Tinariwen

Concert Photos: Tinariwen @ Lincoln Hall (Chicago, IL)

Malian blues band Tinariwen kicked off its North American tour last night at Lincoln Hall in Chicago, playing tunes from its forthcoming album, Tassili (Anti-, 8/30/11). To record the new album, the band took to the Algerian desert with only acoustic guitars and percussion. Joining in the recording process were TV on the Radio members Tunde Adebimpe and Kyp Malone and Nels Cline of Wilco and the Nels Cline Singers.

Though the band’s numbers can swell to upwards of 10 musicians, a more-than-capable quintet took to the stage in Chicago. Clad in traditional Malian tunics and turbans, the band worked the crowd into a fervor with equal parts uptempo, guitar-driven rock and plaintive African blues.

Tinariwen

Marissa Nadler

Pop Addict: Marissa Nadler’s Marissa Nadler

On Thursdays, Pop Addict presents infectious tunes from contemporary musicians across indie rock, pop, folk, electronica, and more.

Marissa Nadler: Marissa NadlerMarissa Nadler: Marissa Nadler (Box of Cedar, 6/14/11)

Marissa Nadler: “Baby, I Will Leave You in the Morning”

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A few years ago, when Marissa Nadler appeared on the indie-folk radar with her 2007 effort, Songs III: Bird on the Water, the Boston-based singer/songwriter was starting to get some much-deserved recognition in her brief but impressive career. Now, on her fifth proper LP in just seven years, Nadler has truly found a voice within the realm of dreamlike folk. Building on a style that she has crafted on past efforts, she continues to improve her fairytale folk pop, diving into deeper waters of heartbreak and reflection on this self-titled album.

Album opener “In Your Lair, Bear” sets the tone for the record, opening with a softly plucked acoustic steel string, as Nadler croons, “Where did you go, when the snow fell that year?” The song floats on softly and slowly, drifting through sleepy, delayed guitars, whispering percussion, subtle string arrangements, and a gorgeous vocal melody, before fading.

After such a strong opening, Nadler follows it up with even more melancholic yet euphonic arrangements and melodies, expanding on what was already presented in the opening track. And thus it becomes clear: Nadler is a pro. Churning out track after track, she is once again in her element, her dream pop moving onward, waywardly and lightly.

Fieldwerk Recordings

Label Q&A: Fieldwerk Recordings

Fieldwerk Recordings
Location: Chicago, IL
Year founded: 2009
Releases to date: 8
Website: www.fieldwerk.com

Maker & Joe Beats: Falcon by Design

Maker & Joe Beats: Falcon by Design (Fieldwerk, 5/24/11)

Joe Beats: “Spring”

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Maker: “Owner”

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David Humphries had only one goal in mind when he moved to Chicago from South Carolina: to start a record label. Specializing in instrumental hip hop, Fieldwerk Recordings was born in June of 2009 when Humphries (a.k.a. Crushcon7) produced his own tracks on the label. This connected him with other like-minded musicians with roots in Chicago, and now the modest label is celebrating its second anniversary.

Fieldwerk’s roster includes notable producers such as Joe Beats, Maker, Void Pedal, and Zavala, whose collaborative credits include Onry Ozzborn (Dark Time Sunshine/Grayskul), JFK (Grayskul), Qwel, and I Self Divine. Recently, the label has garnered attention in local publications such as the Chicago Reader, Centerstage Chicago, and even the Chicago Tribune, and the rest of the US is starting to catch up with what Fieldwerk has to offer. We spoke with Humphries to get the scoop on pending projects and the future of the label.

What was the impetus for launching Fieldwerk?

I’ve always been a beat-maker, and one of the things I’ve always wanted to do is start a record label. I moved [to Chicago on] January 1, 2003, and the whole time I was making beats. I worked on a project or two that never came out, and then eventually, I just to a point where I was ready to put some things out. I did a couple of songs and did a seven-inch, and that’s kind of how it started.

Several years before, I met Zavala, and we became really good friends and would go digging for records and stuff. Through Alex (Zavala), I met Void Pedal like a week later and started to build some really good relationships with those guys — good friendships. We’re all beat-makers, and we just kind of bounced ideas off of each other. At the time, Alex was working on a project with Sleep from Old Dominion, and Void Pedal was just workin’ on beats just like I was workin’ on beats, and we all just kind of came together. I was surrounded by a lot of talented guys. We’re all in it together; we’re a crew, and those guys motivate me a lot.

Viva Voce

Guest Playlist: Viva Voce’s songs for the apocalypse

Viva Voce: The Future Will Destroy YouViva Voce: The Future Will Destroy You (Vanguard, 6/21/11)

Viva Voce: “Analog Woodland Song”

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Kevin and Anita Robinson comprise Portland, Oregon-based rock-n-roll band Viva Voce. The married couple has released six full-length albums since the late ’90s, the latest of which is called The Future Will Destroy You. With Kevin hammering the drums with machine-like precision and Anita producing catchy hooks and riffs with classic-rock cool, it’s a surprisingly lighthearted sound for such a foreboding title. The band’s sticking by its claim, though, and recently compiled this apocalyptic playlist for ALARM.

1. The Stooges: “Search & Destroy”

I’m a streetwalking cheetah with a heart full of napalm. ‘Nuff said.

EmiTown

Zine Scene: EmiTown

EmiTownEmi Lenox: EmiTown (Image, 1/11/11)

Emi Lenox’s EmiTown will win your heart with the power of whimsical doodles and cat armies. Needless to say, it is not your ordinary autobiographical comic, and Lenox is not your ordinary cartoonist. Many writers would be content to tell funny anecdotes, chronicle individual episodes in their lives, and tell linear stories, but Lenox has instead crafted a “sketch diary.” Each day, she draws a few doodles about how she’s feeling, fun or embarrassing things that happened to her, rent worries, grocery lists, and, yes, love — in an adorably off-kilter style. The diary is also a sort of testing ground for new drawing styles, metaphors, and alter egos, leading to an engrossing portrait of the artist-in-progress.

Lenox’s daily comics, which seem a bit thin as individual stories, instead build patterns, invite us into Emi’s life, and, taken together, present the strange world of “EmiTown,” where the optimistic white-heart and pessimistic black-heart Emi battle for control of her self-esteem, where coffee addiction becomes an increasingly manic state of mind, and where we get to know a funny, sensitive, and damn good cartoonist.

EmiTown

Ancestors

Guest Spots: Ancestors explains the fundamental choice that all bands make

Ancestors: Invisible WhiteAncestors: Invisible White EP (Tee Pee, 6/28/11)

Ancestors: “Dust”

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With its latest record, a three-track EP entitled Invisible White, LA-based quintet Ancestors shifted its focus from stoner metal to more experimental psych/classic-rock territory. The band didn’t miss a step in the transition, garnering a This Week’s Best Albums nod from us (read here).

It’s a move that many bands contemplate after establishing a signature sound with which its fans become familiar. Do you play it safe and make the record everyone expects and will undoubtedly enjoy? Do you shoot for a hit record in hopes of gaining wealth and fame? Or do you push yourself to explore new territory without worrying about the response? Below, lead vocalist / guitarist Justin Maranga explains Ancestors’ internal debate.

The Three Ways to Make Music
by Justin Maranga

There comes a time in the career of every band or musician when they have to make a choice. It is a choice that will heavily affect the future of their career. At this point, you may ask yourself what that choice is or find yourself trying to guess the possible options. Or perhaps you’re thinking, “Just get to the point already.” Well, as musicians, that’s precisely what we have to figure out. What is the point? What we as musicians must do is decide why we’re doing this and for whom we’re doing it.

So the way I see it, there are three ways we can go. The first option is that we’re doing it for ourselves; the second is that we’re doing it for the fans; and the third is that we’re doing it to attract as broad an audience as possible and hopefully will make enough money to survive (or more). Unfortunately, there is no right answer to these questions, and no matter what we choose, there are things to be lost and things to be gained. So let’s look at that, shall we?

It’s important to note that as artists, we stand to face criticism for our choice, no matter which way we go. So should we choose option number one, which is to make music for ourselves, the criticism is obvious. We may very well become the target of one of the music critic’s favorite phrases: “self-indulgent.” Dun dun dun! The hardest part of any form of art is trying to please yourself while simultaneously pleasing your audience. Of course, if you can weather the storm of criticism from fans, critics, and casual listeners who occasionally (or frequently) don’t understand what you’re trying to do, this choice undoubtedly promises to be the most personally fulfilling. And perhaps if you’re lucky, what resonates with you will resonate with listeners and it will prove to be financially fulfilling as well.