© Ian Rook 2009

The temperature has risen, clothes are coming off, and restaurant windows are opening up to signify the return of summer in Chicago. On a hot, steamy, and sweaty night last Sunday I found myself standing in line with 100 other punk rockers from around town, most of them in their mid-40s, waiting to see the band that changed their life in high school. Instantly noticing that I was the youngest in attendance at the Double Door, I wondered if the fellow punk-rockers next to me were curious on how I found myself outside this venue tonight. But on this sultry summer evening, once the first note rang out over the loud speakers in that sweaty club all inquires were forgotten.

The questionable opening act before the Buzzcocks took the stage in front of a packed, sold out crowd. The Dollyrots, left little to be desired from a female-fronted trio on Joan Jett’s record label Blackheart. The singer’s blonde curls and high-pitched voice squealed through the voices in a crowd less than interested in what this twenty-something had to offer.

Finally, after waiting two hours since the show was listed incorrectly online, the Buzzcocks took the stage. Hailing from Manchester, UK, the foursome known as the Buzzcocks hardly look like the troublesome, angry punk-rockers from their heyday of 1976. Lead singer Pete Shelley mumbled and stumbled through the lyrics and even missed a sentence or two throughout the night. His right hand man, Steve Diggle, kept the crowd engaged with continuous fist pumps and cheers, but the overall performance was sloppy and off-par with their classic sound. Maybe I am just 30 years too late to catch my first Buzzcocks performance, but the highlight came after the first half of their set (an impressive 15 songs) to catch “Ever Fallen In Love With Someone You Shouldn’t've” one of the Buzzcock’s most noteworthy songs written long ago by this aging foursome.

The Buzzcocks rounded off the hit with another 14 songs, an impressive feet for any band, young or old, to pull off a 30-song set in less than 2 hours. The consecutive power chords, simple melodies, and fierce energy created by the Buzzcocks will always have a soft spot in my heart, even on their next tour where hip replacements may keep them from putting on the show of a lifetime.

For those music fans who still enjoy a tangible product, your holiday is almost here! The 3rd annual RECORD STORE DAY will be here this Saturday, April 17th! Hopefully you’ve been saving up your cash, or have a credit card with a big limit because Saturday will be an expensive day.

The idea originally came about back in 2007 when creators “Eric Levin, Michael Kurtz, Carrie Colliton, Amy Dorfman, Don Van Cleave and Brian Poehner as a celebration of the unique culture surrounding over 700 independently owned record stores in the USA, and hundreds of similar stores internationally.” As a former record store employee I understand the value that mom & pop record stores have in both the local community, as well as the bigger picture in the recording industry. Big box stores like Walmart and Target may use CDs as their “loss-leaders” (a product they actually LOSE money on to bring people in the store), but those stores also can’t offer the knowledge and atmosphere that your favorite hole-in-the-wall record store can offer.

Check out the local listings for your community if you are outside the Chicagoland area. If you live in Chicago, block off your entire day because there are give-a-ways, live performances, and discounts from early in the morning to late into the night. Not to mention special releases just for Record Store Day!

We’ve got your day mapped out under the cut Chicago!

Dave’s Records will be offering cupcakes, t-shirts, and good conversation with purchases throughout the day (minimum purchase amount required for all of the above!)

Permanent Records is giving away FREE goodie bags w/free tote (while supplies last) with other surprises in store!

Laurie’s Planet of Sound has live music!
12:00 pm - Algebro plays live!

1:00 pm - VEE DEE plays live!
2:00 pm - Johnny and the Limelites plays live!

3:00 pm – Bill & Lisa of CoCoComa & Trouble in Mind Records DJ!
5:00 pm – Pat & John of The Autumn Defense & Wilco DJ!
6:00 pm – Trevor & Laurent of Pelican DJ!
8:00 pm- DJ Wet Blanket (aka Tim of Laurie’s) DJs!
9:00 pm – DJ Samorama of Laurie’s rounds out the night!

Reckless Records has live in-stores!
BROADWAY Store (3126 N. Broadway)

POISON ARROWS 1pm
GRAVEYARD TRAIN (CREEDENCE COVER BAND) 2pm
HEAD OF SKULLS 3PM
REGRESS 4PM

LOOP store (26 E. Madison)
LOVE OF EVERYTHING 1PM
PLAGUE BRINGER 2PM
SWEET COBRA 3PM

WICKER PARK Store (1532 N. Milwaukee)
PHIL COHRAN 12:30PM
THE ETERNALS 2PM
PNS from MOLEMEN 3PM
LIAM HAYES & PLUSH 4PM
AZITA 5PM
Rock n’ roll caricatures by Steve Krakow aka Plastic Crimewave (12-5)

Reggies/Record Breakers has discounts, live shows, and more!

Is there something we missed? Let us know in the comments!

I remember the first time I heard The Menzingers pretty vividly. It was back in August ’08 on the first day of a tour with Michigan’s Fuckin’ Gnarly that I was doing, and we had a show with a ton of bands at a some tiny house in State College, PA. About 24 hours before the show, I had just had staples removed from stomach from an emergency appendectomy that I had about a week and half before that, and against my better judgment I decided to travel across the eastern seaboard with 5 guys in a cramped van. About 2 hours into some rather mediocre bands playing through a horrible PA, I sat on a moldy couch watching said bands and started to regret my decision to embark on the journey, but then the Menzingers took the stage floor and all regret vanished. Somehow, the foursome was able to sound flawless through the cheap sound system, and after they torn through a cover of The Clash’s “Straight to Hell” I was instantly enthralled with them. It is not often that bands really wow me just off their live performances, but they were just that good.

The Menzingers – “Home Outgrown” (Altpress.com exclusive) by altpress

Ever since, I’ve seen nothing but promise in the band from the handful of times I got to witness them live and from their ’07 debut full-length A Lesson In The Abuse Of Information Technology and  last year’s remarkable Hold On, Dodge EP. Influenced heavily by folk rock and anything related to the Clash, you’re going to hear some obvious similarities to punk legends like Billy Bragg and the aforementioned Londoners as well as their contemporaries like Against Me!, Dead to Me, and The Gaslight Anthem. From their boisterous punk anthems to their acoustic folk numbers, these Pennsylvanians prove that they are meant for more than the basements and small clubs they are used to playing.

Since signing to Chicago label Red Scare Industries a little over year ago, the band is starting to finally get their due as they have landed larger shows and tours, and are now getting some attention from the press.  Named one of Alternative Press’s 100 bands to watch this year, the quartet will be heading out this spring as openers for NOFX and Against Me! in support of their upcoming full length Chamberlain Waits. Their latest effort is currently being streamed on the band’s MySpace page, and after a few listens I can say it is quite the barnburner.

Chicagoans, make sure to check out The Menzingers at the Subterranean May 29^th with Banner Pilot, The Ataris, Cheap Girls, and more.

Photo Credit Not Found

I walked in on time to catch the last half a dozen songs by The 54, who reminded me slightly of Incubus. They got the crowd riled up and by the time they were finished everyone was anxious for more, as though they wanted a seamless continuation into Janelle Monáe’s set. However, that was far from what happened. Set to take the stage at 9:15, Monáe didn’t go on until almost 9:45. Running a half hour behind production due to a flawed projection system.

Finally the lights dimmed and a track began playing with a man introducing the performance we were about to witness, four black cloaked figures headed toward the stage; it was all very dramatic. The crowd whistled in anticipation, and then Janelle Monáe dropped her hood and the music began blaring as she rapped into the microphone. Movement began at once and the crowd was again in a roar. On stage Monáe was wide eyed with her big brown eyes, and her style of dancing was slightly rigid, yet still flawlessly fluid, like a soulful robot or perhaps like an android, which is suitable due to the title of her debut album The ArchAndroid.

While the music was completely enjoyable and dance worthy, I couldn’t help but wonder, why Schubas? Her performance style was too big and grandiose, it seemed to be designed for a 1,200+ person venue say The Metro rather than a small place with the capacity of about 200 like Schubas. Despite starting half an hour late for the projector, the images weren’t really worth the stall, and I felt completely confident that she could have improvised and not used them to start on time. That’s not to downplay her musical ability, she was talented, diverse and capable of melding several genres into her own unique style, the performance was… just too much for one show.

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As keyboardist Dave Trichter started playing a suspenseful introduction singer Joe Mach slowly approached the stage, hopping on just in time for the band to explode into “$$$” (my favorite song on their 13-trackalbum). The early show (doors at 3pm??) pulled in only 30-40 heads but Hotspur worked with the small audience to make the room feel even smaller… and jam packed. The band transitioned into song after song seamlessly and without pause. When they finally did take a break the crowd burst into cheers, urging on the next song.

Off stage the boys are making waves as well. They recently won MTVU’s “The Freshman” contest with their song “Chandelier”, traveled to SXSW, and are currently on a Midwest/New England tour. I cannot recommend Hotspur highly enough to the devout pop-rocker like myself. Super catchy hooks and choruses and beats with high impact make this a difficult act to forget, and one you should check out before they start selling out clubs across the U.S., which I predict for them very soon.

If there is one thing I hate about going to a lot of shows, it is having to sit through the same shitty local opening band that somehow manages to get on every show I go to. I mean it can get to the point where I know words to songs by these terrible musicians solely because I’ve seen them so many times. However, every now and then a really good band is that local opener, and lately for me that band has been Elgin, IL’s The Brokedowns.

“Sean Spencer” by The Brokedowns

This foursome has been playing shows in and around the Chicagoland area on a seemingly daily pace recently, while putting out releases just as quickly as they’ve released split EPs with The Copyrights, The Arrivals, and Turkish Techno within the last year. In addition, their 2007 full-length New Brains For Everyone was re-released on vinyl just last week via Traffic Street Records. These guys are the definition of workhorses.

“Pro-Gear, Pro-Attitudes, Pro-Results” by The Brokedowns

Musically, The Brokedowns play an abrasive, loud punk style that is reminiscent of Dillinger Four and Off With Their Heads that should draw the ear of any fan of the sound coming of the Midwest punk scene lately. Like many of their peers, their music is quick and straightforward as  there are no elaborate guitar solos or whimsical instrumental tracks to be found in their work; it’s all pretty blunt and to the point. Regardless, the band will keep your interest with their steadfast music and witty, oft-political lyrical content. One of the things I enjoy most about the group is actually their stage banter, and if you ever see them you’ll understand it. It like being treated to mini stand up routines between songs. All in all, it is quite refreshing to hear a local band ripping up the stage instead of my eardrums.

Make sure you do yourself a favor and give their full-length New Brains For Everyone here right now!

We are putting a lot of blood, sweat, and tears (well maybe not so much blood), into this project. Check back for video updates, concert updates, and love. We need you now, help us spread the word!

FamiliarizeYourself.com has big things ahead.

Need legal advice?  Check out this webinar.  Yeah, I said Webinar.  It’s short for “web-based seminar.”  I didn’t know such thing existed until I found this thing.  Basically, it’s an online seminar, but not to be confused with a webcast.  Webcasts are one way – the people talk at you and you watch.  But webinars are interactive.  You have the ability to give, receive and discuss information in a webinar.

The ARTS & BUSINESS COUNCIL of Great Boston is putting this webinar shenanigans together.  Unfortunately, there is a fee of $20, but hey, cheat the system.  Just have five friends come over, and then you only pay $4 each.  Not bad, eh?

Description:

You know that works are protected by copyright law, but you keep hearing the term “fair use” but you aren’t sure what this term means or how it applies to you. This seminar is aimed to help you understand more about what fair use is and how it applies to copyright law.

Presenter: SHERI MASON

Sheri Mason joined Volunteer Lawyers for the Arts (VLA) as Director of Legal Services in September 2007. Prior to joining the VLA, Sheri worked as a Project Manager at a pharmaceutical training company where she managed the development of training curriculums and materials for pharmaceutical companies.

As Director of Legal Services, Sheri administers the legal referral programs, conducts legal research, and assists clients with their cases. Sheri graduated from Suffolk Law School in 2007 with a Concentration in Intellectual Property, with distinction. She received her B.A., with high distinction, from the University of Rhode Island. She is a member of the Boston Bar Association, the New York Bar Association, and the American Bar Association.


REGISTER HERE:
https://www.bostonknows.com/webinar/webinardetail.php?webid=45&code=

CONTACT:

(617) 350-7600

sheri@artsandbusinesscouncil.org

URL:

http://www.artsandbusinesscouncil.org/articles-items/what-is-fair-use.php?p=5&gr…

devanmarie

devan@familiarizeyourself.com

On the eve of Cursive’s 1-year anniversary for their latest release, Mama, I’m Swollen, Cursive swung through Chicago to play one of my favorite venues in the city, the Metro. Playing two sold-out shows with Alkaline Trio and the Dear and Departed, this is the first time we have seen Cursive in the windy city in over 6 months, and the first time we have seen them not in the headlining position of a tour. Before the show on Sunday I had a chance to catch up with bassist Matt Maginn, a man who majored in environmental science but was quickly whisked away into the life of a touring musician.

FYW: Two years ago I caught your performance at Subterranean where you guys previewed your newest album to the crowd before it was even entirely recorded. Is this something you try to do with every release?

MM: Anytime we can we try and do that- we did it with Mama quite a bit. We did it with Ugly Organ, but with Happy Hollow not as much. Ideally yes, but with every record we don’t have to. Mama was the most thorough we’ve ever [road-tested the album]. We were playing songs live that we’d never even recorded. That’s good and bad, because then there’s a few fans out there that heard it, or have a YouTube clip of it and they’re like “you guys are jerks, why didn’t you put that song on the record?”

FYW: Will we get a taste of any new material tonight?

MM: Uh, no (laughs), we haven’t had any time to write anything. We’re hoping to do that this summer. I would bet it could be a year and a half or longer before a new release. Just knowing that Tim’s schedule is getting real busy and I have some stuff that I’ll be doing.

FYW: What is your day job when you’re not involved with Cursive?

MM: I work with Team Love Records out of New York, and there’s only three of us so I do a little bit of everything. We’ve got The Felice Brothers, Tilly and the Wall, we did the first Jenny Lewis solo record, we did a Shudder to Think live record, and then lots of new up-and-coming bands.

FYW: You’ve been with Cursive for more than a decade, what advice do you have for new artists just emerging out of college that are trying to make a living by doing something they love? Does it make more sense to seek out the labels or to produce the product on your own these days?

MM: I don’t know since it is so different now. I would say first of all don’t try to make a living off of it. And then second, I would try to encourage doing everything yourself until you realize that you’ve limited your knowledge, or your knowledge has limited you, and then therefore you need outside help or influence.

FYW: Did the record label make sense back when you first started? You teamed up with Saddle Creek pretty early in your career.

MM: Saddle Creek was a label that we founded together with the guys in Bright Eyes and the Faint. So it wasn’t like we went to a label, it was still us doing it. I don’t feel like we’ve quite ever gone to a record label. [Saddle Creek] has changed now, there’s a single owner and they’re a full functioning label, but at that time, that developmental time, until 2002, they weren’t doing anything more than producing and releasing. You didn’t have that extra influence, they did a good job, but now it’s just different.

Cursive at the Metro

FYW: Now that you’re actually involved with a label do you find that it’s helpful to tell some of these new bands what to do, since a lot of these bands are entering the scene with absolutely no idea how the real world works?

MM: We try to always give the best advice we can. Usually it’s shit they don’t want to hear, like you can’t wait for your friend’s band to take you out on tour to book your own tour, or you can’t wait until you find a booking agent to book your own tour. I try to encourage none of the waiting that people are very comfortable doing. Managing expectations is another big one. Just speaking from experience, we obviously wanted things to go great, but we were realistic in setting really small goals and then we would increase them overtime. Just trying to allow bands to know that it’s not going to happen quickly and easily, or even profitably, it’s just not possible. Not going on tour because you’re not going to make any money is a reason that you shouldn’t even be in a band I think. You’re not going to make any money [touring]. I sound like a salty old dog.

FYW: Your albums are filled with emotion and intensity. Each album seems to be a different chapter in your lives. My first exposure to Cursive was your 2000 release, Domestica, how do you think your sound has evolved over the decade?

MM: At that time that album was a very DC/North Carolina area influenced place that we were coming from. That’s still inherent to what we do naturally, but I think we just tried to get a little more challenging and experimental, as much as we can.

FYW: If you could go back is there some stuff you wouldn’t do again?

MM: Not really, I think we’ve just followed our heart and done what we found interesting at the time. There are definitely songs that I don’t find interesting anymore, but at the time they were. And we were working towards whatever full composition we were trying to create, whether it was Burst and Bloom or Ugly Organ, or Happy Hollow, or Mama. Now I feel like I really want to take more risks, just to keep it interesting and exciting for us. Looking back it’s the riskier things that turned out to be what we still enjoy and what we get into. There are times that you think you’re being extremely risky and no one notices, from the layers of instrumentation to lyrical content.

FYW: How did this tour with Alkaline Trio come about? Were you guys pretty close before?

MM: We’ve had friends in common for years and we’ve followed the band since the late 90s. They released their first record a year after we released our first record. We existed in the same generation and we never really had the opportunity [to tour]. They are a larger band, and they were kind enough to ask us this time. We rarely get the opportunity to support somebody that we liked, and we were happy to join.

Alkaline Trio at the Metro

FYW: Your current tour with Alkaline Trio is pretty intense, you go almost 15 days straight without a day off, is this because you are seasoned professionals and aren’t afraid to wear yourselves out? Any concerns on straining your voices or exhausting yourselves sick?

MM: It was a concern since we usually travel by van. I think we did 19 shows in a row last time and that almost wore us out. This tour I think we do 20 [shows] in a row, but we’re on a bus so you get a lot more sleep. With the van we were realizing we were getting 3-6 hours of sleep max. I think we’ll be OK. We drink a lot of Emergen-C and it works! If you feel a cold coming and take a bunch of vitamins it will knock it back, then a week later it will try and get back in.

FYW: Who is the coolest act you have opened for, played with? The Cure tour in 2004 must have been amazing, any good stories from the road with Robert Smith?

MM: I always have to default to that, they were an extremely nice, super hospitable band. We had the opportunity to just hang out and talk with them. The only story I guess would be when our drummer, Clint, was getting his photo taken with Robert, they put their arms around each other and he leans over to Clint and whispers, “Look Depressed” and then immediately puts on this super depressed face for the camera.

FYW: What are you listening to these days that our readers should be familiar with?

MM: I’m listening to a lot of this guy, AA Bondy, he’s pretty dark and sort of folky. He’s a pretty awesome lyricist and great melodies.

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I’ve got a an event coming up here for you guys and gals to check out.

I couldn’t make it out to the last AT WORK: Touring Tips forum through the Cultural Center, but I heard it was pretty good from my colleagues who made it there.  So I’m going to tell you about the next one coming up since this stuff is legit.

This FREE event is great for musicians and bands in limbo.  But it’s not only for those guys and gals; if you’re a music business major or getting some sort of an arts management degree, you should go, too.  It’ll help you see what it is that artists and musicians are looking for, and help you get the upper hand when looking to manage them.

This forum is a panel discussion [only an hour and a half – you can handle it].

Date:
March 15^th, 2010

Time:
6:00pm – 7:30pm

Location:
Chicago Cultural Center
78 E. Washington St.,
Chicago, IL 60602

Admission:
FREE

devanmarie

dmarieperine@gmail.com