CenterstageChicago.com Presents: Music

Japandroids Review

Mon, 17 Dec 2012 12:00:00 CST

There is no breathing at a Japandroids show. You can?t, it?s not possible, and if it is you?re not paying attention. There?s no air to fill the lungs, not enough space for that, just a monsoon that holds your head under an ocean of sound, unabashed and relentless. Brain King knows this as does David Prowse.
Their set up as always is minimal, and the amount of sound that is about to be unleashed has everyone on edge. They assume their positions, the Metro is packed, sold out show, the first riff cuts, an explosion occurs. The air coagulates, Japandroids is here.

photo: J. Min

They?ve been touring for nearly four months straight, Chicago being the midpoint, and if there were any signs of wear and tear no one can tell. And it?s staggering looking around, the sweaty faces, the eager smiles, a fan bodysurfs his way to the front, security reaches for him, but the wave takes him back into the abyss. He disappears. Security gives up. The performance unfolds like a brief history lesson. The angst and raw nature of Post-Nothing is a reminder of the spontaneous nature of Japandroids music. It is a limitless well of energy that speaks to Japandroids frustrations as a band on the rise to nowhere, and it rocked the Metro. It stirred inspiration, and mauled doubt, providing a bridge to Celebration Rock.

photo: J. Min

The unbridled energy, keeps at a steady pace, builds to a crescendo, and holds. Between songs, King tunes his guitar; the silence is shrouded in reverberation. Even during the down times people are shook. The man to my right, and the woman to my left, stand on edge. Grinning, smiling, and then exploding in sheer joy, demanding more. It's not just them. It's everyone. The music ingrained in their minds. Expanding and contracting, leaving the senses numbed. And just as quickly as they came, Japandroids is gone. On to the next like a hopeless tidal wave, aware that it only has so much time to wreak havoc before it returns home.

photo: J. Min

Check out Centerstage Chicago food and drink deals!

Metz Review

Wed, 31 Oct 2012 12:00:00 CST

Superman passes Wonder Woman and says nothing. Alice Cooper plays with bodysuitman, and they have chemistry. Luigi crosses the street, and Mario is nowhere to be seen. A potato sack serves beer to a bunny. Metz is headlining. Radar Eyes and Absolutely Free are opening. The show is lively, not capacity, but well attended. The fuss of Halloween takes on a different air in the Empty Bottle. People are participating. Ms. Pacman remains untouched. Absolutely Free is good, one of the best opening acts in recent memory. They play with fervor and intensity. They maintain a pace and style of play that?s both consistent and without a shred of pretentiousness. Radar Eyes is different, much more theatrical, and they thrive off of it?it makes them better. Instead of a drum-centric outfit like Absolutely Free it?s a clash of guitars, well done and composed with just enough order to make the recklessness tangible. Balanced communication.

photo: Jeff Min

Metz hits the stage and wastes no time. This is what people came to see?a wall of sound collapsing over the Empty Bottle. No room for empty space, every lick hits the ear directly, and wraps itself around the eardrum tight. Never lets go. Red line all the way?from the guitars to the drums. Edkins screams into the mic, but at this point it?s more an instrument than anything else. Metz rabidly carries on, but never quite extinguishes Radar Eyes and Absolutely Free. Nor are they outclassed. No one is. They are all so different. And each represents a unique style of play. And they engage in different ways too?found homes in different strata?s of music. The show is a survey. Depending on your tastes each band could take you down a rabbit hole to which you may never comeback. Or perhaps in the shadows of Halloween, maybe it?ll bring you back full circle. Same person with a completely different soul.

Check out Centerstage Chicago food and drink deals!

Grimes Review

Fri, 26 Oct 2012 12:00:00 CST

photo: Jeff Min

Sweet, vivacious, dainty, Grimes is all these things. Chicago is not. But here she is at the Metro, spreading her love over a grizzled city with a big smile, a bounce in her step, and flowers. How could you say no? She has a hold on her fanbase. She?s a generational fixture. Style and gallantry is her MO, and lightening in a bottle is what she is. Her set up is simple. Three keyboards?one for her, and the others for her bandmates. Grimes enters the stage in a fur coat. Shrieks from the crowd pierce the ear. It?s too big, the coat, and she?s drowning in it. But it?s endearing in that way, adorable. Her style exactly. More shrieks, a chorus of I love you?s?timid fans whisper ?she's so cute.? Grimes. Her bandmates enter, veiled head to toe. Ambiguous. Nothing can be taken at face value; off-kilter cute. It?s a perfect laugh, Grimes knows I?m sure. Her set opens, and like uncorking a bottle of champagne the bubbles fly. Visions take flight. Crowd erupts, the sound isn?t great, nor is Grimes' voice, but at this point it?s style that takes center stage. Pop princesses don?t need to be the best, the subjects just tell them that they are. On stage there are piles of stuffed animals: dolphins, Teletubbies, and a giant Pikachu?to name a few. Two girls emerge from backstage, faces painted green, and dressed for?bed. They lip-synch right alongside Grimes, grinding and dancing as if nobody were watching?grinding on the ground, grinding on each other, grinding on Pikachu. They dance and play with each other?s hair, meanwhile Grimes is soundtracking their lives, a glimpse into what a young teenage girl does when no one is around. Maybe. At least for Grimes.

photo: Jeff Min

Grimes? new album is gold. Or diamonds rather, sparkling pink diamonds?precious stones with circuitous value. She holds her fans in much the same manner. Admiring and appreciating each one, holding them up to the light to measure the value, and perhaps even to catch a glimpse of her own image. She wants them to be a part of what she sees, when her reflection looks back. She is not a great performer. Live elements, the venue, the city, the smells of reality are too much for her constructed dream world, maybe that?s the point. She?s an escape, or maybe she?s just visiting. She doesn?t belong, and that?s part of what makes her great.

photo: Jeff Min

Check out Centerstage Chicago food and drink deals!

Justice Review

Thu, 25 Oct 2012 12:00:00 CST

photo: Jeff Min

It?s unseasonably warm out, and the streets are busy. Milwaukee Avenue in particular. It cuts across the city like always, a familiar street at an unfamiliar angle running its hand from one end of Chicago to the next. It touches the Congress. Justice is performing. It?s packed?easy to spot cause of the people pouring into the streets. All types: socialites, scenesters, hipsters, movers, shakers, and everything in between?ages and races be damned. Inside, the Congress is packed?the floor smothered in beer, sweat, and dirt. It's wonderful. People are everywhere anxiously waiting. Above, on the balcony, curious VIPs lean over the railing enjoying the faces. But it?s hard to focus, each face is indistinguishable, one right after another until finally it loses all continuity, a blurred mosaic. All of them are waiting patiently. The music softens, the lights dim. The crowd erupts. ?Justice! Justice! Justice!? they shout. The closest voice is soft and dainty, a young girl rigid with excitement. Her voice gets lost in the chants, and she sounds bigger than she is. The stage is silent. There?s a DJ booth, and on each side is a wall of speakers. Silent still, but the looming presence of those massive columns are loud and palpable. You can feel it. A stagehand removes the tarp from the yacht-sized DJ booth, revealing the Justice cross. The crowd erupts, stealing the oxygen from the air. The cross illuminates and so does the crowd, a gorilla monsoon of joy. The shouts are indiscernible, but understood all the same. Nothing quite like it. And Justice wastes no time. They devour the crowd, ravenous. Grinding synthesized beats against ears, thundering bass smothering breathe, and drops defying gravity. The hit of each beat rattles the core, sound waves reaching from front to back. Every inch of the Congress is absorbing Justice in their own personal way. Up front faces blur, some incoherent and barely alive, others elated with joy as if they were staring into the heart of the sun. In the back people are dancing; flaying their arms, whipping their hair, lost in their own euphoria.

photo: Jeff Min

Justice transitions from one song to the next with smooth serpentine like grace. The crowd is engaged. Surprising because the light show is subpar compared to others. Still they move to Justice and are locked in as if caught within the fixed gaze of a skilled hypnotist. From front and center to back and in the deep recesses of the Congress people dance. Even outside as fans file out, there?s an air of excitement that resonates. Justice came and stamped themselves within the minds of their fans. At this point the name of their album comes to mind. Audio, Visual, Disco.

photo: Jeff Min

Check out Centerstage Chicago food and drink deals!

Flying Lotus Review

Wed, 17 Oct 2012 12:00:00 CST

Flying Lotus is more phenomena than he is man. A passing monsoon that comes unexpectedly, leaving a trail of destruction in its wake. No one knows at first what hit them, but the thought soon settles in, slowly at first, in its own incomprehensible way, then quickly?in the mind?s attempt to reconcile ignorance and understanding. He enters to applause. The Metro is packed. Capacity?from the main floor, back to the bar and all of upstairs including VIP. They came to see him. But they don?t. Not really. Flying Lotus is perched in a booth behind a screen. The separation adds a different dynamic to his set. The visuals come at a relentless pace, and the only attachment to Lotus is through the music. It?s cavernous inside, but still full of light. Just like he wants it.

photo: Jeff Min

The set manages well, never straying too far from previous performances. The thooming bass and crunchy, angular beats mark vintage Flying Lotus. He starts way back in his catalog. Brings himself up to speed to his newest. He detours with unreleased work. Drops a Dilla tribute. From time to time, Flying Lotus shouts words of encouragement to the crowd. He emerges from behind the screen. Two or three times he does this, connecting to the audience in visceral ways. First cerebrally through his music, then visually with the light effects, and finally physically with handshakes and smiles. He?s taking a comprehensive route. He knows that a beat performance is always on the verge of falling off a creative cliff, one hang-up and he?ll lose the crowd. He asks for a bottle of Jamison. Takes a swig. All is well.

photo: Jeff Min

Repeat said effects, and that?s the Flying Lotus show. He doesn?t let up nor does he extend himself beyond his understood path. Inebriated and high off the crowd, Flying Lotus goes about business as usual. Show is over. On the way out there?s a woman, twenty-five, maybe thirty-years-old. She?s uninterested and losing herself in the concert posters hanging in the Metro store. I couldn?t stay much longer she says. It?s too packed. He?s better at a festival. There?s no room to dance she exclaims, giving a wiggle. She?s right. But maybe she?s missing the point. Dancing is wonderful, and it?s almost certainly not opposed. But perhaps his intentions were different than hers. Maybe instead of a dancefest, Flying Lotus was trying to open up a different avenue of exploration, one where the senses take hold, but in a balanced, disciplined way. Maybe that?s what he was doing, introducing a subtle tutorial on how to properly listen to Until the Quiet Comes.

Check out Centerstage Chicago food and drink deals!

Supreme Cuts Review

Tue, 09 Oct 2012 12:00:00 CST

This is the last time The Adventures in Modern Music will ever be?the final one. No more. And for a finale the Empty Bottle is, well, empty. Twenty, thirty people scattered about, so sparse the vastness prevents them from advancing closer to the stage, as if there?s some sort of invisible perimeter holding them at bay waiting to incinerate them. But none of that matters, and the fans are right, something is waiting to burn right through them. Supreme Cuts.

It starts. The set builds slowly?runoff from the openers?but picks up quickly. Perry pounds the drum machine with subdued fury, while Keultjes works the MPC like a madman possessed?possessed by some manic, percussive spirit. House, juke, crunk, hip-hop, whatever, all meet at the hands of these young spirits, yet none of it is distinguishable. It?s there, but Supreme Cuts makes it their own. It?s selfless and avoids the narrow nature of classifications. It?s organic and raw and sweeps through you like the hawk on a cold Chicago?s night. The way it comes together conjures up memories of old school house parties. The ones held in dingy basements, faces unknown voices unheard, free.

Few people dance. Doesn?t matter. Not at this point. Supreme Cuts continues. They extend their range. Incorporate rich vocal samples. Yes, as young as they are, they know house. They know Chicago. It?s a pity really. Pubs like Fader, and Pitchfork praise Supreme Cuts, yet the people here, sleep. But it?s okay. The set continues. Rhythms pound, blare, but never loses a sense of harmony. Billowing melodies from the synth blanket the sound space. All the while neither Perry nor Keultjes can be seen. It?s so dark, and even if you could catch a glimpse of them why does it matter? It?s not important to see them. It?s all from within. Your head is somewhere else. Lost in space. Lost in rhythm. Lost, but in a familiar place. Supreme Cuts. Chicago?s Supreme Cuts takes you there. Adventures in Modern Music.

Check out Centerstage Chicago food and drink deals!

Brother Ali Review

Thu, 04 Oct 2012 12:00:00 CST

photo: Jeff Min

When Ali Newman holds court people listen. They stop. They think, and ponder. They imagine and sympathize with a struggle that isn?t their own. But it?s all the same. It?s palpable. You can feel it pull and push like some gravitational force from another planet. Many turn to one. Ali is practicing a science, a faith. He?s a preacher, and the stage?the Metro?is his pulpit.

He closes his eyes reciting raps as if they were prayers. The crowd responds in likeness?not in overt clich� gestures of yesteryear's ?wave em like you just don?t care? rap shows?but in deep contemplative waves. Ali speaks to everyone. He sympathizes with their condition. It?s as if he?s conversing with each person in some indefinable way. Ali is legally blind?his albinism?so he doesn't see you in the crowd. He doesn?t make eye contact. Instead he reaches the crowd the only way he knows how. Calls them by their being, and connects to them through common pains. Empathy. He asks who has Shadows on the Sun. The crowd erupts, turning to one another recalling their favorite song. He asks who has Us. The crowd erupts again. Who has Undisputed Truth, same.

photo: Jeff Min

Ali breaks into ?Uncle Sam Goddamn.? The presidential debate is airing, and ironically here is where fans choose to seek truth. Ali is so very different. His look, perspective, and personality exist in a place far away. Yet here he is reaching out to us, spreading the gospel according to Ali. His recent trip to Mecca comes to mind. He continues, speaking in a compassionate, yet brutally honest way. There is no place for Ali in mainstream rap. Never will be. On the stage, the backdrop displays a large American flag. It reaches from the rafters to the stage. The colors are running. Bleeding. A handful of stars and not enough stripes, the reality of the American dream. It?s ugly. But it?s the truth, a lasting image. Ali knows this, that's why his name is on it, and it makes him better, stronger?more alert to the deficiencies of a dream turned nightmare. So Ali continues to rap, even as he exits the stage he continues to rap in his mind. You can see the wheels turning. Because of Ali rap is better. The prodigal son moves on, on to the next and beyond.

photo: Jeff Min

Check out Centerstage Chicago food and drink deals!

Ariel Pink's Haunted Graffitti/Dam-Funk Review

Mon, 24 Sep 2012 12:00:00 CST

Having a bill where Dam-Funk opens for Ariel Pink?s Haunted Graffiti is an unusual sight to see, something of a stylistic anomaly?Dam with his boogie-infused, future funk, and Ariel Pink's Haunted Graffiti with their unrelenting, emotionally charged portraits. They both occupy a certain pocket of popular music, and although respectfully different, each has drawn influences from the same era. It showed when they took the stage.

photo: Jeff Min

They basked in the spotlight, looked and acted like rock gods. Dam leapt off the stage during his set, and the crowd flocked to him like some newly minted messiah. Ariel did the same, several times. He body surfed the crowd, riding the top of the wave magnanimously like the froth at the crest of a tsunami. After emerging from the crowd he would pause on stage, think for a moment, and launch himself back into the hands of his fans.

photo: Jeff Min

Dam reached for his keytar in his set, which was synched up to a talk box. He sang, dipping in and out of Rhythm Trax Vol. 4 and Toeachizown, which was followed by new work destined for release some time in 2013. His hands glided over the keytar one moment and synths the other?it?s easy to forget how technically precise he is. Ariel Pink?s Haunted Graffiti has it too. For better or worse they don?t hold back. Ariel?while pulling regularly from a bottle of white wine?rolled around the stage like a man possessed. He pouted, he moaned, and screeched in aguish. His lyrics connected. His emotions confirmed.

Ariel and Dam?s sets were at different times, but they extracted life from the same pool?their fans. They stood above the crowd like icons, but shattered the walls that stood between them. They shared emotion, and energy. They shared body heat. They were kings.

photo: Jeff Min

Check out Centerstage Chicago food and drink deals!

Blowfly Review

Fri, 21 Sep 2012 12:00:00 CST

photo: Jeff Min

A blowfly is an insect from the Diptera order. It has 6 subfamilies, and is often used in maggot therapy. It?s also the moniker of Clarence Reid, an eccentric songwriter who throughout the 60s and 70s penned numerous hits for some of soul music?s biggest stars. How exactly Clarence came to be Blowfly is a long story, one that involves all the trappings of a true Hollywood drama (there is a documentary out there The Weird World of Blowfly); triumph in the face of adversity, setbacks in all its ugly forms, and alienation from an industry he helped build?all of which led him to eventually fade into obscurity like a dissident dream. The impression he left as the shameless, sex-romping superhero, Blowfly, still echoes throughout music today. Snoop, Devin the Dude, Del, and Ice-T all took a page from Blowfly?s bible. His recent resurgence, at 73, is a surprise. He?s not the same of course, and time has done a number on him?as he labors around with noticeable discomfort. But still he goes on. He goes on because when you?ve lived the life that he has that?s all you have left; to keep going and never look back.

photo: Jeff Min

Check out Centerstage Chicago food and drink deals!

GZA Review

Thu, 20 Sep 2012 12:00:00 CST

photo: Jeff Min

GZA is a genius. Not a genius in the traditional sense, but in his own unique way; completely esoteric and untouchable. There?s no reading him. His thoughts move innocuously like a directionless breeze. Its chart pattern flows in and out of all 36 chambers with ease, and it?s no wonder why he?s the leader of Wu-Tang. His place in rap lore is a contradiction, a formless presence?a liquid sword. GZA?s stage show unfolds much the same way. ?Liquid Swords? opens. Crowd erupts. Head?s bob. Hands in the shape of W?s rise. Chants of ?Wu! Wu! Wu!? echo throughout the Metro. It?s ?95 all over again. Calm and collected the GZA paces the stage back-and-forth, spitting yesteryears verses like it was penned this morning. Thoughtful and elusive, he wears a perpetual grin under his sedentary look. He knows something. He?s here, but he?s being inspired by something else, a deep series of thoughts hidden at the center of some meandering labyrinth. GZA exits Liquid Swords. He enters Beneath the Surface. He covers ?Shimmy Shimmy Ya?, an homage. Meanwhile the W?s never stop nor do the chants. Girls appear on stage. A man in black pours them drinks and takes long meticulous drags from a Black & Mild. The women dance, and then kiss. The guitar player lights a blunt. He hands it to the DJ who takes a long pull. He hands it back. The guitar player puts it out. Liquid Swords resumes.

photo: Jeff Min

Gary Grice is 46; old in some eyes. And yes, his age did show. The golden era is now becoming just that. Still, seeing him on stage rhyme the way he rhymed was pleasant and reassuring, the last feeling a Wu concert normally leaves. But that?s the case. The fans knew, and so did the house. GZA exits just as he entered like a wind already destined for other pastures.

photo: Jeff Min

Check out Centerstage Chicago food and drink deals!

Amon Tobin Review

Wed, 19 Sep 2012 12:00:00 CST

Amon Tobin is nowhere to be seen. The stage is motionless, and with the curtains down all that stands between the crowd and the stage is a thin layer of darkness. It?s slight, but deep and resonates. A steady static underlines everything, and a slow, almost inaudible, thoom of bass echoes throughout the Congress. You can feel it, but the crowd is so raucous it?s a wonder if anyone even hears it. Thoom?in regular, deep, monolithic intervals. It shakes the core and rattles the pulse.

photo: Jeff Min

And that?s how Amon Tobin enters the arena?long before the curtains draw; before the crowd even realizes it, they are already immersed in the set. Thoom, a flicker of light flashes on stage, momentarily rousing the crowd?but still no Amon Tobin. By the time he appears?in a space suit no less?the Congress is already delighted with a jaw dropping installation, a giant sculpture composed of large squares. Each one programmed with stunning visuals. One moment you?re descending in and out of galaxies, and the next you?re hit with a cascade of lights resembling a Martian metropolitan.

photo: Jeff Min

Throughout the set Amon appears sporadically, twisting knobs here and there, but it?s when he disappears into the darkness that the full effect is felt. Rhythmic aspirations of sonic exploration thematize Amon?s set, leading to new soundscapes. It?s not a concert so much as it is an engagement of sight and sound.

Check out Centerstage Chicago food and drink deals!

North Coast Review

Tue, 18 Sep 2012 12:00:00 CST

The third annual North Coast Music festival wrapped itself up at fever pitch. Not just in the final day, but each day?and with a level of fervor that outdid last year?s festivities. It?s a tough business to come in as React Presents has done?to go head-to-head with the other major powerhouse festivals?but they have, and subsequently made the entire music scene here better for it.

photo: Jeff Min

Most festivals have a niche market, a target audience, one that looks to proudly display its identity. But North Coast is a bit different. Its lineup of genre-warping artists blur the creative line, and as a result the social barriers fade as well. If you?re looking for like-minded individuals North Coast may not be for you, but if you?re looking for curious, and perhaps kindred spirits, then it can most certainly provide that romance.

Often overheard were people saying to one another that although they came to see one band they were most pleasantly surprised by another, which isn?t totally out of the ordinary for most festivals, but completely out of wack when it?s a People Under the Stairs fan saying that about Girl Talk.

photo: Jeff Min

So the question is whether or not North Coast succeeded as a whole in pinning down that ever elusive space between genres, the perfect hodgepodge of artists and fans that represent the idea that yeah it's okay to be a fan of Pretty Lights and still be down with Atmosphere. The answer is somewhat. They did not succeed as a whole. There were still divisions, and it was clear which fanbase came to see what artist. But that?s okay. Cause the attempts from React Presents to reach further and further beyond genres are getting bolder and more ambitious. The music is always changing and North Coast is keeping up, planning, and always looking to fit together the perfect bill.

photo: Jeff Min

Check out Centerstage Chicago food and drink deals!

Odd Future at the Vic

Mon, 17 Sep 2012 12:00:00 CST

photo: Jeff Min

The Camp Flog Gnaw tour came in like a storm, a wild and unpredictable hurricane mercilessly drenching all those caught under its cloud. Odd Future is the eye, and the Vic in its path. Taco Bennett opens with a mish-mash array of beats, fusing the crowd of young scenesters into a rousing chorus of one; playing with nostalgia one moment and kicking up new dirt the next. They sway and rock, and respond in perfect unison to Taco?s every gesture. He bounces, they bounce. He moves, they move. This goes on for twenty minutes. The Vic is at capacity, no room, and appetites are ravenous. By which time Hodgy Beats, Left Brain, and Domo Genesis hit the stage. Smooth and rugged-like, hyped, but poised?the amalgamation of MellowHype and MellowHigh keep the crowd?s energy at its peak. Mike G joins the fray, and an understated hell breaks loose. Some compare Odd Future to Wu-Tang, but maybe Gravediggaz might be more appropriate. It?s the same galaxy, but different planet. If the Wu family silently snuck through the back door?s of rap in the middle of the night, Odd Future kicked in the front door in broad daylight?with a grin heartily intact.

photo: Jeff Min

Enters Tyler?the mischievous, unrelenting, crass, front man?Tyler The Creator. His presence is immediate and violent like cutting butter with a chainsaw. His reputation as the wild one fits the bill, but none of that hinders his performance. He is lyrically sharp, precise, and believes in the words coming out of his mouth. During the intermissions he orchestrates and manipulates the crowd?s chemistry like an alchemist. He never loses control. If he?s not the body he?s most definitely the soul. The fans, who indulged in the Camp Flog Gnaw Tour, represented many. All different styles, and all ages?from the middle-aged man in Dockers looking for his youth to the curious child climbing a garbage can for a better perspective?came and went. Everyone else in between ran the gamut: hipsters, socialites, scenesters, movers, shakers, backpackers, etc., etc. They all came together, and it was a beautiful mess like a 30-car pileup. Like it or not Odd Future is here, and represent what?s both magnificent and hopelessly tragic about the future of rap. Odd Future indeed.

photo: Jeff Min

Check out Centerstage Chicago food and drink deals!

Liberation Tour

Fri, 14 Sep 2012 12:00:00 CST

D?Angelo is an enigma, a mystery. The type of artist you can spend the next twenty years studying, and get no closer to the truth than when you first started. By now most of his fans know his story, an R&B superstar whose meteoric rise was overshadowed by his mortal fall back to earth. Still, his body of work remains and stands as a measuring stick for modern day soul. But that?s not to say D?Angelo is gone, and destined to be spoken of in past tense. His performance at the Untied Center for Mary J. Blige?s "Liberation Tour" proved that he still has what it takes, but only if he wants it. The show started late, an hour late. And it was raining, so the mood was less than welcoming. Apparently D?Angelo had an emergency to attend to and couldn?t make it on time, which wasn?t a surprise considering his track record. But how can anyone, his loyal fans especially, really be that upset? What made albums like Brown Sugar and Voodoo so successful was the raw nature of them. You loved it because you believed in it. Every word stood as gospel. He lived that life. In that sense drama or ?emergencies? are as much a part of D?Angelo?s music as 88 keys are to a grand piano. Of course he performed his classics, ?Brown Sugar? to ?Devil?s Pie? and everything in between, but the sound could have been better. A place like the UC has the firepower to melt faces, but it never reached that level of intensity, which was a shame as D?Angelo?s backing band came prepared. The hang-up certainly affected the crowd and they seemed to be basking more in nostalgia than anything else. That?s not to say that D?Angelo, the performer, didn?t show up. He was charismatic, energized, and whatever was ailing him prior seemed to have subsided as he rolled through each song. Unfortunately the set was brief, 45 minutes at best. It could have been better, no question. D'Angelo has a new album on the way (James River) and this is a rocky start in terms of getting him back to where he needs to be, on stage and in top form. Nevertheless, the air that night suggested that D?Angelo is ready. The question is will he bring it all together before his window of opportunity closes for good.

Mary J. Blige on the other hand was as consistent as ever. Most would be quick to call her a diva, and yes maybe they?re right, but not as we know the word today. ?Diva? lends itself to the idea of excessive style?over the top demands and equally over the top personalities?but that wasn?t the case with Mary J. Blige. Yes, she entered the stage in dramatic fashion, donning thigh-high leather boots and a red jumper with matching glasses. But no matter how brash the look, it was still same old Mary B. She looked amazing, and there was nothing "Diva" about it. She came hard and wasted no time in setting the ship right for the delay. In fact she apologized a number of times, and between every song she showered the crowd with praise. The beauty and magnificence was all there, yet a wonderfully blue collar mentality blanketed the whole performance. Each song roused the crowd and at times Mary didn?t even sing, the packed UC did all the work for her. The best parts came when Mary slowed things down. She reached a nice groove about halfway through her set, ultimately giving fans a survey of her entire catalogue?from What's the 411? to My Life II...The Journey Continues (Act 1). That?s over twenty years worth of music. Mary?s energy echoed throughout the UC, and nearly every person was on their feet. She, as clich� as it sounds, left it all on the stage. At times she moved like she did when she and Method Man took over with their cover of Marvin and Tammi's ?You?re All I need to Get By?, while in other moments she was as soft and vulnerable as she was during the Growing Pains years. Diva? Hardly, instead a true artist with nothing between who she is as a person and who she is as a performer.

Check out Centerstage Chicago food and drink deals!

Shred One

Wed, 20 Jun 2012 12:00:00 CST

As a skilled DJ, Sheila ?Shred One? Hernando has more than lived up to her moniker. Watching her work is like watching a master craftsman at play; the nimble dexterity, the effortless mixing, and the exquisite taste in music makes her a triple threat on the decks. Since arriving from San Francisco Sheila has spread her love of funk, soul, and boogie to audiophiles all over Chicago. And with each passing set she?s slowly forging herself as one of the best DJs around. Recently Shred One started a record label, Cherries Records, with her fianc� Andrew ?Meaty Ogre? Brearley and together they?ve shot new life into the local music scene. Centerstage spoke with Shred about her transition from San Francisco to Chicago and how her new label is poised for great things. You recently competed in the Vocalo sponsored ?Quest for the Best? competition, what was it like going head-to-head with such great local talents?
The Vocalo battle was the first time I have ever entered a DJ Contest, so I was definitely shook. But I really wanted to challenge myself and work hard towards accomplishing a goal as a DJ. For me, the goal wasn?t to win, but to prove my skills in a brand new city?especially in Chicago, where folks are not very easy to please. The Sweater Funk crew is renowned for their deep crates and stellar work behind the decks. How did you guys come together?
Four years ago, Jon Blunck?a record collector and amazing human being?started the night in a grimy basement in a bar deep in the depths of Chinatown in San Francisco. It was a weekly Sunday evening where the record nerds of boogie music all got together and played each other their favorite modern soul and two-step gems for each other. We now consist of fourteen boogie lovers who still collect and play records, every Sunday night. Two of us (including myself) currently live in Chicago, and we are working on spreading the Sweater Funk vibe and sound to a city near you! Making the transition from San Francisco to Chicago had to have had its fair share of ups-and-downs, what?s the adjustment been like for you?
I?ve lived in so many different cities but the transition to Chicago was probably the most challenging. I first moved here two years ago at the tail end of summer, then was quickly introduced to Snowpocalypse and hated life for the next six months. It was also a bit scary for me to try and start my DJ career again from scratch (no pun intended) in a brand new city. But things eventually fell into place, and I am falling in love with the city more and more every day. Chicago is finally starting to feel like home. In comparison to the West Coast what?s your take on the nightlife here in Chicago?
I enjoy Chicago nightlife. There is a lot of talent here. It?s amazing to be able to see DJs that I have admired and listened to for years on the regular, like Ron Trent. But it seems that the locals are always referring to ?the old days? on Chicago nightlife. I would?ve loved to experience it then, but I?ve enjoyed what I have experienced in the few years I have been living here. The music here is deep. And it stays deep. I notice the dance floors respond to deep sounds. I love that. They prefer the feeling the music gives them over what?s hot. This city has really forced me to step my game up as a DJ and selector, and has reminded me why I started DJing?to connect to people through music. What are some of your favorite records stores around town?
My favorite record store was Mr. Peabody Records, but unfortunately has recently closed. Mark and Mike really schooled me on so much music. I also love digging at Out of the Past. I always come out of there sweaty and dirty, but have the illest records in my hand. I also love K-Starke?he always has dancefloor bangers. Cherries Records just launched, what?s it like having your own label and what were some of the hardest things to overcome and are still trying to?
I worked at a label in New York City during my college years, so I was able to learn the ins-and-outs of how to run one. I always had dreams of running my own label and putting out music that I believe in. Andrew (my fianc� & co-owner) had the same dream, so there was no way we were not going to at least try to make it happen together. It really feels like this is exactly what we both are supposed to be doing. We have been fortunate enough to connect with amazing artists, new and old, who share our vision and are excited to work with us. Our first release sold out in one week, and we?ve been receiving such great support from people all over the world! I think we?re on to something really great... I think the hardest thing will always be making sure that we?re finding great, innovative music to release. We?re really striving to work with older artists, pairing them with newer artists, and creating a fresh sound. But unfortunately, as we all grow older, our greats are passing, and we run out of time and opportunities to work with them. But I know there is always good, quality music being created, and it is now our job to find it, and share it with the world. What?s the immediate future hold for Cherries?
We have an amazing line-up of releases coming out this year. Our second release features Tony Ozier, a Detroit musician and producer now residing in Portland. He is funky. Funky doesn?t even describe the amount of funk oozing out of this guy?s pours. We?re gonna blow your minds! Can you give me a rundown of the top five favorite records (or songs) in your crate right now?
In no particular order: 1. Talk Together ?Tall Black Guy (Bastard Jazz)
2. The Recipe ?Kendrick Lamar (Aftermath)
3. It?s Me ?Venice Dawn (Wax Poetics)
4. Got To Be Enough ?Confunkshun (Mercury)
5. Love Is Comin? ?K-Maxx (Sound Boutique)
For more visit www.cherriesrecords.bigcartel.com

Check out Centerstage Chicago food and drink deals!

Meaty Ogre

Wed, 11 Jan 2012 12:00:00 CST

Andrew ?Meaty Ogre? Brearley is a Rockford born, Chicago raised, DJ/Producer/record label exec who has built a loyal following with his refined taste in music and stellar production resume, one that reaches across a decade and under prominent local imprints Galapagos4 and Fieldwerk Recordings. His return to Chicago, after a brief hiatus in Arizona, has proven to be a sound choice for him as he?s already forged bonds with Chicago?s elite class of music aficionados. Currently Meaty can be found spinning at places like the Whistler and Double Door, and his newest venture, Cherries Records, a label specializing in modern R&B?and in collaboration with his fiance DJ Shred One of the Sweater Funk crew?is looking to build upon an already vibrant list of local labels. Centerstage caught up with Meaty to discuss everything from his early days as a budding producer to his future with Cherries Records. To start from the beginning how did you get interested in making music?
When I was 3 years old, I used to tell my parents I wanted to be a drummer. From the time I was 5 or 6 I remember walking around with rhythms and beats in my head, which I still do today. I?m always beatboxing or tapping on tables and annoying the people around me. I?ve been doing it since I can remember. While you were developing your style did you have any local artists who helped your progression?
The first dude in Chi who showed me the ropes was my buddy Act Fact, who used to go by ?Illuminating Prophet?. We went to UIC together, and he introduced me to a lot of the local scene; Nacrobats, Molemen, All Natural, etc. Pugslee Atomz was the first dude to put me on a tape, and he definitely inspired me to make better music. When you sit down to hammer out a beat, what?s your process like?
In general, I always do my drums first. I have been playing drums since I was a kid, and it?s actually the reason I got into making beats in the first place, since I could never have my drums in my apartment. I?ll usually just lay a drum track I like, then mess around with records I have lying around and drop them over the drums until I hear something that catches my ear. Lately though, I?ve been using mostly soft synths and instruments, and I have a few vintage keyboards lying around that I mess with. But the drums have always been the first thing I focus on. What sort of equipment do you use?
I have been using the program Acid since 1998 to do all my sequencing. I started messing around with FL Studio recently though, and I?ve fallen in love with it. I have a vintage Korg vocoder, an Oberheim TVS-1, SP1200, EMU Emax and some other things in the arsenal. But with my limited time, I generally just jump on the computer and try to bang everything out in Acid or FL Studio. You built a loyal following with G4, how did you initially link with the label?
I had met Offwhyte through a mutual friend early on, but we never linked musically. I became friends with Qwel through my friend DYMZ who is a writer that used to be in Qwel?s graf crew. DYMZ would always tell me how Qwel was a dope MC and that I should work with him, and when I met him and saw this grunge rock looking dude, I knew we would be a good fit. Eventually we started working on a lot of tunes, and G4 wanted to release it, and we all sort of formed a family from there on. You?ve also done some work with David Humphries (Crushcon7) for the Fieldwerk label, how did you guys come together, and do you plan on working with them again?
I met Dave through Zavala and Void Pedal, all three who were dudes I had never even heard any music from until maybe 3 years ago, and they all blew my mind. We used to all hang out and play records and kick it, but I hadn?t heard of what they were doing until I was living in Arizona 3 years ago. I took a pretty long hiatus from going hard on music for a good 3 years when my son was born, but when Dave hit me up to do the Fieldwerk EP, I had a good amount of newer material I was working on, so the EP fell into place nicely. I definitely plan on working with Fieldwerk more, and have some stuff I?m putting together for them in the works. In regards to collaborations, when you?re working with another producer, what steps do you take to ensure an even exchange of ideas?
Honestly, I?ve never worked with another producer. The Fieldwerk thing was not a collab, just a split EP where each of us got our own sides. It?s just too hard for me. I guess I?m somewhat of a control freak about how I want my stuff to sound. On the engineering side of things though, I like having other producer?s ears in the room, to give me an outside perspective on how I might fine tune certain things in the mix better. You?ve been a big part of the Chicago hip-hop scene. What?s your take on it currently?
Hip Hop in general is constantly evolving and changing. I was really into the scene 1998-2005, and it seemed like back then there were just more outlets for us to congregate and just ?be? a hip-hop head. The days of hitting the record store every Tuesday to buy a new 12? or mixtape are gone. There aren?t many venues for cats to do shows, and the feeling that was in the air back then just doesn?t seem like it?s around anymore. There used to be rap ciphers everywhere you went, b-boys opening circles at every show, graf in the CTA tunnels, DJ battles, etc?and now that whole era seems to have ended and moved to the internet. Having limited resources back then meant you had to go out in the world and seek it out. Nowadays you can hop online and feel like you?re a part of the scene. I don?t think it?s a Chicago thing either it?s just the climate of everything has changed. What are some of the things within the city that inspire you to make music?
I buy and sell used records for a living, and my daily travels out looking for records all over the city brings me to a lot of places the average Chicagoan might not get to see. I run around to all sides of the city, and I love the people here, and the sense of tradition that us Midwesterners have. My music is really influenced by the city, and what I?m listening to and collecting at the time. And having such an ocean of music to swim in like Chicago keeps me inspired. It?s clear that you have a passion for vinyl. At this moment, as lists like this seem to fluctuate, what are your top five records?
1. Clear - Equal Love Opportunity
2. Carly Simon - Why
3. Midnight Express Show Band ? Tri Fire Vol. 1
4. Peaking Lights ? 936
5. PJ City ? Straight Forward
Just wanted to mention that I?ve started an R&B label called ?Cherries?. We will be releasing mainly 45s. Already got 3 releases ready to go, and it will be all modern R&B, steppers, ballads, funk, and adult contemporary. I?ll be releasing stuff under an alias, along with releasing stuff from friends around the globe. I?m really excited about it, so please stay tuned. For Meaty's latest: http://soundcloud.com/cermakk http://soundcloud.com/southcentralboogie http://soundcloud.com/benjamin-17

Check out Centerstage Chicago food and drink deals!

Panik

Tue, 22 Nov 2011 12:00:00 CST

As one of the original founders of the Molemen collective, producer Ed Zamudio (aka Panik) has been a steady hand in the Chicago hip-hop scene for years. Albums like The Cop Show Themes and Drama Suite resonate as a vibrant brush stroke across an already rich landscape, and his vision as a leader has been instrumental in the development of budding producers worldwide. Panik?s influences reflect a wide range of interests?from Earth, Wind and Fire and Pat Benatar to Funkadelic and Afrika Bambaataa?but it?s his ability to channel those inspirations into something much more that has made him the pioneer he is today. In recent months Panik has reemerged, collaborating with label mate Vakill on the Armor of God project. The production on the album finds him in classic form, and is a perfect rhythmic compliment to Vakill?s spry lyricism. It?s proof yet again that the Molemen ethos is alive and well. Centerstage briefly caught up with Panik to discuss the new project and what?s on his radar for the coming months.
To start from the beginning, what, or who rather, got you first interested in hip-hop?
Run DMC and Afrika Bambaataa & the Soulsonic Force was what caught my ear first, one of my favorite groups of all time. You have a grip of instrumental albums out there, do you remember the first beats you ever laid down?
Not really, it?s been so long. I?m sure they were practice beats then as I got better I started saving them. How did you link with the rest of the crew, PNS and Memo?
I met Vakill through a mutual friend in ?91 on the Southside in Hyde Park when they were having hip-hop meetings there. I was making beats for this cat from the Southside named Drama and he introduced me to Rhymefest in ?95. Fest introduced me to Memo. Memo and Rhymefest were in a group together way back then. I met PNS in ?95 at a record store that used to be on Clark St. in Lincoln Park when we were both digging for records. You guys have a nice young duo in Astonish and Scheme. How much are you involved in their development?
At the beginning I was very involved musically but as time has passed by, they been wanting more of their own freedom and space musically to do what they want. I understand though, sometimes you got to just try things on your own and see things for yourself. But I?m still very close to both, they?re Molemen and we still work now and in the future on music. We still work with both on the other stuff involving their projects such as videos, marketing, promo and artwork as well. The thing about Scheme & Astonish is their family to me and Sonia, so we?re always going to build on music or personal stuff. In what ways does Chicago give you the inspiration you need?
I was born and raised in Chicago and I?ve spent most of my life in here, everything I do comes out in a Chicago state of mind. I?m currently living in Dallas for a few months and I?ve noticed my Chicago ways more and more. The thing I noticed of how Chicago has inspired me is the way it?s so culturally diverse and that has given me such an open mind on how to work on music and lends me a lot of creativity. For many fans of Chicago hip-hop, the Molemen represent the genesis, was that something you guys kept in mind or affected the way you made music while you moved forward?
No not really, the main thing is that we love the art and the culture and we wanted to make its presence in Chicago. So when the rest of the world noticed our scene, they would know that Chicago has a strong and vibrant hip-hop scene. The city can be so hot and cold when it comes to supporting local talent. Aside from senseless hating, why do you suppose that is?
You know I?ve noticed different cities treat their local talent different ways, some ways work better than others. In Chicago we use the ?tough love? ways. If an artist understands and uses that for motivation, then they?ll do good and survive. You and Vakill just recently released a project, Armor of God, could you tell me a little bit about how it all came together?
This projects was worked on for 4-5 years, a lot of things happened during that time that tested, both personally and musically, our will to continue. But me and Vakill really love working on tracks and albums and this project showed a lot of maturity as an artist. We were very proud of how this album came out. I feel the more pain in music, the better. So we used it to our advantage. You take on a majority of the production credits. What was the creative process like for you and Vakill?
Well, me and Vakill are like a group more than just him being the artist. So when we first started thinking about this album, we wanted to sound different from his previous releases. We wanted a dark and grimy feel balanced with lighter and more produced tracks. One thing I told him is that I liked Jake One?s production and I wanted to see if we could fit him in our album. Vakill checked some of Jake?s tracks and he loved them. The fans wanted a Vakill and Crooked I song and we made that happen. Vakill wanted a Juice and Rhymefest reunion song so we accomplished that. Me personally, I just wanted to step up my production game on the album. What kind of equipment did you use for the project?
MPC200XL, Maschine, protools and a gang of plug-ins and records. I wanted to use some live instrumentation so I had some session musicians add to the album as well. I wanted the old vintage Molemen sound but I also wanted to show the progression I?ve made as a producer. What plans do you have for the coming months? Winter seems like perfect Molemen weather?
The next few months I plan on releasing Astonish?s ? AstonishinglyODD Project, helping Scheme with the Life that I Choose EP., dropping some instrumental albums, working on a new producer album and working with Vakill on his next project. I?m living in Dallas currently, so I?m going to enjoy the good weather and show up in Chicago around summertime when the weather is nice in Chicago and terrible in Dallas.

Check out Centerstage Chicago food and drink deals!

Qwazaar

Fri, 16 Sep 2011 12:00:00 CST

When asked about his new album Bat Meets Blaine, Qwazaar (of Typical Cats fame) responded with ?We wanted a true album feel that left people feeling like they got a really good full meal; the perfect portions with no wildness on the plate that shouldn?t be there.? Those wise words are from a guy who lives and breathes through his craft. Qwazaar?s passion for music began long before said album and well into his childhood. His father was rag tagging with a band called Piping Hot, and since Qwazaar didn?t take to instruments his propensity for the spoken word took flight. It?s artists like Slick Rick and Black Thought who provide him with the blueprint he has today, and through his stick-and-move delivery those patterns most certainly shine. What separates Qwazaar from the rest is his own sense of honesty, which he illustrates from one verse to the next?whether it's a mischievous tongue-in-cheek jab or a seething tale of grime. He?s a legend here in Chicago, and although he?s relocated out West there still is something decidedly Midwest about him. Centerstage spoke with Qwazaar about his newest album and the steps it took to get there. To start from the beginning, what was it that got you interested in hip-hop?
Well, I?ve always been into music period. My pops used to play in a band called Piping Hot, so when we were growing up we?d always have almost every type of instrument you could ask for just laying around the house. That and old mics and all that. I think I got into rhyming more because it was something that I felt I could really do. I tried playing around with a lot of the instruments but nothing really grabbed me at the time. Hearing how a cat like Slick Rick would use his words was hypnotizing. I started listening and memorizing his rhymes and writing them down and looking at them, and then started putting my own thoughts in there and I was hooked since then. Who are some of your inspirations as an artist?
Anything fresh. As far as rhyme spitters, Black Thought, Jay Electronica, Adad. I listen to a lot of Devin the Dude. But for inspiration in general I pull from everything. Most of my content is from personal experience though. One of the main driving points for me in making music is just the anticipation of what the next song we make is gonna feel like. You never know what it?s gonna sound like, what?s it gonna do. You never know, it might be the greatest thing ever created, could be hot garbage. Probably not. At what point did you link with Typical Cats and G4?
TC & G4 kinda all happened around the same time period in the early 2000?s. I met with the Cats from weekly visits to the University of Chicago radio show, Kid Knish and DJ Natural ran the show. Denizen went to the University with them and would check in to the show with his little brother Dave. Qwelly used to roll through with his brother Mikey. I?d be up there with my Outerlimitz crew and we?d all just roll up there to kill it in live ciphers on the show. It was crazy back then because more and more cats would start popping up just to be in the station. Trying to get on the mic or just soaking it up at one point it felt like there was 70 cats squeezing up regularly just to chill at the radio station. It was a brief but good moment in time. A lot of the other artist on the G4 roster would come through as well so we kinda all connected and heard about each other through there first. Nurturing your craft in Chicago can be a difficult thing to do, did you have anyone here that helped you along the way?
I?ve always been a hard listener so when I first got in and started meeting cats I always found it interesting how everyone had a different take or approach to rhyming. So I always paid attention to how something I did was perceived in ciphers compared to other cats, especially the delivery. It didn?t really click to me though until I met the homie Ace G. Me and his little brother had a group so we came up under him and all went to the same school together. He had metaphors and all that but what made him different at the time was his freestyle and his flow. He could go on forever and it would be raw as hell. For us he was Juice before we knew who Juice was only with his flow, he would never stop or take a lot of breaks between bars. He just kept going. I learned how to let my words fall more naturally from watching a listening to him. You have a new album that just dropped. Tell me how you linked with Batsauce and a little bit about how it all came together.
I first met Batsauce through a friend while out in Berlin in 2010 I believe. He produces and DJ?s for Lady Daisey. I went to check her out and found out that the beats were raw. At some point while out there we all came to the very smart conclusion that we should record together. 2 of the first beats I ever got from him were the ?Chop Em All Down? beat and the ?If It Seems Wrong? track. The Album?s sound was pretty much built around the feel of those two joints. How was it working with Batsauce? Did you guys communicate often on what you were trying to achieve or did you just give each other space to breathe and do your own thing?
He?s literally right next to me now chopping up samples. Batsauce is a beast; has a million beats and just keeps coming with them. There?s was definitely a lot of communication on the beat selection for this album because we just really wanted it to feel good and thorough. There are not a lot of projects out there that sound like true albums these days. Much of the official releases sound just like mix-tapes. We wanted a true album feel that left people feeling like they got a really good full meal; the perfect portions with no wildness on the plate that shouldn?t be there. What prompted your move from here to out west?
The change of scenery was needed. I had been through a lot of drama up to that point and had a couple of trips to LA under my belt enough to see that it wasn?t the worst place to live; a lot of good music and a good scene out here as well. Home is still home though so there?s a good chance I?ll be back sooner than later for a bit. You?ve been invested in hip-hop for so long, what?s your take on its current direction?
There?s a part that feels the blade turn in your heart when you see the fake. But I think it?s important for cats to remember that the fake has always existed. These days there?s more access to it and it?s more visible. But cats are still painting. B-Boys are still killing. Real DJ?s do still exist and are killing it. And there are plenty of MC?s and artist out here making good music. Ain?t nothing changed in that sense. People gotta stop being lazy and go find that goodness like we all did when we was coming up. What about here in Chicago?
Chicago is killing it. I hear some fools talking about the rap scene being dead. If the scene is dead then it?s probably because cats have been in the studio putting together bangers. Qwel, Adad, Molemen, Capital D with that project he dropped to bring in this year felt like it set everything off. Primeridian, Vakill just dropped his new where he?s killing every track literally. Chicago is on point. I see a lot of good happening. I?m glad that me and Batsauce are right on time with these projects so we can be a part of it. Any other projects you got coming up?
Well, the Dirty Digital ?Digi-Tape Side B? just dropped on Lefthouse. Me and Batsauce got the Bat Meets Blaine album up and running. I got this EP in the works with He.llsent from Outerlimitz. Also, I just finished a week long recording session with Typical Cats for this next album and we?re just about done. So hopefully that will all hit by mid-2012. For right now though it?s Bat Meets Blaine on full blast.

Check out Centerstage Chicago food and drink deals!

An Aesthetic Anaesthetic

Thu, 18 Aug 2011 12:00:00 CST

An Aesthetic Anaesthetic is a local band comprised of Dan Hoefler (guitar), Joshua Corriveau (Guitar), Sam Edgin (bass) and William Covert (drums). The band's genesis took place in Colorado, but didn?t truly take form until moving to Chicago. The current roster met via craigslist, and gelled instantly through similar styles and interests. In the short time An Aesthetic Anaesthetic has been together they've already released two EP's and a full length. A!A!A?s influences run the gamut?from Johnny Cash and Battles to Fugazi?yet they?ve separated themselves from the pack with a sound that they best describe as, ?if you took the angry tone of Refused, combined with the building style of Explosions in the Sky, and added a dash of the Kinsella?s.? Centerstage caught up with bassist Sam Edgin to discuss the collective's songwriting process and how their full-length debut, Before the Machinery of Other Skeletons, has been a long time coming. How did you guys initially come together?
Craigslist is mainly to thank for us being a band. Dan formed the band with our old drummer, Greg, out in Colorado. They both moved to Chicago where they met Josh via Craigslist. They played as that lineup for about a year together. Then I (Sam) booked them at Reggie?s Rock Club. A few months later they asked if I would come into the studio and record bass for their new EP, and after jamming one time we decided I should stay in the band. We played as that lineup for another year, then Greg decided to pursue an education in Florida, so we put out another ad on Craigslist looking for a drummer; and this is where Bill comes in. Again, we had one session with him and decided he was the best man for the job. We?ve been playing together under this lineup for a little over a year now and couldn?t be happier. Even though we met randomly, we are each other?s closest friends. It?s nice to be in a band where there?s no drama, and everyone just wants to play music and constantly be working to take the band to the next level. Who are some of your inspirations?
We have a pretty large spectrum of influences as individuals. Our personal inspirations range from Jimi Hendrix and Johnny Cash to bands like Saves the Day, Battles, and Cursive. As a band though, I would say our strongest influences would be Fugazi, Mogwai, and Refused. Does Chicago in particular inspire you in any way?
There?s a lot about Chicago that inspires me, personally. I think it?s one of the hardest cities for bands to really make an impact on people. So many good scenes have come from Chicago (especially in the sense of avant-garde and Math Rock) but it?s breaking into that scene that is truly difficult. I think that?s sort of what drives me as a musician though. Being an Instrumental / Math Rock / Metal band makes getting noticed a lot more difficult. All of those scenes are really small, tight niches of people, and unless you?re one of the cool kids that everyone knows, you have a slim chance. The way we look at it though, is that these fads come and go. One year pop punk is huge, and the next is indie electronica. All we care about is playing the music we love, and anyone who wants to throw down with us is always welcome. What?s the writing process like for you guys when you?re ready to sit down and make music?
Honestly, we?re kind of all over the place when we write. Sometimes at practice someone will just start playing a riff and we?ll jam on that for a while, then we?ll go back and review the parts that were really cool and start writing from there. Other times someone will have a whole song already written and we?ll each add our own suggestions for the song. Something that is great about playing with A!A!A is that we all contribute to the song writing. There?s never one person who makes all of the calls, and writes all of the songs. We all contribute something to everything we write, which I think is why our songs end up being 7-12 minutes long and have pop / metal / and math elements. You have two EPs out right now, what has been the biggest transition for you guys from one project to the next?
Our biggest issue has been being able to afford recording more! Writing for us has never been a problem. We have a library of about 25+ songs, and we?re still writing. I guess the constant struggle for every release we have is making people constantly aware of our releases. So far, we?ve had all of our releases available on our bandcamp site as Pay-What-You-Want. We?re not concerned with making money off of the band. We just really want people to hear our songs and enjoy our music. Although this process is difficult, I think we?re on a good track. In the last year, we?ve gone from drawing 20-25 people to 60-75, and we?ve gotten shows with Tera Melos and Marnie Stern. Is there a full length in sight?
There is! After 3 years of only being able to record EP?s, we?re finally releasing our first full length entitled Before the Machinery of Other Skeletons. BTMOOS is 9 tracks long and runs just over 60 minutes. We are extremely excited to get this full length into the hands of Chicago. We tried to make the CD flow and be more of a statement than just some songs for you to listen to. When there aren?t vocals in a song, most people tend to lose interest. If someone is not telling them what a song is about, they don?t know how to ?feel.? We tried to make this album a journey/experience of sorts. Before the Machinery of Other Skeletons will move you one way or the other. That?s the best part about instrumental music. You don?t have to be in a certain mood to listen to it. The music will just enhance your mood. What else do you have planned for the coming months?
We?re being interviewed on Fearless Radio on August 22nd; our CD release show at Beat Kitchen August 26th; and then we head out on tour for 10 days to Colorado and back. So we?ve got a pretty packed schedule. For details on A!A!A's record release show check our listings.

Check out Centerstage Chicago food and drink deals!

Auburn

Thu, 26 May 2011 12:00:00 CST

With influences ranging from Rammaellzee and No I.D. to the Definitive Jux label, it?s no surprise that Auburn (emcee vyle. and producer Eliot Lipp) has created music that is deserving of interest. Together?vyle. with his wry, stick-and-move flow and Eliot with his multi-textured soundscapes?the duo brandishes a form of hip-hop that is fluid and speaks to many different styles. The easy thing to do would be to start labeling them with nondescript tags, but at this point it?s still too early to tell. So far the indications are that there is an honesty that reveals that they?re respecting the process of absorbing and translating their many influences; their most recent creative endeavors are taking them back-and-forth between Chicago and New York. As of now their mixtape (available for free here) is a guiding light in terms of where they?ll end up next. Centerstage caught up with them via email before their Chicago debut at the darkroom to discuss their process and what they have on deck for the coming months. Where are you guys from originally and how did you get started in your respective crafts?
vyle.: I'm from Chicago and I got started in my craft via influence from the city and the times we were in, the mid to late 90's. Eliot Lipp: Tacoma, WA. My brother had a punk band and I started playing drum kit. Every musician has a laundry list of influences, which ones rise to the surface for you guys in particular?
v: Rammellzee, Basquiat, Nacrobats, NO I.D. EL: Yeah, Def Jux era hip-hop is a major influence on vyle. and I. How did you guys come to the name Auburn?
v: Auburn was a group name we've thrown around for a little while. Before then we were called Neonstriderbitrate, Auburn's easier to say. You guys go back and forth between New York and Chicago, arguably the two most progressive minded hip-hop cities in the world. What?s your take on the two scenes and in what ways are you guys a representative of both?
v: In New York-That's the place where rap originated so it?s always influential being there. Sometimes it reminds me of little things in rap's history, movies like Wild Style and Juice, King of New York and things of that nature. Also there?s a great scene in New York art-wise right now with artists like Action Bronson and Ninjasonik. Chicago has always been much different because we have a huge freestyling background and obviously the regional change in styles. But yeah I'm definitely representative of both because my lyrics touch on things that are defiantly and unabashedly rap swag. EL: I like how vyle. uses the term "nerd rap" but usually means it in a good way. How does Chicago in particular influence you guys?
v: Chicago always influences me. I feel like most of the current clothing styles and rap styles come from here. EL: Chicago is a city where you will see backpack rappers in the club and club rappers wearing backpacks, and of course, hipster rappers trying to get their pictures taken. How did you guys link up with Box of Milk Records?
v: The owners of the label were starting it and asked if we wanted to put out a single with them and that single deal has grown into an album deal. EL: vyle. knew the label owner from back in the day. Can you tell me a little bit about your new mixtape T/E/L/E/X?
v: It's pretty much a teaser or what we?ve been up to lately Auburn-wise leading up to our album D/A/T/A/S/E/T/T/E. We got a bunch of great guests on there, Maggie Horn of Telephoned from Fool's Gold Records, G.O.D. Jewels, Sulaiman and more. The style of music is pretty much us and what we love to hear. Some songs can range from dreamy shoegaze-esque rap to italo-disco/trap and swag songs. The past decade or so has seen a melding of genres that have in a lot of ways defied the way we classify music. How do you guys bring your respective influences and talents together without getting too caught by the media?s influence?
v: We just make the type of music that?s in us. We don't try to over classify our music (except for that last answer hahaha). EL: I think that we are influenced by the media in some ways. By choosing to publish articles about certain albums, the media does help shape certain genres. Musicians and producers are all influenced by that music. We dig deeper for our influences though. We listen to different styles of music from all different eras. This helps keep us from making any kinds of typical generic sound. What?s the process like for you guys when you?re ready to sit down and make music?
v: Usually we get our espressos, and I get started on the drum programming. Then Eliot comes in with the synths or sometimes it?s the other way around and sometimes tracks get formed out of nowhere. Sometimes we have other artists in the studio and we bounce ideas off of one another and other times we have a melody that gets put to midi. EL: We start working on about three or four new beats then we will record vocals to some other songs, then we'll come back to something we did the day before and basically work until we're both about to pass out. It seems like you guys are building up a steady stream of momentum, what can we look forward to in the coming months?
v: More material, singles, shows and way more videos! EL: More videos, more singles and eventually a full- length album, D/A/T/A/S/E/T/T/E.

Check out Centerstage Chicago food and drink deals!

Void Pedal

Thu, 21 Apr 2011 12:00:00 CST

With the release of his full length album Omni-Colour, Chad Schneider aka Void Pedal has officially thrown his name in the mix as one of the most talented up-and-coming producers in Chicago. Nurturing his love for hip-hop since the early 90?s, Schneider has committed himself to his craft in a way that aptly represents both the current and possible future of instrumental hip-hop. From the opening sequence of Omni-Colour to the final break, listeners are treated with a lush combination of synthesizers and analog instrumentation, which is narrated nicely by a fire and ice combination of warm melodies and menacing drum-breaks. It?s the type of project that likens itself to an abstract dream or a mystifying summer evening; seemingly directionless but draped in meaning. Since the release of Omni-Colour Schneider has been diligently promoting his work, performing at venues all across Chicago including the Abbey Pub and darkroom. Centerstage recently caught up with Void Pedal to talk about his burgeoning career as well as the construction of his newest album. Where did you grow up and how did you get interested in hip-hop?
I moved around a lot growing up, but my grandparents were always based in Chicago. I was always coming to Chicago to spend my summer here with my grandparents until I was 17 when we finally made a permanent move to Chicago. I got interested in hip-hop at an early age when I heard LL Cool J's "Mama said Knock you Out" in 90' and then in 91' I bought Black Sheep's A Wolf in Sheep's Clothing. After hearing that album I was forever hooked on learning how hip-hop was made. Who are some of your influences both past and present?
I draw influences and inspiration from a lot of music. It?s very difficult to narrow down what really influences me, but if I had to choose a music producer from the past it would be David Axelrod. I think the more and more I make music the broader the spectrum gets. What about Chicago inspires your sound?
Chicago would be nothing without the people who built it. People from Chicago don't mess around, they will tell you the truth. I think it inspires me to be better as a producer because it takes a lot to impress people from Chicago. What?s your take on the hip-hop scene here?
The hip-hop scene in Chicago is deep. The scene is alive and well and I know that Fieldwerk Recordings is definitely vitalizing and enriching the scene here with its amazing lineup of producers. We are here to stay and will always support the Chicago scene. How did you link up with Fieldwerk?
I met David Humphries back in 2005 in Chicago with Alex Zavala. We all became friends and were just getting into the Chicago scene as producers. We all progressed in our production skills and in 2009, David decided to start Fieldwerk Recordings and began to release records under the Fieldwerk name. What approach do you take when you sit down to craft a beat?
My approach is different every time, but I often begin by playing guitar or synth to get something going. I would say it?s a free form approach. Omni-Colour does a god job of not narrowing its scope. What went into the construction of the album? Did you have a sound in your head that you wanted to achieve or did you just let it evolve?
Since 2001 I have been acquiring equipment to construct my songs. Omni Colour is a direct reflection of my equipment. I have moved away from sample based beat construction and relied almost entirely on my analog equipment. I would say that Omni Colour definitely did evolve naturally. How did you come to link up with Raymond Salvatore Harmon for the Nighttime Butterfly video?
Fieldwerk Recordings owner, David Humphries got in contact with Raymond and asked him to do the video. You?ve been touring all over what?s the reception been like so far?
The reception has been really good. The album sold really well at every show, to the point where I had no vinyl or CD's by the last few shows of the tour. Thanks to Bus Driver and Dark Time Sunshine's fan base, I was received very well. Any interesting stories from the road that you?d like to share?
No. From your self-titled EP to your full-length what have you learned most?
I have learned a lot about how the underground music industry works. I feel I have a better grasp on where the music industry is headed. Anything else we can look forward to from you in 2011?
There are a lot of things in the works this year, so I would say to keep up to date at Fieldwerk.com. Also, Follow me on twitter: http://twitter.com/voidpedal, like me on Facebook: http://www.facebook.com/pages/Void Pedal/181444008554445?ref=ts and download my free EP: http://fieldwerk.com/voidpedalep.html,/a>.

Check out Centerstage Chicago food and drink deals!

Elliot Bergman

Thu, 24 Mar 2011 12:00:00 CST

As cofounder of the funk/experimental rock ensemble NOMO, Elliot Bergman has worked day-and-night to refine what has already been heralded as a unique and forward-thinking sound. In the time that Bergman has spent with NOMO, the collective has released four well-crafted albums, three of which have been released under the famed Ubiquity Records imprint. Each project explores a wide range of sounds, and combines a warm blend of rhythms from a diverse catalogue of inspirations?from the pulsating afro-centric backbone of New Tones to the wonderfully melodic haze of Invisible Cities. And whether he?s firing emails back and forth with producer Shawn Lee or hunkered in his workshop making kalimbas, Bergman is always looking to continue that expansive march forward for both NOMO and himself. Bergman?s DIY attitude has quite a history behind it and it?s no surprise that a big part of his creative development started here in Chicago. Centerstage recently caught up with Elliot to discuss his past, and the many projects that await him in the future. Could you tell me a little bit about where you grew up and how you got interested in music?
I grew up outside of Chicago in a musical family. My mom played the piano and guitar, so lots of my first experiences with music were playing with her. We played hymns and standards and some classical repertoire. She would play the piano and I would play the clarinet. She really pushed me to play until I came to love it on my own in high school. I remember a moment when we played through Gershwin?s jazz preludes, and after finishing it, I said ?music really is the best thing in life.? She just smiled and nodded. You and members of NOMO studied at the University of Michigan, what was the learning environment like while you guys were there?
U of M was a great place to be. I had amazing teachers, and the learning environment is very open and supportive. It was a great mix of structure and freedom. My teacher Ed Sarath has a wonderful approach to collective improvisation, and he implements those ideas in the Creative Arts Orchestra, which is a large ensemble that only plays improvised music. I also had amazing experiences working with Antoinette Kudoto, who was a visiting master drummer from Ghana, and Wasi Bantolo, who led the Gamelan orchestra. Stylistically NOMO has been strongly associated with afro-beat and afro-rock, but you guys have been known to incorporate a lot of different influences and sounds. How would you best describe the group?s style?
We don?t like to get stuck in those afro-whatever sub-genres. It?s such a small part of music. There are so many sounds and structures to explore, so we are trying to expand our sonic vocabulary all of the time. We play instrumental dance music that?s rhythmic and uplifting. When you guys perform live it?s a pretty visceral experience, what?s the process like for you in terms of translating that experience onto a recorded album?
The band does have a great energy live, and so we try to catch that spirit when we are in the studio. On the past few records, we?ve been arranging as we go, so the record almost comes together before the band has really played the song live. Then you go out and play the music hundreds of times, and you wish you could record your album all over again with some of that new energy. We work on the records to make them sound like a record, rather than a document of the live performance, so I like to think of it as two distinct facets of what NOMO does. You?ve had the opportunity to work with Shawn Lee. He?s pretty prolific, what was it like working with him?
Shawn is great. We?ve actually never met face to face, and we?ve just been emailing tracks back and forth across the pond. I?m looking forward to meeting him at SXSW this week. He is incredibly prolific. I sent him a kalimba loop, and within a few days he sent me back an amazing track where he had added drums, synth, bass, steel drums etc. I?m hoping that we can get some more music happening soon. Your sister Natalie adds some amazing vocals on ?Upside Down,? are you guys going to collaborate more often?
We have been working on a new record. We thought it was going to be the new NOMO record, but it has turned into something completely different. It?s more song based, and all of the tunes are vocally driven. I?m very excited about it. Lots of drum machines and synthesizers, plus some of the more organic sounds we usually work with. In addition to you and your sister being talented artists your other sister Elise has strong roots in Chicago as a designer. Did you grow up in a household that really embraced the arts?
Yeah, we are all involved in the arts. We?re very close, and it?s really fun to collaborate with all of my siblings. Elise is working on some new NOMO shirts. How has Chicago influenced you personally as a musician?
There is such an amazing jazz scene in Chicago and the history is so compelling. I grew up admiring the AACM and listening to the music of the Art Ensemble, Roscoe Mitchell, as well as Ken Vandermark and Tortoise. There is an amazing work ethic and integrity in a lot of the music I love that comes out of Chicago. It?s constantly inspiring to me. I?ve had the honor of working with some of my favorite Chicago musicians. NOMO was able to play with Fred Anderson and Nicole Mitchell at the Hideout Block Party, and then Nicole played on our New Tones record, and Hamid Drake played on our Ghost Rock album. He?s really a hero of mine. He?s one of the most amazing drummers, and also one of the warmest people you could meet. Outside of NOMO you all stay pretty busy with solo projects and various collaborations, what?s it like when you guys come back together from those efforts? Is there a melding of styles or do you give NOMO its own space to breathe?
Everybody in NOMO is developing their own music, and we are all growing as musicians. We definitely try to make space for people to have their own distinct voice, so naturally the music will evolve as we all change. That said, we?re not trying to synthesize the sounds of all of the bands we are in. NOMO has a realm of possibilities that we are excited to explore for years to come. It?s been around two years since NOMO released a full length, what have you been working on in between and is there a new album in sight for 2011?
I moved to Brooklyn, and have been keeping very busy out there. I?m playing with lots of new people and trying to get some new projects going. I?ve been playing as Metal Tongues, which is a band that?s centered around kalimba loops and tends to be a bit more free and experimental. I?ve also been touring a bit with Iron and Wine, and right now I?m on tour with Janka Nabay and the Bubu Gang. I need to get back to work on the new NOMO record!

Check out Centerstage Chicago food and drink deals!

Fly Phoenix

Thu, 03 Mar 2011 12:00:00 CST

Fly Phoenix is a five piece band made up of Brandon Rizzo (vocals), Nicholas Jacob Lacy (guitar), T. Berry IV (bass), Bryant Polk (keys/piano) and Ben Cofresi (drums). Together they blend elements of funk, jazz, rock and hip-hop into a steady, heart-pounding groove, worthy of any soul enthusiast?s attention. In one instant Fly Phoenix conjures up feelings of old school funk and in others they break through with a remarkably fresh and forward thinking contemporary vibe. The risk of being an all encompassing band is that the music can become convoluted in trying to pay homage to too many styles, but for Fly Phoenix it couldn?t be further from the truth as their signature sound always manages to resonate. Recently they?ve been busy performing at some of Chicago?s finest venues, and they seem to be carving themselves out quite a niche. Centerstage connected with manager Phil Rizzo for a proper introduction. How did you guys meet? Were there any other variations of Fly Phoenix other than the group we see today?
The group was formed by Brandon Rizzo and Nick Lacy. They met randomly in Chicago and Brandon was introduced to two of the other members. At that time the band consisted of a different keyboard player who was a good friend of ours. The final piece was added months later when Ben was introduced to the band by another random occurrence. The newest member was added in 2010 to take the spot of the keyboard player. You mix together a multitude of genres. Who are some of your inspirations?
The band has an array of inspiring artists that impacted them both collectively and individually. A few of those are The Roots, Robin Thicke and Incubus. Many of the styles that make up the band are a direct result of the kind of depth that inspires the band; soul, rock, funk, jazz, and hip-hop. When blending together various genres and elements you run the risk of losing focus and sounding watered down, how do you avoid the trap of being an ?everything? band?
For us, it?s more a matter of providing the spark that is the Fly Phoenix sound. When you hear it, it?s a recognizable mark of our music and the challenge is making sure that it is there in the songs we create. We feel united on what the music is and the challenge for us has always been getting that mark to come to the surface of our music. What are some of the things that inspire Fly Phoenix?
Fly Phoenix is a mantra for finding newness out of the monotony, whether that means music or life in general. Inspiration is everywhere and the great part of this band is we draw from the experiences in life and the marrow that comes out gives us inspiration. People, love, change, unity, and respect are things that inspire us. Describe your sound?
Alternative soul; mixing elements of rock, funk, jazz, and hip-hop into what essentially at the core is soul music. The alternation of musical elements from those presents a different flavor to that soul vibe. In addition to playing experience you also have experience on the business side of music, how has that helped you?
It helps you grow as an artist and as a person. Managing that part has helped us develop our niche. You get a better understanding of how to market and book shows the right way. You?ve been performing quite a bit lately; do you have any favorite venues?
We have enjoyed playing all over the city of Chicago, and are making way to step into other cities but we always love performing at places like The Shrine, Reggie?s and the Metro. Other than performing do you have any other favorite Chicago-centric activities?
We love attending city festivals and events, hanging out and exploring the city. We definitely love the beach. What else can we expect from you guys in the near future?
Fly Phoenix will be releasing their first single "Glory" on I-Tunes. It was recently used by ECHO fashion magazine in one of their promotional videos. We will also be filming a show for a PBS special on March 25th at Mayne Stage. This event is a fundraiser for the Chicago food bank. Columbia College will be awarding Fly Phoenix a special achievement award on March 11th during the Columbia?s got Talent event, too. Fly Phoenix will also be doing a benefit for the Camp of Dreams benefiting under privileged youth on May 12th at the Chicago Cultural Center.

Check out Centerstage Chicago food and drink deals!

Visual

Wed, 26 Jan 2011 12:00:00 CST

As an emcee and label exec, Cesar Zamudio, has worked tirelessly to represent the city he loves most. Cesar (also known as Visual) grew up in Logan Square where he was exposed early on to the many cultures the neighborhood had to offer. The cultural crossroads provided Visual with a sensibility that most emcees overlook, which is the commonality between all people. Visual?s work is both a firsthand account of the city?s blue collar work ethic, and the colorful people who populate it. His album Working Class Legend is his homage to those inhabitants, and it?s a Chicago inspired project from beginning to end?from the no-frills lyricism to the solid breakneck boom-baps. As of late Visual has been steady on the grind and his newest album Working Class Legend: Overtime is giving locals something to be excited about. You grew up in Logan Square, how did living there shape your style?
Logan Square influenced me in a major way because it has always been very diverse. I went to school with people of all backgrounds and that kept my mind open to different cultures. I think it's what has made me universal in a sense that my music choices in production vary. And as far as lyrical content goes no matter the subject matter and my range, the reoccurring theme in my music is always going to be people: How we live, what we go through, how we overcome it and just the general way of life. When and how did you first get interested in hip hop?
I didn't discover hip-hop like a lot of other people did. For me, it was always there. My brother brought home either the Breakin? or Beat Street soundtrack on vinyl when I was like five or six. It was that, LL Cool J, The Fat Boys, Slick Rick, Eric B. & Rakim and whatever else he could buy or borrow from friends. So, me being the youngest in the house I naturally gravitated to the music I heard playing. It was pretty funny because my brother would bring home these records and try to scratch and he would just break the needles and my father would just snap! Being the younger brother of Panik, I?m sure you?ve had to work hard to carve out your own niche. What have been the benefits and downsides to having a brother already established, and what have you done to establish your own identity outside of his influence?
The benefits have been the experience. When I was younger I would follow my brother anywhere I could. I would tag along to his friend?s houses, record stores and eventually parties. Back then hip-hop in Chicago had the feel of a real culture, it was in its beginning stages and I was there to see it develop. That has been the biggest benefit. When I first started recording music, I was realistic and knew that I wasn't ready to make albums and travel around to perform so I become very involved in the career of another artist. I booked shows for him, was part of the recording process for his first album and I helped release his first album. After a few years, I decided to take that experience and use it for myself. It was difficult to establish myself because I quickly learned that I did not feel comfortable having other people do things for me. Since the beginning I contacted the press for reviews and interviews, I went to the retail stores to drop CD's, I booked my own shows, I made all the phone calls and sent out all the emails. I even had to start a record label because I had no one to put my music out for me. So since my first release in 2000 which was an EP, I have been working hard to make my name known. The Chicago hip-hop scene can be one of the most difficult places to establish yourself, what?s your take on the scene here, and how has it changed throughout the years that you?ve been performing?
I like where the scene is at right now. I like the diversity. I see more rappers not afraid of being artists. At one point Chicago hip-hop was either gangster or backpack/underground. That was it, no middle ground. Now the music I'm starting to hear is what I knew we all had in us because it's what's around us. We needed to find a way to be who we are in our everyday life, in our music. Most rappers are way bigger than life and I never believed Chicago people were like that. We don't have a Hollywood here or anything on the level of New York and I'm ok with that. It's not who we are as people. We're blue collar, working class people that make things happen no matter our situation. I'm starting to see it in the music. We also have a lot more people making moves now than we did before. We're more business orientated. When I first started doing shows we were all still learning about business and we didn't have too many people to learn from so we mostly learned from each other. I think hip-hop is here in Chicago now. Many lyricists have a goal or a creed they abide by, what?s yours?
Mine is simple: Truth. Life is what I want to tell about: Stories I've heard, things I've seen, ideas I have, places I want to see, love, hate, pain, joy. I don't ever want hip-hop or me being a rapper limiting me in any way. I'm always going to do whatever I want as an artist. I don't want to be too concerned with a sound or formula. I'm not manufacturing music. I'm putting a piece of me into every project. Could you tell me a little bit about the Working Class Legend albums and Community Service Records?
Well, Community Service Records is my label. It's all me. I handle all the daily operations of the label and I'm the only artist on the label. It was created so I can release my own music without having to wait for a deal or chase another independent to do it for me. Working Class Legend and Working Class Legend: Overtime are my last two releases. The latter is a remix album that features a handful of remixes of the original album along with four new songs. I'm very proud of both releases because they have shown my growth as an artist. Both albums are available on major online retailers including iTunes, Amazon and even straight from your Sprint or Verizon phone. When you?re not working, what are some of your favorite places here in the city to let loose and relax?
Lately, I've being going to Lockdown Bar & Grill a lot. I have a few friends who live nearby and I've had my last few meetings there. Good food and a good variety of drinks. I love the variety of restaurants we have in the city so I'm at a different one whenever I get a chance. A couple of my favorites right now are Urban Belly and Chick Pea When can we expect a new album to drop? Anything else we can look forward to in the coming year?
For the past couple of months I've been working on my new album. It's a very different project than what I've worked on before. I'm taking more time with this and involving more people in the process. I'm used to handling all the writing, arranging and production myself but this time around I am reaching out to various people in my circle. And right now I'm starting a series of songs entitled ?Chicago Hip Hop History.? They are basically memories and moments put into song form to help give some insight of Chicago's hip hop scene to some of the up and coming artists.

Check out Centerstage Chicago food and drink deals!

Fieldwerk Recordings

Wed, 05 Jan 2011 12:00:00 CST

What had originally began as a simple desire to release good music, independent hip-hop label, Fieldwerk Recordings, didn?t actually come to fruition until founder David Humphries (aka Crushcon7) took the initiative and started releasing his own work. It?s been that blue-collar mentality and passion for hip-hop that has sustained Humphries? efforts here in Chicago, and one that's turned Fieldwerk Recordings into one of the most well respected labels in the city. It?s been two years since Fieldwerk officially debuted, and throughout that time it has accumulated a formidable roster; releasing projects with producers Zavala, PNS, Meaty Ogre, Void Pedal, Maker, Joe Beats and DJ Pratt. At this point it seems like the Fieldwerk family is ready to take things to the next level, so Centerstage caught up with Humphries to talk about everything from the label?s early history to the stellar projects on deck for 2011. Could you tell me about how/when the label came to be? Was it something you guys had planned out from the beginning or did you just let it grow in its own way?
Both to a certain degree. Fieldwerk existed in name only and as an idea a couple of years before putting the first record out. I moved to Chicago in January 2003 to start a label which has always been my main objective. Around 2005/2006 I met Alex Zavala who has played a pivotal role in the development of Fieldwerk. In June 2009 I released a 7" of two songs I produced on Fieldwerk making it the label's debut release: Crushcon7 feat. I Self Devine "Fieldwerk" b/w Crushcon7 feat. Skech185 "Letters From The Low End" (FW-701). The first 7" was followed by the split Grayskul 7" in July 2009. Initially Maker & Zavala planned on releasing a split instrumental 7" but at the time both artists were involved in projects with Grayskul: Maker producing Graymaker and Zavala working with Onry on Dark Time Sunshine. Zavala came up with the concept of releasing the split Grayskul record which pairs JFK with Maker and Onry with Zavala. The Grayskul 7? is the first release with art direction by graphic designer Adam Garcia who has designed all of our releases to date. The first two 7"s built the label's momentum and led to PNS & Zavala's split instrumental LP 'Canciones Modernas' which really helped establish the label. What went into that decision of splitting the projects and is it something you guys are going to try and do more often?
The split instrumental LP series began with PNS and Zavala's 'Canciones Modernas.' PNS and Zavala had discussed putting together a split instrumental record and it was a project that I wanted to release on Fieldwerk. Right after Canciones I contacted Meaty to line up the second split LP to feature instrumentals by Meaty and myself (Crushcon7). The split instrumental LP series will most definitely continue. The next split is by Maker & Joe Beats and will be released early 2011. How much say do you have in terms of the direction of the album or do you let the artist have full control?
I think it?s important for the artist to have a lot of creative freedom when it comes to their music. Overall the releases have been a collaborative effort between the artists, art director and Fieldwerk. Adam Garcia has acted as art director on all of our releases so far. He?s done an amazing job at designing record covers that translate the music very well. As an independent label what have been some of the biggest obstacles you?ve had to overcome?
Intially, as with most start-ups, there were financing issues that made my life really stressful. Right now, after having a successful first year, it's managing the growth of Fieldwerk and expanding. How does Chicago play a role, or rather influence you, in the way you guys operate?
Man, I love Chicago. I feel like my experiences here have helped me grow as a person and given me a lot of direction. My biggest influences have been the friends I?ve made here. What have been your favorite collaborations so far?
It?s impossible to pick one favorite. They're all really dope and special and unique to me in their own ways. The Grayskul 7" is a favorite because "Mod Volatile" is the first collaboration between Onry and Zavala (Dark Time Sunshine). 'Canciones Modernas' is a classic... I'm really excited about the releases that are coming in 2011. Void Pedal's Omni-Colour full-length, Maker and Joe Beats' split instrumental LP and also a Zavala project. We'll also be continuing Fieldwerk Night at Subterranean Lounge the first Friday of every month featuring guest DJs and producers/beatmakers. You can visit fieldwerk.com for updates on everything Fieldwerk.

Check out Centerstage Chicago food and drink deals!