Noah and the Whale Establishes Itself on the Indie 'Cute Rock' Scene
Chicago Newcity |
September 24, 2008
Chicago Newcity
Attitude with substance. That's Newcity. We offer up a fresh take on culture and city flavored by a lifelong love of the metropolis we cover. With a combination of in-depth reporting, vivid profiles and sassy commentary on the issues that...
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On the Road, Molinanew
“I met him in Bloomington, right around 1997, when his first record came out,” Jason Evans Groth says. “I worked at the student radio station [at Indiana University] and I remember playing that record a lot. It seemed like otherworldly music to me. … So, when I found out it was him—I think a lot of people’s reaction when they saw Jason the first time was, ‘Jesus, it’s that guy?’ And the second thing is, he talks a lot.”
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Like the majority of “Milk Money,” its longest track stubbornly develops a recognizable theme and rhythm. Listeners need patience to get there. The album’s cover might be a bit more concretely rooted in the world we all inhabit, but musically? It’s greatly transcendental moments of manipulated keys and surprising, dropped in edits.
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Jacco Gardner’s Age of Discoverynew
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Hawkwind's Persistent Visionnew
The current incarnation of Hawkwind, including dancers and a light crew, counts about ten people, all dedicated to crafting a stage show to extol the psychedelic virtues of the ensemble’s 1975 work. Brock refers to the album as “the last part of the jigsaw puzzle from the seventies.” And while it was the final album featuring Lemmy on bass, Hawkwind issued several additional long-players during that decade.
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Guttural Rhythms: The Science of Ted Sirota’s Heavyweight Dubnew
Honing in on sounds drawn from Jamaica invariably abut America’s jazz tradition. Drummer Ted Sirota’s more than vaguely familiar with both. But his estrangement from reggae and dub didn’t occur because of lacking fealty. The drummer just found himself more easily insinuated into jazz ensembles.
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