The Empty Bottle works with a wide variety of venues for their Presents shows, but perhaps none of them are as intimate and stunning as their Rockefeller Chapel concerts. For EBP this past Friday, Low took to the stage with opener IN / VIA. Both groups used the space to their advantage, crafting stark, emotionally wrought songs that were mollified by the Chapel’s acoustics.

IN / VIA, the solo synth project of Nona Invie, was an apt way to set the tone for Low. With swirling and twirling synth lines that were as mesmerizing as the vocals, IN / VIA created structured soundscapes that moved freely. Synth sounds warm and cool basked in the Chapel’s openness providing a lush backdrop for somber, heartfelt lyricism.

While Low didn’t use synths (their consistent instrumentation is guitar, bass, drums, and vocals), their set followed IN / VIA’s smoothly, with poise and admiration—for their opener, the Chapel, and the listeners. The fact that it was an EBP production was particularly resonant for them, as their first show in Chicago was at The Bottle about 25 winters ago.

Despite it being just the beginning of the cold months, the harmonies of Alan Sparkhawk and Mimi Parker (the group’s core members who are also married) instantly instilled the imagery and feeling of the last bit of snow and ice melting at the end of winter. Their haunting vocals are what really set Low apart, and experiencing these voices live—attached to their sincere sources and heard in the reverberant space—was a highlight of the show.

“It’s such a beautiful space, I can’t say anything to ruin it,” Sparkhawk said simply of the Chapel.

Much of its beauty was manifested in its sonic qualities, but both these and the visual aspects were only accentuated by the lighting that accompanied Low. Frequent collaborator and engineer/producer Tom Herbers (who has also worked with Andrew Bird, Why?, and many others) instead focused on the lightboard, controlling three panels of lights that reacted to the sounds with abstract textures and other visuals. The lighting echoed the evocative, solemn music well, playing a much larger role than lighting usual does at a concert.

About half of Low’s set was made up of their recent album, Septembers’ Double Negative. Sonically, the record is a huge shift from previous records, with different production and recording approaches greatly molding their sound.

But their Rockefeller Chapel concert showed that their distinct songwriting and minimal compositions were still at the heart of this new sound. Sounding more like previous records rather than Double Negative, Low’s feeling and energy is what is most important about their music, and the fact that they can convey that purely no matter the sonic approach is a testament to their genuinity and emotional sentiment.

*A review by Izzy Yellen

*Photos by @bblane_photography

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Photo by Mike Bieniek

This past Monday, the Thurston Moore Group and poet Krista Franklin shared new work at the Art Institute, and the two contrasting performances filled the sold-out room with rejuvenating and motivating power amidst the the Chicago snowfall and nation’s ever-present negativity. While Franklin conjured up these powers with weighted words, Moore’s band instead premiered a lengthy instrumental piece.

Franklin shared three poems to open up the event, each with a distinct style. The third led into the Thurston Moore Group perfectly. The poem was explicitly a call to action and reflection, and Moore’s new composition certainly allowed inward-looking and was rooted in activism.

The piece was entitled “Alice Moki Jayne,” after its three inspirations—musician Alice Coltrane, visual artist Moki Cherry, and poet Jayne Cortez—all key figures in the sixties due to art and activism. While Moore is known for his heavily improvised noise jams in his group and Sonic Youth, “Alice Moki Jayne” was much more restrained and conceptual, allowing him to explore his instrumental compositional voice and the sound of the 12-string electric guitar.

Joined by guitarist James Sedwards, bassist Debbie Googe, and drummer Steve Shelley (also a Sonic Youth alum), Moore “conducted” the group minimally, signaling new sections, segueing and stitching together the ambient and heavy seamlessly.

Opening with a minimal, reverb-drenched section, the group played to the room with no problem whatsoever. This elastic moment was disrupted by a strum of gravitas from Moore, moving the quartet into the second part.

Photo by Neil Rigler

The lush ringing the 12-strings brought to the palette were particularly accentuated by the venue—the Chicago Stock Exchange Trading Room—a boxy, resonant location.

The piece was a journey through many sections—some short soundscapes, some longer fuzzy jams—each one unpredictable yet satisfying. There was direction that came from its structure, but the variety of the sections kept the work snaking and hard to pin down. Not only that, but the maintained cohesiveness was even more impressive thanks to mixed bag.

With all the false endings from the movements, the actual end took the audience by surprise, and after awe and applause, Moore leaned into the mic for his only words—sharing the basis for the piece and his gratitude to Franklin “for sharing what’s on her mind” as well as the concert-goers. The Thurston Moore Group has performed “Alice Moki Jayne” a few times, so if a studio recording happens, you’d better keep your ears open.

*A review by Izzy Yellen

“Shit is fuckin’ weird right now. Be nice to people you know, be nice to people you don’t know…Lance that boil, pop that zit. Here’s another song.”

Lead vocalist Tunde Adebimpe expressed these sentiments and similar ones through his quips between songs and overall performance, and the rest of the band backed him up throughout their set that closed out the first day of Goose Island’s 312 Block Party. The show had a perfect balance of being about the turmoil going on right now and simply dancing away that negativity, the music cathartic and enjoyable in nature.

Photo by Danny O'Donnell, @Do312

What makes TV On The Radio special is their extreme eclecticism—they’re primarily a rock band, yes, but they pull from many sub-genres (including but not limited to punk and synth) as well as a multitude of other styles and traditions. And they do this with an energy that boils and melts it all together into a fine hodge-podge of sounds, in the studio—and as exemplified by their September 21 show—on the stage.

In all honesty, I was a bit nervous to hear how they would sound live—their records are so well-produced, countless layers interacting but never getting in the way of each other, pristine vocal tracks and their harmonies shining. Throughout the concert, there were great moments where each musician’s zeal was supremely prominent—a trombone and guitar rhythmically spitting back and forth, subtly and minimally used vocal effects resulting in controlled feedback atop everything else before being buried, unrelenting drums holding it all together.

Photo by Danny O'Donnell, @Do312

A high point in the show came after the aforementioned quote, with the moving chorus of “Trouble,” from 2014’s Seeds. Adebimpe—and the many fans singing along—belted out “‘Everything’s gonna be okay’ / Oh, I keep telling myself / ‘Don’t worry, be happy’ / Oh, you keep telling yourself” and following its introduction, the song that preceded recent events had a new meaning, one that evoked both a longing acceptance and bitter sarcasm, depending on how you heard and processed it. In a time when it seems every artist has to acknowledge the current climate, TV On The Radio navigated that well, not disregarding the immense power music has to deal with heavy subjects in abstract ways, nor the ability it has to—at the very least—help masses put their worries somewhere else and just dance and sing.

*A review by Izzy Yellen

It’s not often you get to see a well-programmed concert at a cemetery on the Fall Equinox. And under the Harvest Moon. But Empty Bottle Presents’ Beyond The Gate was exactly that.

Photo by Danny O'Donnell, @312

Right off the bat, the setting was beautiful—blue lights illuminating the building behind, branches and handmade lit-up orbs adorning the stage, blankets and chairs packed into the lawn with bundled up fans.

Photo by Danny O'Donnell, @312

Once the crowd and the sun’s light settled, Hilary Woods began, twangy guitar accompanying her wispy but resonant voice. The atmosphere she created, especially in the cemetery, was reminiscent of Angelo Badalamenti’s music for Twin Peaks—thick, muddy voicings on a keyboard and 50s-sounding guitar (she switched between the two) created structured songs that still allowed there to be an atmospheric, open quality.

Photo by Danny O'Donnell, @312

Mute Duo is Sam Wagster on pedal steel and Skyler Rowe on drums/percussion, but for this special concert, they were the Mute Duo Ensemble, joined by six others. An instrumental group (aside from wordless vocals from Bottle staple Bruce “Hesh” Lamont, who also played tenor sax), the collection of musicians played without breaks, going from unified drones to solos to prickly durations of time that had the many voices peeking out of the combined voice with their idiosyncrasies.

Photo by Danny O'Donnell, @312

Grouper was—in terms of the whole bill—a synthesis of her openers, bringing together chaos and stark songwriting. The fact that it was just a sole musician (Liz Harris) didn’t stop there from being layers and layers of sound enveloping the audience. Grouper’s outside music surrounded and comforted me, the powerful moments—emotionally and sonically—making the near silent moments even more silent, and the silent moments making the powerful even more powerful. The dynamic and emotional range of her performance was flooring, and this was only accentuated by its setting.

While the space and her interaction with it was an instrument itself, it would not have functioned as such without the sources—her elaborate but well-controlled setup of piano, guitar, affected vocals, and samples, all through a mixer she intently controlled. Melting and shifting together, these different instruments often took on similar forms in context of her larger work.

Hilary Woods, Mute Duo Ensemble, and Grouper evoked an unsettling creepiness at their concert space without forcing it at all, their music finding a home at Bohemian National Cemetery and, ultimately, being more moving thanks to the environment. I’m already excited to hear more bands find a home for their music at the cemetery next year.

*A review by Izzy Yellen

We did it again, y’all. On Saturday, March 4th, we once again joined forces with our cronies at Goose Island and threw a block party on the frigid streets of the Ukrainian Village. To our delight, bout 2,000 well-behaved (subject to opinion) humans (plus a couple dogs and other mammals) came to party with us. In case you missed out, short recap below with pictures to boot!

Gates opened at 1pm, with the Goose Island beer a-flowin’. The inside of the Empty Bottle was a tropical paradise, complete with blow-up palm trees and cardboard tiki men. Lumpen Radio DJs were spinning throughout the day, starting with Sol Son, moving into Logan Bay, and closing out with SONORAMA.

Photo by: Christopher Alvarez

Chicago three-piece DIM took the stage first, captivating the crowd with their heavy, aggressive brand of shoegaze. SNEAKS, aka Eva Moolchan, performed next, bringing the unique blend of post-punk developed in her hometown of Washington, D.C. SNEAKS was like a nice shot of adrenaline on this chilly March day.

New Jersey trio SCREAMING FEMALES gave us a killer set, filled with wild vocal energy and raging guitar licks. Hell, we watched it from way up on the roof and it felt like we were front row center! After SCREAMING FEMALES came the unveiling of our surprise guest: legendary MC KOOL KEITH aka DR. OCTOGAN. For the true heads in the audience it was a welcome shock.  For those who have no idea who KOOL KEITH is, we can only assume they thought it was the strangest METZ intro they had ever seen.

The lovely Canadian gentlemen of METZ closed out the evening. By gentlemen, we mean blow your eardrums, strain your neck style noise-rockers. Couldn’t think of a better group of lads to close out our fourth Music, Frozen, Dancing block party.

Thank you to everyone who came out and especially to our neighbors for being down with this insane idea year after year. Shout out to Mike Broers, winner of the Synth-Chili Cook-Off, whose chili recipe we served at the fest via Bite Cafe.  Sales from said chili were donated to our friends at One Tail At A Time. We like dog. We like you.  Thanks also to Dark Matter for keeping us warm and jacked.  To our Goose Island people, we did it, let’s get lit.

Thank you Chicago, see you in the snowbanks in 2018.

-Empty Bottle Presents

#musicfrozendancing

(All photos credit to Sarah O'Neill unless otherwise stated)

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This past weekend of  LEVITATION CHICAGO at Thalia Hall was quite the time! Spring is upon us and we find ourselves on the other side of a killer three days of music at LEVITATION CHICAGO music festival.  Let's dive on in to revisit how great of a time we had music-friendly-dancing (and drinking LAGUNITAS beer)all over Thalia Hall. [Pictures by Allison Taich ]First things first, thank you to everyone that came out. We hope you enjoyed yourselves as much as we did!DAY 1Thursday began withthe jaw-dropping performance (both musically and acrobatic) by  EARTHEATER aka Alexandra Drewchin. Israeli shoegaze group VAADAT CHARIGIM followed, their strictly Hebrew lyrics resonate with us all. The always entertaining GARY WILSON came next with his taboo experimental performance, backed by an entirely local band, including favorites JIMMY WHISPERS and BEN BILLINGTON. LA metal dudes HEALTH played the crowd with a serious lesson in head-banging.. This set the scene perfectly for headliner ONEOHTRIX POINT NEVER, who's experimental set is still thumping in our eardrums. HAUSU MOUNTAIN DJS killed it spinning between sets.VAADAT CHARIGIMGARY WILSONHEALTHONEOHTRIX POINT NEVERDAY 2Australian postpunk band NITE FIELDS began Friday night by propelling the crowd into outer space. Next was the electronic drone solo project of Benjamin John Power, aka BLANCK MASS, who was blowing minds and taking names. Chicago folk musician RYLEY WALKER made everyone feel at home before Sir Richard Bishops' latest project RANGDA burned that house down. LIGHTNING BOLT, probably the best known (and perhaps only) noise band of their kind, parked their set on the ground for a more intimate experience. The reunited ROYAL TRUX proved that one big breakup and a decade of barely speaking did not hinder their musical chemistry. Through it all, THRILL JOCKEY  DJS kept the party going in between sets.Additional photos + a recap of day two can be found via The Line of Best Fit.LIGHTNING BOLTRYLEY WALKERDAY  3The last day of LEVITATION CHICAGO began with METHYL ETHEL nailing it with their cozy indie-rock. NATURAL INFORMATION SOCIETY & BITCHIN' BAJAS were up next, a unbeatable combination with synths and sintir abounding. NIGHT BEATS were next, bringing along their garage-psych set, which made us feel like teens who just discovered their parents album collection. The awe-inspiring  CIRCUIT DES YEUX left her ethereal home planet to grace the crowd with her presence, and then Stoner-prog instrumentalist EARTHLESS lead the audience on a musically induced trip. Direct support German krautrock godfather's fAUst gave an unpredictable, experimental Psychedelic set that was a privilege to witness. Headliner doom-folk goddess CHELSEA WOLFE closed out LEVITATION CHICAGO 2016 breathing life into her haunting yet entrancing songwriting. PERMANENT RECORDS DJS kept the party going in between sets.CIRCUIT DES YEUXEARTHLESSFAUSTNIGHT BEATSPERMANENT RECORDS DJs----NEXT UP on our EBP festival radar is Do Division Fest:  Friday, June 3rd 5-10pm... Saturday & Sunday, June 4th & 5th 12-10 pm.

Two Fresh Streams segments in one month?! You better be grateful. Welcome to January streams round TWO. We are making sure to keep you in check with your emotions while also giving you the opportunity to be saturated in nostalgia with these upcoming releases.Delving into uncharted waters, Irishman Cian Nugent takes on the role of singer-songwriter for his new album Night Fiction to present a series of songs unlike any he has released to date. Not only is he using his own voice for the first time, the particular blend of American rock, blues, and folk Nugent encircles you with creates a sense of safe nostalgia that makes you want to turn the record over and over and yes, over again. Take a listenbefore it hits shelves on 29th January and buy tickets to his show at The Bottle here.Trying to capture the most intimate moments of new love, Idiot Glee front-man James Friley takes you on a journey from 1st base to home plate in the bands new self-titled release out January 29th. Described as "an alluring slice of psych pop" by Consequence of Sound, these tunes will get you longing for the days of going out to slow-dance to synthpop. Like yesterday... at 70s night... at Beauty Bar. Listen here and grab your tickets for their set on the Empty Bottle Stage February 23.——————-IMAGE: Wouldn't it be nice to climb to the top of a mountain and look out over the land like a God as the sun was setting on a late-spring afternoon? That's what's on our mind this January and we found this pleasant pic from our good pals at Google. Simply marvelous. Thanks, Google! 

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On September 10th, 2015 we returned to the Bohemian National Cemetery on the northwest side of Chicago for the fourth installment of the Beyond The Gate series, which Empty Bottle Presents produces alongside J.R. ROBINSON, leader of Chicago doom collective WREKMEISTER HARMONIES. For this end of summer concert, EARTH, DISAPPEARS and HOLY SONS performed on stage and ROBINSON kept the tone in place with cryptic vinyl selections before and in-between bands. It was a thrill to host such this line-up in such a gorgeous and haunting setting, especially since the skies were clear after a long (and stressful) day of rain. We are incredibly thankful and excited that all of the artists  were as into the idea of performing in this setting as we are.Heavy midday rains put a literal damper on plans, but as the time for Beyond The Gate approached, the sun broke through the clouds and the skies remained clear, giving our surroundings a rich coloration. It could not have been a better - or more fortunate - introductory setting for each group's unique take on enchanting, atmospheric rock music. Bite Café came through with some tasty dogs and slaw, not to mention some delicious, homemade elotes, and we were so happy to work with Half Acre Beer to keep the night loose with their unmatchable brews. Special thanks to Brownshoesonly for the endlessly stellar visual projections that highlighted each band's sonic personality while helping further illuminate the beauty of Bohemian National.After ROBINSON eased us into the night with some droning, atmospheric records, HOLY SONS took the stage for a set of bluesy hard rock that never sounded like the tired "blues-rock" you'll hear some bar bands playing around town. Led by EMIL AMOS, who also plays in GRAILS, OM and LILACS & CHAMPAGNE, the trio worked through lush and complex arrangements that showcased AMOS's chameleonic versatility. Performing songs off their 2014 & 2015 Thrill Jockey releases, HOLY SONS were heavy and hooky, soaring out of the cemetery towards the planes passing overhead.As the sun began to set and the lawn really started to fill up, Chicago staples DISAPPEARS took the stage and once again wowed us (and the large crowd) with a set of stark and chilling post-punk. Their shimmering and clanging guitar work, provided by singer/guitarist BRIAN CASE and guitar maestro JONATHAN VAN HERIK, and driving, Krautrock-inspired rhythms, led by bassist DAMON CARRUESCO and drummer NOAH LEGER, took on a new life at Bohemian National. The confines of the mausoleum walls and the surrounding landscape had the four piece sounding as good as ever, and as day turned to night, Brownshoesonly's static projections gave the environment - and the band - an exhilarating look and feel.  DISAPPEARS performed some of our favorite tracks off their first four records and we were delighted to hear some new numbers, which can only mean a new record will be on the way, hopefully before the end of next year.We've had the pleasure of welcoming Seattle doom/drone metal band EARTH to the Empty Bottle stage a few times over the past couple years, but nothing can compare to witnessing their live show inside the gates of a cemetery. Slowly and methodically, EARTH guitarist and leader DYLAN CARLSON led his band through a set of grinding and thunderous instrumental rock, complete with mountainous guitar chords and crushing rhythms. With low lighting on stage, multi-colored liquid ink projections danced on the walls of the mausoleum, morphing the cemetery into a warped and psychedelic alien landscape. The musicians cast gigantic shadows on the walls behind them, echoing the hugeness of the music they performed for a rapt crowd of nearly eight hundred onlookers. With all three bands performing entirely unique sets, the combination of the musicians, mixed with the projections and the hundreds in attendance, combined to create a truly transcendent experience. It's something we won't forget for a very long time.We're honored to be given the opportunity to present forward thinking, expansive music in a setting so deep in history as the Bohemian National Cemetery.  Endless thanks to Beth, Steve, Rob, and the rest of the staff up there for being so accommodating from day one and believing in the idea that these events are more than just a party in a strange setting. Thank you to everyone in attendance. Your respect for the area is the reason why we are able to continue hosting events there. A portion of the ticket sales go directly to the cemetery and help to maintain the dignity of the grounds for years to come. Would also like to thank Alderman Laurino and the Albany park residents for working with us and continuing to be on board with this series.---------------Words by Brent Heyl & Michael GebelPhotos by Zachary Spinner

The new album by Ryley Walker, Primrose Green, out Tuesday on Dead Oceans, ebbs and flows effortlessly in all the right ways. It's an album that's easy to lose yourself in, one that helps you travel through time as it streams through your speakers. As a newcomer to the music of Ryley Walker, I was instantly captivated by his unique blend of jazz and folk. Learning that he had his hands involved in the noise and punk scene as a precursor to his current sound came as no surprise. His acoustic influences, paired with an affinity for improvisation make for an album that builds into a wonderful sonic landscape that is well beyond his 25 years and his songs have found their way on my playlist more times than I'd like to admit.

If you've have the pleasure to see him IRL ("in real life" grandpa!) you know that Walker's live  show is like a graceful, audio-enigma. No two shows are the same and you often times leave having bore witness to a genesis of new songs, songs in progress, and favorites that have been re-worked, stretching and expanding beautifully before your very ears. Walker plays alongside a rotating cast of some of the most talented Chicago jazz musicians, a collection of friends and colleagues developed over years of involvement in the underground Chicago music scene. From the first recordings to the photos on the covers, everything is Chicago-centric, showcasing the beauty of a city that collaborates and grows together.

I was fortunate enough to exchange some quick words with Ryley the day after his Chopin Theatre record release (and the day of his solo show at Permanent Records). When talking with Walker his intentions are unspoken but clear, and he intends on continuing to make music he likes, with people he likes. Lucky for us, the product of these collaborations continue to be damn good.

ASHLEIGH DYE: I wasn't too surprised to learn that you started off in more punk, and then noise based scenes, especially after listening songs you'd recorded like that Live in Toronto excerpt and Sweet Satisfaction on your latest album. I do wonder, though, why you think those earlier folks influences like Nick Drake, or all your Zeppelin inspiration, started appearing in your sound when it did. What cause the shift from a more industrially progressive sound to a more organic one?

RYLEY WALKER: There wasn't really a switch that went off. I think I’ve always just liked doing everything at the same time. I was always in punk bands in High School, but I was in jazz band, too. I just like music a lot, they’ve always co-existed. This style has just worked out for me, it’s been more rewarding.AD: It seems like you’ve found your niche at combining the improvisational with the structured.RW: Coming up through the noise and punk scene definitely helped with that. It was really important for me that those things happened first.

AD: The way your music originates live and grows and flows from that moment seems very painterly to me. A lot of painters I know say that a painting is never truly finished and they'll work on them slowly for years. Do you feel the same way about your music?

RW: Yeah, yeah. A song can never really be done or set in stone. It’s kind of painful, especially when you don't have CBD oil for pain like the ones recommended by HMHB.

AD: When do you decide “OK, I feel cool recording this iteration of the song”?RW: Whenever in the band says “Shut up and record the song.” That’s why I like having them around. They’re really good about keeping me in check.

AD: Do you ever find yourself looking back to old songs from years past and revisiting them?

RW: No, I mostly feel embarrassed when I hear an old song, like you get that cringe feeling almost. I like to leave room for new things to grow once that time has passed.

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AD: Primrose Green (Dead Oceans) was recorded and written as a whole band, as opposed to just you alone. How did this very free-form style work when you had a more concrete deadline?RW: Just from the nature of the musicians. We hardly even practiced. We were just like, “Yeah, lets go.” I just had ideas going in, like little seeds and we were sowing them in the ground of the arts, so to speak. We kind of just watched them grow right there. Everyone I'm playing with is really talented and have been around the Chicago music scene for years.AD: How long did you guys record?RW: Just for one day.AD: You recorded with Cooper Crain, right? How was that?

RW: It was great. He did my last record and I’ve known him for a long ass time.

AD: Your sound is obviously very influenced by decades past, but your lyrics seem to evoke more of a sense of nostalgia to me. Do you find yourself writing about things from the past often? I know your lyrics tend to change a lot, but is there are certain moments or memories that you find yourself pulling from more often?RW: It’s all about time and place, really. I like poets like Yeats or even classic American guys like Frost, where instead of telling you a story, they describe a painting to you.AD: So more of an ethereal, elusive experience. Does your writing style change when you’re on the road versus being here, grounded at home base?RW: Totally. I can’t really write in the city of Chicago.AD: Really? I would think it would be the opposite.RW: I like it here and I like being here, but I can’t write here. It’s weird, but it’s like I have too many ties to this place. My brain's too wired around it.AD: Do you think the anonymity of the road inspires your writing?RW: Yeah, that’s what I like about it, it’s really easy. I mostly tour alone a lot. I’ll just be in Europe on the train, like “Duh, classic American in Europe,” but it’s really fun to do because you'll just be alone, like “I don’t fucking know Dutch. I’ll just hang out backstage for four hours.” I think a lot of weird situations present themselves for you in those situations.

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AD: Do you play and write alone still? How to you ebb and flow between playing with the band and playing on your own?RW: Yeah, for sure. I like having them around as much as possible, but I like playing alone a lot, too. It’s like the same songs, but a bunch of different bands playing them, but I get to be in everyone. Sometimes I’ll play with a trio and it’s keys, an electric guitar and me, sometimes I play and it's just me. I really like every live show to be different, that’s something that kind of matters to me.

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AD: I was really glad I saw you live first, before talking with you. It was such a different experience than your album, which is also wonderful. I like when music can have an all encompassing, sensory deprivation sensation, seeing you live was like that.  Do you ever feel inclined to play more true to the record?

RW: Not really, but there’s also only so much I can do live. No one wants to watch me play a 20 minute breakdown alone. It definitely deviates more the more characters you have the in the cast.

AD: Do you see a large variance in the types of crowds between when you were playing more noise-focused shows and playing now?

RW: Uh, there are less dudes, for sure. But, I started playing this kind of music at noise shows and it translates pretty well. I’ve always had pretty open-minded friends so the crowds are wildly different.If you know what's good for you and your ears and your soul, buy Primrose Green here.Watch the new music video for "Sweet Satisfaction" (via Noisey):-------------------------------------WORDS & PHOTOS BY ASHLEIGH DYEhttp://noisey.vice.com/blog/ryley-walker-interview-sweet-satisfaction-video?utm_source=noiseyfbus

On Saturday, December 6th, we returned to Bohemian National Cemetery for Cold Moon, December's full moon that summons the beginning of the winter. For this performance, we ventured into BNC's Cathedral, where we presented three outstanding performances by Chicago's WREKMEISTER HARMONIES, RYLEY WALKER and CIRCUIT DES YEUX. The show was sold out by 8:15pm, just before we started, and the artists were joined by Brownshoesonly, everyone's favorite multi-talented projectionist. Rob Sevier of Numero Group came through once again to set the sonic tone of the evening, playing some brain-melting records throughout the event. Consequence of Sound was there to catch the mystical concert, and at the end of their review the writer "wondered whether the whole event had been some sort of ancient rite, the incantation on the steps of some final initiation. Only time will tell... until the next full moon anyway."Chicago photographer Roman Sobius sent us these fantastic photos that he took. Check em out and don't miss out on the next event at Bohemian National Cemetery. Only time will tell when that is going to go down...

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This past Sunday, October 12th, rather than staying home and drinking Sambuca all day, we joined forces with Jimmy Whispers to host the first ever HOOP DREAMS BASKETBALL TOURNAMENT. The tournament (and music fest) was located at 1834 W Chicago Ave and it was created to raise funds for CeaseFire, the Illinois branch of the Cure Violence Organization, which operates in 6 cities throughout the state – Chicago, Maywood, Rockford, East St. Louis, Springfield, and North Chicago/Waukegan.We opened the gates just after noon and the lot started filling up right away. Notable members of the community came by and sipped on beer from Revolution Brewing and enjoyed food from The Doner Men Truck and Soups in the Loop.The first game of the day got pretty heated as local record store heavyweights Reckless Records faced off against Permanent Records. Many picked PRex to go all the way since they had home court advantage (the tourney took place at a lot just a few doors down from Permanent's store). With the high-flying-heroics of the All-American Boi Chris Kramer (SLUSHY/THE LEMONS), their team looked in top form and they took an early lead.Reckless wasn't hearing it though. They kept their heads down, tightened up on D and proved the naysayers wrong. Coming out victorious, thanks in large part to the hard-nosed and wily playing of one called “Rascal” (BARE MUTANTS).The second game featured a couple of our favorite home-town record labels, with Hozac Records squaring off against Drag City. Leading the Drag City team was triple-threat Jimmy Whispers (JIMMY WHISPERS), who helped organize the event, performed a set of his music, and balled O.C. (that's outta control for all you noobs). Unfortunately for Drag City, Mr. Whispers was too busy to make many shots. Hozac jumped out to a large lead, led by strong efforts in the paint from James Swanberg (TODAYSHITS/THE LEMONS) and Spike Johnson (SPIKE AND THE SWEET SPOTS). With only two minutes left on the clock and down by 14 points, Drag City’s fate looked sealed. However, Brett Sova (AXIS: SOVA) wasn’t going to lie down and take it. He led his team back. With the help of a miracle buzzer beater, the teams headed to OVERTIME!The comeback was certainly one for the books, but Hozac proved to be far too much during OT. The clock had struck midnight on Drag City’s Cinderella Story. Such a loss could have been truly heart breaking for the Drag City dudes and all the fans that had been cheering them on during their come back, but RADAR EYES was there to rock all our troubles away. We cracked open another Revolution and it was like everybody was friends and no one was ever sad... Although it must be noted that many shooty-hoopers weren't too happy with the tournament's volunteer ref after the second game. So much for good sportsmanship!With the title match between Hozac and Reckless all set, Permanent and Drag City played each other in a consolation game. Permanent won, making them the 3rd place team in the first ever HOOP DREAMS CHARITY BASKETBALL TOURNAMENT. This game was a crowd favorite because both teams had black uniforms, which led to them inevitably going SHIRTS VS SKINS.  Hell yeah - lookin' good, fellas!Speaking of “Hell Yeah” moments, Jimmy Whispers serenaded the crowd with his uniquely honest and painfully-raw love songs. MAGIC MILK jumped on stage to play along with him for part of the set. We can’t show you pictures because Kenny wasn’t wearing any pants. Instead check out these other pics of Kenny from the day, and imagine him in his underwear on your own time, OK!Fine. We’ll show you one pic of Kenny in his underpants, but that's all you get.The title game was something truly special. Reckless started out hot, raining threes on team Hozac. The lead would not last, and following a sluggish start, Hozac started scoring in bunches. It looked like Hozac had an iron grip on the game. But then Kelly Nothinig (THE LEMONS/ANIMAL KINGDOM) started to drain 3 point shot after 3 point shot to give Reckless hope and get the crowd going NUTS! Guess they don't call her Kelly "Nothing But Net" 420 for nothing.In the end it was too little too late, and Hozac held off Reckless’s advances to become the winners of the first ever HOOP DREAMS CHARITY BASKETBALL TOURNAMENT. Here are the people behind all of Team Hozac’s glory: Todd & Robyn.Former Chicago Bulls player Michael Jordan was in attendance, hanging out at the scorer’s table and doing a little announcing along with Joe Jeffers and Cullen from Smith Westerns.All agreed, that the reffing was really strong throughout the tournament, but truly the day was about community and charity.Photos by Sam Awesum & Roman Sobus

This week we're hosting a show at Bohemian National Cemetery and it's also the night of a Supermoon. It’s going to be perfect. Literally, we could not imagine hosting an evening such as this – experimental melancholy and searing ensemble performances – in a better location. And you know what? We think you'd be into this sort of thing. Come spend your Saturday in Bohemian National Cemetery, as Wrekmeister Harmonies and a renowned roster of collaborators serenade you into darkness.The performance will take place near the Mausoleum (not among the graves  – we aren’t monsters!) at the south-east corner of Pulaski and Bryn Mawr. Doors will open at 7 p.m., and WREKMEISTER HARMONIES set will begin at 9:30, one hour after sunset. This is a one-of-a-kind event that is not to be missed!"Reflective drones grow and decay, forming waves of overlapping sound that evolve into a gigantic roar of distorted guitar. Searing, disembodied howls and pummeling drums signal a shift from mournful to harrowing as Robinson and his ensemble lurch forward into the abyss." [Thrill Jockey]Tickets available hereWrekmeister Harmonies - You've Always Meant So Much to Me from Thrill Jockey Records on Vimeo.J.R Robinson is a Chicago-based sound artist who works under the name WREKMEISTER HARMONIES to explore the darkest corners of minimalistic synth, drone, and ambient music, combined with visual projections he creates. His Thrill Jockey debut, You've Always Meant So Much To Me (slated for release on June 11) features a roster filled with the Windy City's experimental metal elite, including SANFORD PARKER, BRUCE LAMONT (YAKUZA, BLOODEIST), JEF WHITEHEAD aka WREST (LEVIATHAN), MARK SOLOTROFF (ANATOMY OF HABIT), JAIME FENNELLY (MIND OVER MIRRORS), FRED LONBERG-HOLM, and more. WREKMEISTER will be celebrating the release of the record by performing You've Always Meant So Much To Me in its entirety on June 22nd at the Bohemian National Cemetery of Chicago, where ROBINSON will be joined by the musicians that perform on the record.Opening will be ACTEURS, an unexpected newcomer of sorts comprised of BRIAN CASE (DISAPPEARS, THE PONYS, 90 DAY MEN) and JEREMY LEMOS (WHITE/LIGHT). Their self-titled debut released this past February is brimming with razor-sharp synth trance-outs and eerie darkness that will create a perfect cemetery soundscape. The NUMERO GROUP's ROB SEVIER will be DJing between acts.List of performers with WREKMEISTER HARMONIES:Bruce Lamont (Yakuza)Jef Whitehead (Leviathan)Ron DeFries (Indian)Dylan O'Toole (Indian)Eric Chaleff (Bloodiest)Mark Solotroff (Anatomy Of Habit)Sanford Parker (Corrections House)Jaime Fennelly (Mind Over Mirrors)Nandini Khaund (Bloodiest)Anne PattersonEsther ShawPoster for the show:

Courtesy of Kill Hatsumomo Prints

This Wednesday we’ll be screening the documentary, If We Shout Loud Enough, a film about one of our favorite Baltimore punk bands of the 2000s, essential underground legends DOUBLE DAGGER! The event will be taking place at Galerie F in Logan Square, starting at 7pm, and it’s only $7! This is one of those special, don’t miss Empty Bottle Presents events, for anyone “who was there” at one of there shows when they were still around. Galerie F is located at 2381 N Milwaukee Ave.Watch the trailer:If We Shout Loud Enough is an intimate portrait that follows the punk band, Double Dagger, as they complete their final tour and album, tracing the history and growth of both the band and Baltimore’s underground music and arts scene. Along the way, we learn how this charming trio captivated audiences and critics, and why Baltimore has become such a vital and diverse creative breeding ground for the ethos of DIY music and art. In personal and often hilarious interviews, Double Dagger and other members of the Baltimore music scene talk about how and why they create art outside of the mainstream. If We Shout Loud Enough is filled with extraordinary performance footage from Double Dagger’s last tour, much of it shot from amid the sweaty bodies surging around the band. Featuring interviews with: Dan Deacon and members of Wye Oak, Future Islands, Ruiner, Thank You, and many others.Our favorite quote from the trailer: “Most bands now don’t have a personality, they have a haircut. And they don’t have a point of view, they have a publicist. I’m happy as hell you could never say that about Double Dagger.”