simple, yet important characteristic that I noticed. The “LA Person” to which I refer is someone that when taken out of their native habitat and placed in a foreign environment, will either flourish or perish instantly.


Case in point: I was driving through Venice one night with my friend, and his windshield started to get all foggy with condensation. I said “Hey _____, why don’t you use that (pointing at defrost) button,” and he said “No way man. This is an old car. I don’t want to start using those buttons now...” He proceeded to open his window more, letting in the nice sea breeze. Clearly, my beloved friend is an LA person that might perish outside of his home habitat/environment.


Busdriver (Regan Farquhar) has proved to be the other type of LA Person because since his music has brought him out of his home, he has not stopped flourishing. He is a native and veteran of the underground hip hop scene, performing at the open mic at the Good Life Food Store in South LA, as well as on his friends’ singles starting at age 13. Now, after a few underground albums that have steadily built his reputation for bringing an avant-garde and surreal approach to hip hop, Busdriver brings us his latest album, RoadKillOvercoat<|>. Released on Epitaph, a label that has been scooping up ‘underground’ hip hop artists for the past few years (Atmosphere, Eyedea, Abilities), RoadKillOvercoat shows you that hip hop can be labeled as ‘indie’ without mellow organs, standup bass and live kits or mellow beats. In fact, it can be flamboyant, bizarre, awesome and straight-up weird.


Such is the case RoadKillOvercoat’s twelve tracks; each completely unlike each other, except for Busdriver’s quick, emphatic and abberant delivery. The easiest track for someone to like would be “The Troglodyte Wins,” a slow moving dub is peppered with some dance-hall influences. The genius of other tracks, like space-ship synth of “Less Yes’s, More No’s” may be harder to understand. Pure freak hop that takes no prisoners.


This album, and Busdriver himself both prove that sometimes listening to thats weird little voices in your head is probably a good idea. We all have them, but maybe they are easier to hear in LA.

Richard Swift - Concert Preview

It's one thing to be known as a singer, but is it different to be known not only as a singer but also a ‘songwriter’? Sure, obviously most singers are songwriters, but I argue that to be known distinctly as a songwriter is different. Richard Swift's comparisons to Burt Bacharach serve as an example. Singer, songwriter and entertainer…good old Burt. What a guy. Richard Swift too; he has an undeniable creativity that is pervasive in his music, a quality that resonates alongside an intelligence that isn't annoying as much as it is appealing. His lyrics are funny, his songs are unique (often piano-based, although he is famous for his multi-instrumentalism) and his overall shtick could be consider artsy…but that would be oversimplifying. Swift could play a piano lounge on the Gold Coast just as easily as he could get the hippies and festival people on their feet during an afternoon campground show. You'll like him without even realizing it. (Appearing with White Rabbits at Schubas on April 24) --text: Billy Kenefick

Seen in Chicago Innerview
http://www.chicagoinnerview.com/archives/apr07_previewD.htm

House Of Fools - "House of Fools" EP

I’m sorry, but I find this EP to be pretty much…lame. The self-titled product of House Of Fools, the Greensboro, North Carolina-based sextet isn’t doing it for me. That isn’t to say that they aren’t talented. I’d venture to say they are, and that their stage revue would be more rewarding than your average group of six or so dudes singing heartfelt, yet clever songs. The piano and keys of Matt Bowers make for some bouncy, melodic tracks and Josh King certainly is no squealing, near-death aardvark-sounding vocalist behind the microphone. It’s your typical, emotionally driven rock experience that sways more toward the Wilco crowd than your Dashboard kids. The five tracks on this EP, however, just don’t seem to crack the almonds for me.

Not to mention that it comes in the EP format. I find most band efforts falling short of success with the EP. At best, releasing an EP is gamble. Is it a statement? Will anyone listen? Will your fans consider it a collector’s item or a coaster? Or will they interpret it to be a part of a convoluted marketing plan? Was it just too hard to wait till the next six songs are ready?

Hell, with the ferocity of the internet music pirates these days, I guess I can’t blame the House Of Fools for releasing something now… before those ravenous bastards stick their sharpened USB drives into growing creative baby of an album in progress, only to suck whatever small amount of potential it had…the positive results of multiple musical gems existing in harmony of a complete album structure, belittled by the lightning-quick assault of heavy downloading…

What a dicey tangent, especially in this day and age of bands embracing the pirate culture and riding the wave of blitzkrieg publicity, and those fighting the transition to the death.

Back to the point: this EP isn’t horrible, I just don’t find it to be particularly enticing. It’s like being at a premium open bar, but not realizing it until you’ve accidentally paid for three Bud Lights. Not an entirely bad situation, but we all know the real deal should and will be much better.