This weekend was a big one for fans of expansive and creative indie-rock. The city’s annual Wicker Park Fest (which featured performances by Owls, Hop Along, Foxing and Pet Symmetry) happened to coincide with a Dikembe and Kittyhawk co-headlining tour, compounding the already hard “who should we see” debates that festivals bring on. Luckily, we were able to catch both! Hit continue reading to check out our review and photos from both events. Continue reading
The first time Modern Baseball came through Chicago, their set was spoiled by a horrendous gas leak (RIP ARBY’S). Thankfully nothing threatened the band’s Friday the 13th set at the Subterranean, though they made sure to dedicate two songs to those OG fans that braved the basement show. The Philly natives brought along Sorority Noise, The Hotelier and Tiny Moving Parts to round out their stellar lineup.
Sorority Noise’s set brought new life to their debut album Forgettable’s jangly pop-punk. Guitarist Adam Ackerman showed off his 80’s power-metal-inspired shredding as Cam Boucher led the crowd of eager fans through pile-on inducing jams like “Still Shrill” and “Rory Shield”.
For their set, The Hotelier brought out the best tracks of Home Like NoPlace is There. Bassist Christian Holden’s throat-shredding shouts on stand-out tracks such as “Life in Drag” and “Your Deep Rest” made the album’s already poignant songwriting positively goosebump inducing. While the band’s new full-length is meticulously layered and composed, the band managed to do songs such as “Dendron” justice without the aid of the studio.
Tiny Moving Parts let their undeniable musicianship shine on stage. Watching vocalist/guitarist Dylan Mattheison sing and simultaneously play the band’s mathcore chords without a flaw was nothing short of astonishing, especially when you take into account how much the band moved around while playing fan favorites like “Vacation Bible School”. The band hinted at their new album being more melodic and catchy and if the guitar-tapping riffs of the song they debuted from it is any indication, their sophomore LP is going to rip.
Branden Luken’s pneumonia didn’t stop Modern Baseball from putting on an amazing show. Guitarist Jake Edwards stepped up to lead vocal duties with Cam Boucher filling in for Luken on guitar. While Luken was certainly missed, the packed club made sure to make up for his absence by shouting along to every song the band played from “Your Graduation” to “Pothole.” Adding to my admiration of the band, you could tell that Modern Baseball was having as much fun as anyone in the audience, sharing their love for Chicago and joking with the crowd despite a few inexperienced crowd surfers knocking over mics (you guys have to RUN before you jump). The quartet even came out for a shirtless encore with “hours outside in the snow,” ending the night on a perfectly punk and hilarious note.
Hit continue reading to see our photos from the show!
Michigan post-hardcore five-piece La Dispute hit the road this spring with Mansions and Pianos Become the Teeth to promote their dense new album, Rooms of the House. When the tour stopped at The Metro, it was apparent that the band’s live show has become as visceral as their refreshing take on emotional hardcore.
Mansions opened the show with their loud, atmospheric rock. While the band is largely a solo project of guitarist Chris Browder, he was backed by bassist Robin Dove and drummer John Momberg.Tracks like ”Blackest Sky” and “La Dentista” are what early Foo Fighters records would have sounded like if Dan Hoerner and Nate Mendel were able to fully incorporate Sunny Day Real Estate’s atmospheric edge to Dave Grohl’s arena rock hooks. Browder’s exhausted-sounding delivery may have been a point of contention among potential fans, but when backed up by bassist Robin Dove, the pair created earworm harmonies on tracks like “Two Suits.”
Pianos Become the Teeth played next. The band’s searing sound is very similar to La Dispute’s in that it’s more about emotional release than angular fury, but Pianos’ songs are much more immediate. The Baltimore five-piece knows how to balance their raw, aggressive moments with swelling, melodic interludes. This was especially evident when Pianos performed a new song called “Lesions.” The track doubles down on the moody post-rock influences they showcased on last year’s single “Hiding.” If the rest of their new record is half as good as “Lesions,” Pianos may very well be selling out 1,100 capacity rooms on their own upcoming tours.
On previous headlining jaunts, La Dispute vocalist Jordan Dreyer seemed shaky and nervous, rarely moving from his mic stand. This could have been due to the surprise success of Wildlife.The band went from playing 300-cap rooms and basements to headlining the Metro in a few short years. This sink or swim pressure seems to have paid off as the band is much more comfortable and energetic when performing now.
Their newest full-length, Rooms of the House, is the post-hardcore five-piece at their most reserved and introspective. On record, Rooms, leaves the listener bracing for a collapse that never comes the way it did on “You and I in Unison.” However, when tracks like “First Reactions After Falling Through the Ice” are played live, this dynamic shifted completely.The huge, breezy chords of “Extraordinary Dinner Party” sound stadium-ready until they collide with Dreyer’s raspy delivery and start to sound moody and morose.
Dreyer enthusiastically passed the mic to the crowd as he swayed and spun across the Metro’s stage. Guitarists Kevin Whittemore and Chad Sterenberg made their presence felt in a big way on the winding riffs of “Said the King to the River” and drummer Brad Vander had all eyes on him during “King Park”’s ear-splitting crescendo.
While there was a smattering of dudes wearing Teen Suicide shirts, the number of kids sporting Hot Topic merchandise, the presence of a guy in an actual banana suit and the sea of pastel-colored hair, it was clear that most of the crowd wouldn’t see aggressive music in a live setting under normal circumstances. This isn’t because La Dispute are a vapid boy band masquerading as a group of hardcore dudes. Their songs are complex, tangled, intelligent, and often chorusless. The fact that La Dispute can draw 1,100 people playing this type of music speaks volumes about Dreyer’s lyricism and how much the band means to people. The roars of approval the band received when playing old favorites like “New Storms for Older Lovers” and new tracks like “Woman (In Mirror)” made that more than apparent.
I’ve jokingly said that going to a Joie De Vivre show is the closest I’ll ever get to seeing Mineral. The band is much more than a nostalgia act, but their poignant builds and “I know that feel” lyricism rightfully earn the comparison to one of emo’s most legendary bands. So, when I heard that Joie were playing Chicago’s Township with three of indie’s most promising new acts, I immediately bought a ticket.
DIE ANGRY 