BY THOMAS CONNER AND JAKE KRZECZOWSKI May 8, 2013 5:32PM
Updated: May 9, 2013 2:24AM
Just when it looked like they were really going to go places, Chicago band Kids These Days has split up.
The young South Side band, which encompassed a multitude of styles, just released its acclaimed debut album, “Traphouse Rock,” last fall. In little more than a year, the pop-rock-rap collective landed gigs at Lollapalooza and Coachella, a showcase at South by Southwest and an appearance on the TBS talk show “Conan.” Continue reading Chicago band Kids These Days confirms breakup→
By Jake Krzeczowski (Originally Published for the Chicago Sun Times)
April 30, 2013 8:23PM
For experimental electronic musician-composer James Blake, the road less traveled is much more rewarding.
On Thursday, that road leads to the Metro, where the British artist’s intriguing combination of live instrumentation and digital production will be on display for a sold-out show.
One of the most difficult feats in hip-hop is the ability to create a fully cohesive project. Rising Chicago artist Chance the Rapper did that on his debut, “10 Day.” With “Acid Rap,” his follow-up mixtape, he proves it was no fluke as his latest adds to the composite picture of Chance as an artist and a person.
“Acid Rap” picks up where his debut left off, as the lead track, “Good Ass Intro,” starts off with a familiar blend of soul-and-juke aesthetics that have become Chance’s calling card. The track also is completely Chicago, with production from his go-to team of Peter CottonTale and Stefan Ponce blending with the sultry sounds of Lili K and Kiara Lanier and vocals by BJ the Chicago Kid. With horns, thoughtful lyrics and a throbbing bass, it’s obvious why Pitchfork Media recently named it as a “Best New Track.” Continue reading Chance the Rapper continues his artistic climb with ‘Acid Rap’→
Why South By?
Given that SXSW’s industry influence is on the wane, are there still good reasons for upstart bands to brave the festival?
By Miles Raymer @milesraymer
click to enlarge Young Chicago garage rockers Twin Peaks prove that old-fashioned music-biz wheeling and dealing still happens at SXSW. Continue reading Why South By?→
This summer 50,000 people flooded Soldier Field — not for a football game, or any game, for that matter. The young people coming through the gates of the home of the Chicago Bears were there for another reason: to dance.
Spring Awakening, a dance-music festival held June 16-17 in and around Soldier Field, is just one local example of how big the electronic dance music craze got this year.
EDM concerts are usually pre-packaged parties led by larger-than-life DJs, producers and musicians armed with extravagant light shows, glowstick cannons and head-pounding bass.
“The dance scene in Chicago right now is just thriving,” said DJ Steve Aoki, who played a sold-out show Dec. 15 at the Congress Theater. “Especially the past two years, it’s really gotten bigger and not even in terms of people but energy too. Kids have really embraced it and taken it to this state.”
Chicago’s concert winter calendar is packed with shows, culminating in a pair of concerts on New Year’s Eve: Big Gigantic at the Aragon Ballroom and Porter Robinson at the Congress Theater.
Big Gigantic, which returns for its second consecutive NYE in Chicago, and Porter Robinson represent two different takes on the genre widely known just as EDM.
Big Gigantic creates its dubstep-infused art with a live aspect, blending drums and a saxophone with computer-generated synth lines and bass. Porter Robinson, meanwhile, mixes on a computer.
“These days,” said Dominic Lalli, one half of Big Gigantic, “there’s so much out there and so much music coming out, being different is really key.”
Porter Robinson plays the Congress Theater for New Years Eve
The word “different” is important. The EDM community came under fire this year when Canadian dance music mogul Deadmau5 criticized DJs within the genre, most notably David Guetta and Skrillex, referring to them as “button pushers” who pretend to work a lot harder onstage than they do.
The issue also was sparked by a YouTube video showing Swedish House Mafia DJ Steve Angello casually smoking a cigarette onstage as the party raged on in front of him. While that behavior certainly isn’t status quo, it does raise questions about whether some DJs are being paid millions essentially just to hit “play.”
For its part, Big Gigantic tries to keep its music connected to performance.
“We just love making music,” said Lalli, who lists jazz greats John Coltrane and Joe Henderson as sax influences. “We try to bring all those elements together to make this new thing or sound, and I think that’s the biggest thing these days.”
While live instrumentation may attract some to the music, others couldn’t care less what the artist is doing onstage.
“I don’t really care, people can say whatever they want,” said Los Angeles DJ Audrey Napolean. “I know what I do, and I know what I do onstage is real, and I know that I do everything I can to put on a good show, and that’s all I need to know.”
The emergence of music on the Internet has assisted the rise of dance music. One of the most recognized sites for artists trying to break into the scene is BeatPort.com, a sort of iTunes for DJs.
“We are a site for music for DJs,” said BeatPort CEO Matthew Adell. “DJs have special music needs. They’re different from the average consumer. Our goal is to get DJs the most important material they need for their set, right now.”
The site, started in 2004, has helped launch the careers of many of the biggest artists in dance music and also hosts the annual BeatPort Music Awards, which recognize the best in EDM.
One of the most recent products of BeatPort is the Chicago-born trio Krewella, booked for Saturday at the Congress Theater.
Jahan and Yasmine Yousef and Producer RainMan make up Krewella
The three-person group, consisting of sisters Jahan and Yasmine Yousef and producer Rain Man (Kris Trindl), is indicative of the rising scene here. Trindl handles the beats while the sisters provide their piercing vocals to the bands eclectic sound. The online venue allowed them to pursue a more cohesive live show with a larger following.
“Being featured on Beatport opened up a whole new world for our EP distribution,” Jahan said. “It’s amazing coming home to Chicago because I remember even a year and a half ago when we were playing raves with like 10 kids. We feel a sense of loyalty when we come back.”
As computers and programs advance and EDM stars grow more familiar, it seems as though there is no ceiling on where the scene will go.
“I think it’s just the tip of the iceberg, to be honest,” said Avi Gallant, who runs the Untz, a leading EDM news website. “I don’t think it’ll get too big, [but] the sky is the limit. This is just the beginning.”
Jake Krzeczowski is a locally based free-lance writer. Follow him on Twitter: @jakekrez
There aren’t a lot of bands doing what Lotus does.
As the laptop increasingly slides into the role of introductory musical instrument that the guitar has held for generations, jam bands like Lotus have slowly become less prevalent.
Lotus in Blacksburg, Virginia
Lotus isn’t just any jam band though. Through a mix of syncopated improvisation ala Umphrey’s Magee and computer-generated sounds the group has been able to carve out it’s own sound it dubs jamtronica.
The unique sound arrives for two nights in Chicago with a back to back showcase at the Riviera Theater December 27 and 28 as part of their five-night New Year’s Eve tour that starts in Chicago and ends on the 31st with a show in Baltimore.
“We often do several shows leading up to New Year’s but this might be the most we’ve done in a row,” said Jesse Miller (bass/sampler). “It was a good chance for us to get out and play a number of shows in
cities we haven’t played ina while.”
The two-night run at the Riviera will surely feature the band’s endless onstage jamming that will touch on their extensive catalog, both old and new paired with an inspired light show.
“We try to draw the crowd into the human element of the show,” said Luke Miller (guitar/keyboards). “[The lighting] is a very powerful part of our show and our lighting guy has been with us since the beginning so he’s locked into our improvisation.”
Lotus closes out 2012 with its eye on the future, including plans for at least two albums and maybe a third that is still in production dropping in 2013.
“I think it’s going to be a celebration, a celebration of the new year,” said Jesse. “It’s a great opportunity to get a bunch of people in some cool rooms and have a good time.”
Chris Mathien and Peter CottonTale of mathien
New Year’s Eve will be Chris Mathien and Co.’s second time playing a concert as they ring in the New Year at Reggie’s Rock Joint for a 21+over show.
With that experience behind them, they kind of know what to expect.
“We performed two years ago at Reggie’s and we were supposed to do the countdown at midnight,” said lead singer/guitarist Mathien. “Everyone’s cell phone was on a different time so people were kind of celebrating sporadically while we counted off.”
That was two years ago.
Since then the band, consisting of Mathien and drummer Omar Jahwar, bassist Erik Kaldahl and keyboardist Peter CottonTale (Wilkins), which performs under their lead singer’s surname has figured a few things out.
After starting the band as a college student at Southern Illinois University, Chris Mathien moved north to Chicago and met CottonTale, a gifted musician who he immediately added to the band’s lineup nearly three years ago.
“I grew up playing Jazz and Soul but then I found this Rock/Funk, Maroon 5-sounding guy,” said CottonTale. “But it was a smooth transition musically because I understood where he was coming from.”
With the end of the year quickly approaching, mathien has been sure to plan out the show carefully will be handing out 100 free CDs with an unreleased new single, as well as polishing that countdown.
“I think we’re going to put an official countdown on the stage somewhere this time to avoid confusion,” said Mathien. “We’re excited to have the chance to rung in the New Year in Chicago.”
Charles Bradley – “The Screaming Eagle of Soul”
Across town, Charles Bradley performs two shows at Lincoln Hall. Known to audiences as the “Screaming Eagle of Soul,” 65-year-old Charles Bradley visits Lincoln Hall for shows on Dec. 30 and 31.
“I’m looking forward to returning to Chicago, when I was there last it was a beautiful time,” said Bradley.
The funk/soul singer got his break in music late, at age 49, performing as a James Brown impersonator under the name “Black Velvet.” Noticed by Daptone Records, the Otis Redding-like vocalist has since recorded several albums with another one on the way in 2013.
For all it’s history in Blues and Jazz, Chicago seems like the perfect place for Bradley to land for a beginning to the New Year.
“I’ve been pushing for a long time for this opportunity,” said Bradley. “I am taking that opportunity and making the most of it, I want to show everyone at these shows what I can do and show them all the love I have.”
Alex Wiley has been working hard lately. The Southside MC has been busy for the better part of 2012 garnering followers through a steady flow of videos and songs online and collaborations with Kembe X and a host of other Chicago artists. Wiley is now looking to drop his own solo project, one that has gone through several changes throughout the last few months. What originally started as an EP under the name Village Up, has transformed several times during endless recording at SoundScape Studios, where I recent met and spoke with the budding emcee. To be sure, Wiley was due for a nap. Luckily, I was able to catch him just before he curled up on the couch, exhausted from a long day.
That Wiley sleeps at all may be the most surprising thing. The high-energy emcee can be found around town rapping in a Santa suit like he did onstage at Chance The Rapper’s AcidRap Live show at The Metro November 23, or chopping up philosophies on the intricacies of the perfect taco bar, which he has plans to unveil somewhere in the near future. A glance at Wiley’s robust Twitter feed could make anyone wonder if the kid sleeps at all. Since releasing #MoPurp with Chance and Kembe earlier this year, a video for which has garnered over 75,000 YouTube views in just under six months, Wiley has set about making his mark on the Chicago scene and beyond and is nearing the release of his debut project, Club Wiley, which has spanned almost a full year of his progression and is set to drop early 2013 via the indie label, Closed Sessions.
Wiley at SoundScape Studios
RubyHornet: How did all this get started for you?
Alex Wiley: My friend Kembe was rapping and shit, and I used to go to the studio with him and we started making these joke songs whenever he was done recording what he had written. We would just call it Swag Village because we just made really dumb songs and put them on Facebook. I just kept doing that and just started rapping over old “Electric Relaxation” and Nas beats. It was just like a weird progression, it was really slow. When Kembe’s mixtape was about to come out, this kid Genesis was harassing like every blogger with it and it found it’s way to Alex at RubyHornet and Andrew at FakeShore first. Once we started getting local blog posts, it just progressed and my friend Calez got on 2DopeBoyz and then we did a song and that went up, and then all of a sudden people were kinda taking us seriously as rappers.
RubyHornet: What’s the transition like, going from another kid to being taken seriously in Hip Hop?
Alex Wiley: I dropped out of school at like 17, and I used to intern at a couple boutiques around town and that was probably what I was going to do for the time being, working at some little store. Then I just got to rapping, and it was cool and once I started doing it I just really, really like doing it.
RubyHornet: With everyone coming out of Chicago, how do you stay different?
Alex Wiley: I don’t know, I haven’t really thought about it a whole lot to be honest. I think me and my friends have just been in a good situation and we are just ourselves, and get good enough feedback to where we can keep doing it. I don’t think our particular side of the Chicago scene has a whole lot of competition and shit going on. I think everyone’s just themselves and people will fuck with it, or they won’t so much.
RubyHornet: Do you feel fortunate to be part of the rising scene in Chicago?
Alex Wiley: This is amazing. I mean, there are people who have been doing it way longer and have way more material out that are still trying to put it all together. I just feel like I’m in a good situation with local people that I fuck with, but that we can still get the job done on a non-local level. I think it’s cool, I do feel fortunate to just be able to come by and be in the studio like this and work regularly.
RubyHornet: What do you credit that to?
Alex Wiley: Man, I don’t know. I’m just thinking how I got to a point where a label would even want to fuck with me. It doesn’t make a whole lot of sense to be honest. I mean it’s cool, I’m just fortunate to be where I’m at. I feel like it’s on me now, you know? It’s not going to be where I didn’t make it because my situation was fucked up, it’ll be because people don’t really like my music, but I don’t really see that being the case.
RubyHornet: Do you feel any pressure from that?
Alex Wiley: I haven’t had the experience of putting something out where people were just like “this is terrible.” So I don’t know, I feel like I can just do what I want to do, and people are going to fuck with me on some level. yeah, I don’t think so.
RubyHornet: What’s the relationship like with SaveMoney and Chance and those guys?
Alex Wiley: I went to grammar school with Chance, so I knew him since I was like five and then went to high school with most of the rest of them. So I’ve just known them for awhile, I have songs with a few of them and I fuck with them.
RubyHornet: How big was it for you to get on #10Day?
Wiley and Chance The Rapper – #MoPurp
Alex Wiley: I wanted to be on it just because I knew how good it was going to be. I don’t think any of us knew it was going to crack the way it did. I had heard a couple records on the album and had been sort of subliminally asking Chance to be on it for awhile. When he came to the studio to do “MoPurp” and this other song, “Spaceship”, we did both of those in one night. He played me a couple records and I was like, I guess it wasn’t so subliminal, I just asked him, but jokingly because it was still his decision. He called me like three weeks before 10Day was out basically and was like “I want you to add a verse to ‘Windows’” because “Windows” was already out and he said he wanted me to add a verse to it and give it a little more bounce. So we just did that, and I think it came out cool. That tape, I think, is like a Chicago classic.
RubyHornet: Tell me a little about your label situation with Closed Sessions.
Alex Wiley: Man, it’s cool. I just think what we have in store is cool, like our plan for this shit, just where we’re trying to go. I think it’s just going to be very interesting to watch. If we do it right, and I think we will, I think it’ll be something to really watch because I think we’ll be getting at this shit that only major artists get at and still be doing it our way while still keeping it indie.
RubyHornet: What does Chicago mean to you?
Alex Wiley: I don’t want to leave. I feel like other rappers want to get rich and move to LA or some shit, but I really like it here. I think you can hear it in my music that I’m from Chicago and this is what I’m about. I feel like Chicago, all the people that are hot here, you can just hear they’re from Chicago, they’re popping because they bring that Chicago shit.
RubyHornet: What do you want listeners to take away from an Alex Wiley record?
Alex Wiley: I want them to just inherently like it as a song. I’m not trying to make music that’s preachy or making people think too deeply. I just want people to hear it and like it and just be pleasing to the ear. I just want people to like it and fuck with it. I just want people to feel it.
RubyHornet: What can we expect from Alex Wiley moving into the end of 2012 and beginning of 2013?
Alex Wiley: Just like a barrage of shit coming in January. We got videos, several more singles, it’s just a whole bunch of shit. We’ve been saving records for a long time. People think that because I’ve only dropped a couple songs in the past couple months that I haven’t been recording, but I’ve been recording a lot of shit for the coming weeks. I think it’ll be a good gauge of whether people will fuck with my tape too, because a lot of these songs didn’t quite make the project but they still kind of had that sound. I’m really eager to see if people fuck with it, I think they will but you never know what happens.
![[Interview] RH First Look: Alex Wiley](https://jakekrzeczowski.com/wp-content/uploads/2012/12/wiley_003-e1356641596553.jpg?w=672&h=372&crop=1)
Jake Krzeczowski 