And we're back, or One From the Gap with Split Lip Rayfield

Greetings, Squares, and welcome back to the Logan Square Dispatch.  Apologies for the hiatus and lack of correspondence these past few months.  I suppose we have our reasons, more or less.  Regardless, we're back at it and looking forward to another killer summer in the neighborhood. 

Kicking off LSD 2.0 is a fun little interview we haven't had the chance to run with Jeff Eaton, bassist and gas-tank-thumper of the bluegrass outlaw outfit, Split Lip Rayfield.  Yes, he plays a bass made from the gas tank of an automobile.  They came through town last fall with Primus and LSD alum Portugal. The Man for a gig at the Congress Theatre.  We talked with him about gas tank bassin', cars, and drugs.  

Enjoy the read and stay tuned for regular concerns from the neatest neighborhood around.

Split Lip Rayfield

LSD: How was your summer?

Jeff Eaton:  Been really good.  I have lucked out weather-wise and missed most of the really hot humid days of Kansas by being on tour somewhere more...tropical, I guess.  Had a lot of good shows and a really fun tour with Reverend Horton Heat and Hillstomp.

LSD:  What kind of car/truck did the current gas-tank bass come from?  I like to think it was like an old Ford, one that had been souped up for bootlegging purposes or something...

JE:  It came from a mid-seventies Ford/Mercury, like an LTD or a Grand Marquis.  Nothing special or super cool or anything.  Just what was available.  Would be something more like the car your grandmother would have.

LSD:  Who/what got you into playing the bass?  Have you ever tried playing a guitar?  Because people really respect guitar players...

JE:  Being a pretty mediocre guitar player is probably what got me into playing bass in the first place. Seemed easier, but I wasn't exactly super great at that either, so I stuck with playing in punk rock or loud noisy bands.  Then I made this instrument with one string and was like, there is something more my speed.  I can figure that out.

LSD:  What do you think about terms like cowpunk and thrashgrass?  Are they appropriate labels for SLR?

JE:  Call it what you will, we never went for anything specific, we just did whatever came out and that was that and we went for it.

LSD:  You guys are known for killer, high energy shows that simply do not disappoint.  How much of that energy is pure passion for the music, and how much of it is drug fueled?

JE:  Fueled only by adrenaline and a few beers.  Maybe a little nip off the bottle now and then.  Not into the drugs so much.  Never touch the powders.

LSD:  Tell us a little bit about the 'Oddity Faire' tour...It's really great to see you guys hitting up some of these bigger venues playing with Portugal. the Man and supporting Primus.  How did you guys come to be involved with the tour? 

JE:  We landed a couple of shows opening for Les (Claypool) down in Oklahoma and Arkansas through our management.  Then a few weeks later got invited to do [this tour], so I suppose he must have dug it and thought it would fit right it.  Been great so far.

LSD:  As a bassist, has Les Claypool had any influence on your playing style?

JE:  Of course.  He's a fantastic player and isn't afraid to do his own thing, no matter what anybody says.  I like to think I use some of  that same attitude, screw what everyone else is doing, I like it like this and that's how I'm gonna do it.  Although I can't even begin to touch him in regards to musical ability.  I just do what I can do and it seems to be working okay so far.

LSD:  I bet he wouldn't even know what to do with a gas-tank bass...

JE:  I'm sure he could probably whip the shit out of it given the chance and a little time with it.

LSD:  Do you guys ever get out much when you come to Chicago?  Any favorite spots to hit?
 
JE:  Chicago is one of my favorite places to come to.  It has been one of our regular stops since the beginning of touring for us.

LSD:  What's on tap for the band after the 'Oddity Faire' tour?

JE:  Just a few regional shows in October and then another run with Reverend Horton Heat and The Legendary Shack Shakers in November.  Pretty sure we hit up Chicago on that one, too.

Thanks again to Jeff Eaton and Split Lip Rayfield.  Stay tuned for more good stuff to come.

Portugal. The Man

In 2006, Alaskan natives Portugal. The Man broke onto the music scene with their debut album, Waiter: "You Vultures!", released via Fearless Records.  Flash forward to 2010, and these prolific experimental rockers have relocated to Portland, Oregon, gained international acclaim, played thousands of shows around the globe, and released several EP's and six full-length studio albums, most of which they've produced via their own imprint, Approaching AIRBalloons.  Fusing prog and classic rock hooks, Motown influences, and a pop sensibililty, PTM have worked hard to craft a sound as colorful and uniquely recognizable as the psychedelic artwork produced by the band themselves.

All of their exhausting efforts have clearly paid off, and it seems that despite the enormous amount of output PTM has produced over the last four years, the band is only now beginning to find their stride.  They've found time between gigs to work on production of their yet to be named forthcoming album, parts of which they've recorded in El Paso, San Diego, and London, and this fall they'll be embarking on the highly anticipated Oddity Faire Tour supporting alternative heavyweights Primus alongside bluegrass thrashers Split Lip Rayfield.  The tour stops at Logan Square's Congress Theatre tomorrow night, Saturday, October 2nd, for a show that is sure to be as weird as it is musically inspiring.  In anticipation of the show, we spoke with PTM bassist and vocalist Zach Carothers about festivals, dogs, wallets, and Cranium. 

Logan Square Dispatch:  You spent a good part of August over in Europe including several festival stops.  Having played both the American and European summer festival circuits, how would you compare the two?  Are there any big differences in the way things are run, diversity of music on the bill, the way fans/bands are treated, etc.?

Zach Carothers:  It was a fun time.  There are a lot of differences between the two, especially when it comes to the bands, crowds, and catering.  Most of them seem to have an extremely broad collection of genres, which automatically makes the crowds much more diverse.  But the same feeling is there, just a big crazy party.  Everyone there just loving music.  It's so amazing to have the opportunity to be a part of it.

LSD:  A few years ago you guys founded your own label, Approaching AIRballoons, and self-released Censored Colors in 2008.  What thoughts went into the decision to leave Fearless Records?

ZC:  Most of the decision was made due to the fact that our contract with them had ended.  We've always wanted to self release and jumped at the chance to do so.

LSD:  Was the process of self-releasing the record a more enjoyable experience as opposed to working with an outside label?

ZC:  It was way more satisfying for sure, not that any label has ever messed with us too much, we've been very lucky with that.  Everyone has kinda sat back and let us do what we do when it came to the music and art.  It's a really amazing feeling to see a record through from start to finish on your own, saving all your money for studio time and press, working hard to get everything together for the release, just very satisfying.  I suggest every band give it a shot at one point.

LSD:  Have you signed any other bands to Approaching AIRballoons?  Are there plans to expand the roster in the future?

ZC:  As much as we would like to do that, we really just don't have the time.  It's just a way for us to release music on our own, and all the labels we have worked with have been very understanding about us wanting to do that sometimes, even if it's just a weirdo EP or something.  Maybe in the future we will be able to work with other artists, but I don't see that happening any time soon.

LSD:  I've read that the band creates its own artwork, which is consistently a beautiful blend of color and psychedelia.  Who is the artist of the group? 

ZC:  John, who is also our singer, does all the artwork.  He and our good buddy, Austin Sellers, always work on it together.  Both of them have a great eye for color and concept and we're very lucky to have those guys with us in that department.

LSD:  How many Portugal. The Man wallets have you sold? 

ZC:  Ha....you know, I'm not too sure.  Can't be too many, we still have a huge box of them in the trailer.

LSD:  How has PTM's recent surge in success affected the bands DIY attitude on things like recording and artwork? 

ZC:  We've always just wanted to do things ourselves--well, with things we can do I guess.  Obviously we need a lot of help with the business side of things, but we have a really awesome manager.  He's been with us for years now and he is a part of our family.  I imagine we will always need help recording despite my attempts to learn  how to do it myself.  It takes a long time to learn that stuff well, and time is something we never have a lot of.

LSD:  Your October 2nd show brings you to the Congress Theatre alongside Primus and Split Lip Rayfield.  Do you remember where and when you first played Chicago?  Any favorite venues you've played here in the past?  Fond or interesting memories? 

ZC:  My first time playing there was actually in our old band.  We played at the Fireside Bowl, shot a silly music video, and ate the most amazing deep dish Chicago-style pizza ever.  We stayed up all night playing Cranium with friends.  By now, there are too many good memories to recall.  Lollapalooza has to be up there at the top, and playing with Bandit. You may not know this, but the cutest dog in the world lives in Hyde Park.  We visit him often.

LSD:  Supporting Primus could be considered by some to be a pretty big deal.  Did you guys listen to them growing up?  There are some noticeable differences in musical styles between you guys and Primus, what about PTM do you think inspired the possibility of a co-bill? 

ZC:  It is a huge deal to us.  Primus was the very first band I ever saw live, I was 13 and they played Anchorage, Alaska.  So amazing.  One of my favorite bands of all time.  I have no idea why they picked us for this tour but I am very pumped they did.

LSD:  As a bass player, has Les Claypool influenced your style or approach to the instrument? 

ZC:  I don't think any bassist can deny that, he's the best in the world.  If there's one thing this tour has taught me... it's that I need some serious practice.  Ha.

LSD:  You guys are booked up through the end of October with U.S. dates.  Whats in store for the band after this tour? 

ZC:  We plan on finishing up our record that we've been working on in chunks. It'll be a big load off of us. Then we actually get a few weeks off!  I'm going to Alaska to relax with ma and practice bass.

LSD:  Thanks so much for your time.  Best of luck with your show October 2nd at the Congress Theatre.  

ZC:  Thank you! Come say howdy at the Congress!  

Again, Portugal. The Man plays the Congress Theatre tomorrow night, Saturday, October 2nd, with Primus and Split Lip Rayfield.  Check it out.      

Cymbals Eat Guitars



photo courtesy of Tell All Your Friends PR.



When New Jersey natives Cymbals Eat Guitars self-released their debut album Why There Are Mountains in 2009, they were just another relatively young and unknown indie outfit with a few songs and access to some modest recording equipment.  But word of the album traveled quickly, and after encouraging nods from popular music outlets like Pitchfork--who included them in their Best New Music list of 2009--the band found themselves skyrocketing into the annals of popular indie rock while drawing appropriate comparisons to bands like Pavement, Built to Spill, and the Modest Mouse of yore.  However despite the impressive output generated by the pack of indie heavyweights that have laid the groundwork for Cymbals Eat Guitars, few of these acts can boast the maturity and complexity in songwriting that front man Joe Ferocious demonstrates at such a young age.  Many of the songs contained in Why There Are Mountains were written while he was attending high school in New Jersey.  Yes, high school. 

The album itself plays like a road map of America--with it's towns and cities, lakes and rivers, interstates and bus depots, valleys, and, of course, mountains.  There are highs of screaming guitars and tiumphant chanting, and there are droning and polluted lows eclipsed with shadows of cigarettes and suicide.  Why There Are Mountains abducts the listener, guiding them on a journey that scours the shores of the Great Lakes, touches briefly the sands of the Pacific Ocean, and follows Halloween processions of costumed children as they lurch from small and timeless New York towns toward the banks of the Hudson River.  Despite consumer A.D.D. and an unfortunate trend drifting towards singles and select downloads, Why There Are Mountains restores faith in the rock record as a collective narrative.  The often specific yet abstract snapshots and portraits painted by Joe Ferocious and Cymbals Eat Guitars can be despairing, but they provide glimmering glimpses at the future of indie rock--the hazy sodium streetlamp glowing softly at the end of a dark and littered New Jersey underpass.        

Since releasing Why There Are Mountains the band has relocated to Staten Island, New York, and have toured the world supporting acts like The Flaming Lips, the Dodos, and the Antlers.  This fall they'll be hitting the road once again to support LSD alumni The Thermals on a tour that includes a local stop at the Logan Square Auditorium on October 3rd.  Get your tickets ASAP.  This is going to be an amazing night of rock music that you do not want to miss.

In anticipation of the show, we spoke with Cymbals Eat Guitars frontman Joe Ferocious about literary influences, suicide, the Hudson River, and signing to a 'real' label.

Logan Square Dispatch: I'm interested in the songwriting process that went into Why There Are Mountains, particularly the lyrics, as they've got a real literary feel to them.  Every writer writes for a reason, so what is the motive behind this collection of songs?

Joseph Ferocious:  The songs were written over a four year period.  I tend to write very slowly, so each song represents four or five months of my life, from 2005-2009.  Because of the nonlinear way I approach writing lyrics, none of the tunes are really about one single subject.  "Indiana" is probably the most straightforward in my mind; it's about a long-distance relationship I was involved in.  I began writing the song on the bus ride from O'Hare airport to South Bend, where she attended school.  "Cold Spring" is a fantasy about making a trip up from my childhood home in New Jersey along the Garden State Parkway to Cold Spring, NY with a great friend of mine who passed away in 2007; in reality I go to Cold Spring yearly with my mother to admire the changing leaves and watch the local kids march down through town to the Hudson in their Halloween costumes.  "Some Trees" is a meditation on death, and nothingness after death.  When I was in the seventh grade a neighbor and schoolmate of mine committed suicide by hanging herself out of her bedroom window. 

It's hard for me to discuss my motives for writing these songs.  I don't feel that my experience is any more interesting or rich or worthy of documenting than anyone else's-- at least, before I was given the opportunity to travel the world and play music for people-- but I guess my motive is pretty simpleton and cliche... writing drives me, it is my animating force.  If I didn't do it, I don't think I'd want to live. 

I find these days that I feel very far-removed from most of the material though, save "Cold Spring".  I've lived on Staten Island for four years now and most of these songs are about New Jersey.  Also, though I'd like to say that singing the same songs every night reminds you why you wrote them, in actuality it's kind of like repeating a word over and over again until it has no meaning.  All of my thoughts and energy are currently invested in our new material, so you'll have to excuse me if I'm not revealing everything about Why There Are Mountains; I think I probably know much less about it than I did when I was finished writing it and about to record it.  You should have caught me then!

LSD:  On your Myspace page you've written out the lyrics to the album, and the interesting form you chose was that of long flowing paragraphs, no line breaks, and little to no punctuation.  Is this what the songs look like when you write them on the page?  Paper or monitor?

JF:  No, usually there are line breaks when I'm working on a computer.  In my notebook everything is jumbled and disorganized because I'm always juxtaposing and rearranging.  Oftentimes by doing this I find I'm saying something more profound than what I set out to say, and less obliquely to boot.  The paragraph thing... I don't know, I like seeing them that way.  To me, that's how the songs progress, point A to point B to point C and usually never back to point A, so why shouldn't the lyrics be written out that way?

LSD:  What are you reading these days?  Are there any particular authors/writers that have influenced your songwriting?

JF:  I am reading a lot of John Cheever, John Updike, Katherine Anne Porter, Robert Creeley, Philip Roth, and Virginia Woolf.  When I wrote many of the songs on our first record I was particularly in love with John Ashbery's book 'Self-Portrait in a Convex Mirror', Elizabeth Bishop, Robert Lowell, Truman Capote's first novel 'Other Voices, Other Rooms', and Flannery O'Connor's short stories. 

LSD:  You guys sort of blew up at a relatively young stage in the band's career, and I read that initially there was some hesitation to incorporate all of the instrumental elements of the album on the stage.  Has that changed as you've gotten more comfortable on the road?

JF:  No, we don't use horns or strings still, if that's what you mean.  Other than that, I'd say we've fully incorporated everything we've ever aimed to incorporate into our live thing.  To me, our live show is a truer, more immediate, and a more thrilling experience than what our record documents.  I guess that's because we exist as a live band, which we didn't when we made the album.  The next record will be less of a studio confection.  There will be more space, more breathing room, but at the same time more complexity.  

LSD:  Your tours have taken you across the globe, playing everywhere from clubs to open air festivals and even churches.  What sort of venue do you think best accommodates a CEG show?

JF:  300 cap. rock club.  

LSD:  We also did an interview with Hutch Harris of The Thermals a little while back.  How did the tour with them come about?

JF:  I really don't know, but I feel very fortunate!  When I was at Pitchfork Fest last year I ran into Hutch and did an interview with him for P4k.tv.  He was a total sweetheart, and he told me he'd watched our set on the live feed on the way over...that was pretty thrilling for me, as you can imagine.  Anyway, a year later I heard they wanted us to open for them!  I have been elated since I heard about it in July.  Can't wait to get out to Minneapolis and start the tour! 

LSD:  What are some of the other venues you've played in Chicago?

JF:  Schubas, the Metro, Bottom Lounge, and Grant Park for Lollapalooza.  INSANE.

LSD:  There was some time there when the band remained unsigned to a label despite growing popularity and shoutouts from some pretty major music outlets, and I can imagine that that became overwhelming rather quickly.  Are you happy with your decision to partner with the Sister's Den label?  Was there interest from anybody else?

JF:  Sister's Den is our own label.  We sold a few thousand copies that we pressed ourselves, but when the demand for the record became such that we couldn't keep up while touring and whatnot, we partnered with a distribution company.  Soon we'll be announcing that we've signed to a real label though... exciting!!!

LSD:  I'm looking forward to the next studio effort from CEG, when can we expect something?  Do you ever lie awake at night wondering how the fuck you are going to follow Why There Are Mountains?

JF:  You can expect something in the Fall of next year.  To be completely honest, I think our first album is a blip compared to what we'll do with this next record.  I lie awake at night anticipating what comes next.

LSD Record Review - Champagne by The Shams Band

There is certainly nothing groundbreaking about a blues album concerning the topic of love.  Since the birth of the genre, heartbreak, melancholy, and sadness have been the tireless focus of blues musicians from the beltway to the bayou and beyond.  But The Shams Band are built upon tradition, and they carry the confidence necessary to make their songs heard in that already crowded barrelhouse of American blues-rock.

(read the LSD interview with The Shams Band's Donnie Biggins here.) 

With the release of their eponymous EP in 2009, we found the band exploring the folkier roots of Americana through acoustic ballads and gentle melodies, with only subtle hints at the blues.  However, on their latest studio release, Champagne, the levy has broken.  The girl is gone, and The Shams Band find themselves riding a narrative of love lost on a river of blues-rock while reeling in elements of country and R&B from the banks.  

In terms of narrative, the album seems to be about ditching that pale white line on your ring finger and replacing it with a tour van and a left arm tan.  Musically, The Shams Band deliver a strange, yet appropriate, hodgepodge of rock and roll history.  'Single Man' is probably the most radio-friendly of the bunch.  With big swooping guitars and killer bass licks, this track glimmers with hints of Tom Petty and Heartbreakers, and possibly even a dash of Built to Spill hidden in the combination of chugging and abruptly halting rhythm guitar.  Bassist Brian Patterson stands out as the unflinching backbone of the album.

At times Champagne is dirty and gritty, with tracks like 'Train on Time' and 'Pour Me A Drink' evoking the spirit of straight southern highway-driving blues a la ZZ Top and George Thorogood.  Other times the album is clean and contemplative.  The opening melody of 'Lean Into Love' kicks off the album in an Avett Brothers fashion, and songs like 'We've Never Met', 'City Swept Away', and 'Blue Canal' make up the heart of the album, following closely in the musical footsteps of alt-country outfits like the Jayhawks and AM/Being There-era Wilco. 

For the most part, The Shams Band demonstrate a nice consistency of sound and identity throughout Champagne; however, they do take a notable break about mid-album from the signature twang and drive prevalent throughout the rest of the tracks.   'Gently,' a star-dusted ballad about gun-shy and wounded lovers, catches the listener off-guard, sounding as if it could have been a 1950's prom classic penned by the likes of Paul Anka.   The follow up track, 'In the Sun,' a soulful rocker complete with bayou-style horn section, makes for an interesting one-two punch.  The songs themselves are well written, but they definitely stand out as an unexpected departure from the flow that guides the rest of the album.  Regardless, Champagne is a solid debut for The Shams Band. Pick it up, throw it in the car stereo, and hit the road.  These guys will get you where you need to go.  

The Shams Band will be hosting their official Champagne CD release tomorrow, Saturday, September 18th at Fitzgerald's, a traditional country bar that has hosted many historical acts.  Get there.             



The LSD 'Conversation Corner'

We here at the Logan Square Dispatch pledge to provide for you, the reader, accurate transcriptions of the conversations that go into each of our record reviews, should you care to see how our reviews come to fruition. 

And so in the interest of transparency, and without further ado, we welcome you, fellow Squares, to the LSD 'Conversation Corner'. 

Dan:  Hey Matt, just started listenin' to Champagne.   Opening the album with a "Wooooooo!"  Nice!  Reminds me of the opening line of Wes Anderson's Bottle Rocket... "Ca-Caaaaw!"  So far, lyrically, it sounds like a post-breakup album... but far enough in the future to have some perspective and optimism.  First track is kinda straight bluesy, with a touch of George Thorogood… possibly a bit of a turnoff, but the second track both redeemed and contextualized it.   It makes more sense now, maybe even a bit tongue-in-cheek. 

Oh wait, somehow I'm listening to the album backwards.  Let's start over.

Matt:  Ok, lets. 

The first track is a fine choice to kick off the album.  The opening melody gives it a sort of Avett Brothers feel, which I dig, and the song really starts trucking when the rhythms kick in.  Appropriate that the title itself ('Lean into Love') acts as a 'lean' into the theme of the album as a whole.  I just love love.  Also, it is a very optimistic way to start the album.

Dan:  Ha! "I love love."  Get real, dude!  But yeah, I do like the opener.  I was particularly struck by the bass lines on it.  Really cool how the bassist builds on the initial line as he goes along.  It's an optimistic choice for the opener, thematically, considering that some of the later tracks seem to be, like I said, post-breakup songs. 

Matt:  There's a bass player?  Man, I need to get better speakers.   But yes, it does show that there is often light at the, er, beginning of the tunnel.  And I think you may be right in your 'post-breakup' songs hypothesis, particularly given the title of the second track, ‘Single Man.’  Unless that song is about baseball, I think you may be onto something.  Structurally, 'Single Man' brought to mind traces of early Wilco stuff off of AM or Being There.

Dan:  I'm feeling kind of weird about ‘Single Man.’  I wondered if there was a connection to The Singleman Affair, maybe a subtle nod.  Any idea?  But beyond that, I don't know, I think you're right about the AM Being There era Wilco stuff, but something rubs me the wrong way about that track.  It's like it harkens back to those 90's jams but possibly leans a bit too close to the precipice that bands like The Rembrandts fell off of... that's gonna sound meaner than i meant it isn't it? Nonetheless, it's a solid track, and again there is the sense of optimism there.  I like it lyrically a lot.

Matt:  Did you just reference The Rembrandts?  I haven't heard that name in forever.  My favorite song of theirs was the one where Joey accidentally proposes to Rachel.  Can you believe she said yes?!  But yeah I hear ya...I think it's that initial strum of the guitar that draws the comparison.  And yeah, good lyrics and for the most part a solid track.

Dan:  The next track, ‘We've never met’ reminds me of the Goldfish cracker commercials.  It's fun, lovin the banjo.

Matt:  Yeah man, fantastic little track.  Short, sweet.  Yes, killer banjo.  This would be the perfect song to start off that road trip I'm taking to go see about a girl.  That was a Good Will Hunting reference.  I just watched part of it last night.

Dan:  Yeah, I got the reference... and I liked dem apples.  And yeah, that song is great!  Really tugging at the romantic inside me...ya know, that guy I've been systematically trying to kill for some time now.

Matt:  When ‘Gently’ started up , I had to check to make sure I was listening to the same album.  I like the song though.  Totally Elvis Costello.

Dan:   Yeah, drastic change of pace.  Felt like calling up my lady friend and asking her to go dancing at the Clipper Bar.  Definitely shows a more vulnerable side of the album.  It's like the album is trying to get over that last girl, and move on, and be a stronger, better album, but every once in a while falls back into the self-pity spiral.  The album's all like "dude, I just want to drink this bourbon and watch the couples that are actually in love dance, because I know what they don't know yet... that it gets tough, real tough."

How about 'In the Sun'?  I'd love to hear your take on this one.  But listen all the way through to the end before you cast judgment.  Smoke break?

five to seven minutes later...

Matt:   Ya know, I've heard a lot of people complaining about the ever-presence of horn sections in indie music these days.  But those people need to get real.  Horns are a party, and this song is a hit.  Love when the horns go off on their own lines.  I'm curious as to how this tune will play out live if horns aren't there.  Either way, I like it vocally and this song's got some attitude.  I dig the track...   

Dan:  Yeah, i was going to say the same thing about the horns.

I felt like it started weak, but by the end it rocks the fuck out… love the horns giving it that chaotic Big Easy sound. Faintly reminiscant of Dr. John.  And it somewhat prepares the listener for 'Train on Time,' which I have to admit, I think is one of the weaker tracks

Matt:  Yeah it’s very ZZ Top/Thorogood, and a bit of a turnoff for me personally.  Also, there's my whole 'inherent hatred of the blues' thing that may be affecting my opinion here.  But I understand the appeal and I think a lot of people will get behind this one.  Another good driving track.  Also a good whiskey drinking track.

Dan:  Ya know, I'm probably in the same anti-blues camp as you.   So for the sake of objectivity, I'll just say that the song sounds like the title says.  A train that’s on time.  And that it'd definitely go well with whiskey.  Thematically, I totally get it...seems like it was worth the breakup.  I mean really?  She's giving him that ultimatum: get a job, be on time, bring home the bacon, or I'm outta here?  Baby lose the bag!  I do like how at the end the song acknowledges the importance of getting to the show on time. 

The drums on 'City Swept Away' are awesome.  Real good marching tune, actually another good country driver.  Brings to mind Uncle Tupelo in a weird way.

'Blue Canal' is really cool.  Is that a Moog or something with a pitch modulator in the beginning?

Matt:  I thought it was some controlled feedback or something?  But yeah man, ‘City Swept Away’ and ‘Blue Canal’ are really great tracks.  Heart of the album.  Uncle Tupelo in a weird way for sure, and Jayhawks in a more direct way.  Also loved the vocal effects.

Dan:  I actually thought Jayhawks originally but changed my mind for some reason.  Both of those two tracks are stellar.  It occurs to me that this really is a blues album, thematically and musically.  'Blue Canal' is a bit tough to stomach, though.  She really didn't care about anyone but herself.  Wow!  I've been there and that feeling is absolutely terrifying...he really captures it with some of those screaming vocals (adds to the haunting feedback).  Glad that song didn't decide to jump into the canal in the end.  He was a good friend, I would have missed him.  More optimism in a roundabout way.

And on to ‘Pour Me a Drink’, what i thought was the beginning of the album.  Not a huge fan, but it makes a helluva lot more sense now that I'm hearing it at the end of the album... and for the record, shortly after hearing this song yesterday, I got drunk and got a tattoo...seriously.   In the tattoo parlor they were cranking out some Motorhead.  This song totally gets Lemmy.  So, in that sense, I totally get this song.  Ya know what, I think I really like this song now. 

Matt:  Yeah I bet you do, Panama Red.  And that is a great tattoo!  I also was initially not a huge fan of this track, but you're right...it's dirty, and it's good.  Live, I think this song has the potential to break a few barstools, maybe a nose or two taboot.  This one is really going to get the kids going.  Now that I think about it, are there any songs directly dedicated to drinking that aren't good?   

Dan:  Wow, quoting Meet the Parents.  Hilarious!  And yeah, dirty drinking, is there any other way?  This is inspiring me to extend my bender into tonight.

Blue Ribbon Glee Club

It's well known that Chicago has a very diverse musical landscape, rich with all manner of genre bending and cross-pollenization. But let's face it, the flagrant use and abuse of generic musical terms that many critics like to throw around these days can be tiresome. No one wants to hear another argument about what constitutes a jam band, or how to recognize the proper nuances of a prog-driven shoegazer hellbilly jazz ensemble. An a capella punk rock glee club, on the other hand, is a term that demands a bit more attention.

When the Blue Ribbon Glee Club, which consists of about 25 members (give or take), embarked upon their maiden voyage into the hearts and minds of Chicago's rock scene in 2007, no one really knew what to make of it. “So, they dress up in blue clothing and sing Dead Kennedy's songs? But without guitars?” Since then, they've become a Chicago staple, serving up their unique brand of rock all over the city, and in just about every type of venue you can imagine: parties, bars, gallery openings, The Vic, and even Millenium Park. Oh, and the best part, they were around well before glee clubs became hip... before the television show. Speaking of television, they were recently featured on WTTW's Chicago Tonight.

Singing classics from bands like Fugazi, Sleater Kinney, The Flaming Lips, and Black Sabbath, BRGC are a sight to behold. We recently caught up with a handful of the gang's usual suspects to talk about such vital topics as cheese castles, water-boarding, a weeping Jewess, and Barb's mom.

LSD: I noticed some parents/family in the crowd at the last BRGC show. What do your folks think of this glee club business? Have they ever attended a show?

Amy Levin (member BRGC):  My parents came to a show and my mother cried. She said it was from joy. She may have also been crying because we were singing in a church and we’re Jewish.
Joe Baldwin (member BRGC):  My family probably thinks of the Blue Ribbon Glee Club as part of this Chicago circus I ran off to join.
Thomas Irvin (member BRGC):  My father, who is 81 years old, doesn't really know what to make of it. My mother is only 79, so she's a good deal more "hip" and "with it." She even "Liked" the video of our Chicago Tonight interview when we posted it on Facebook.
Soren Davis (member BRGC):  I hear Barb’s mom likes us a lot.

LSD: Do you have a favorite Blue Ribbon Glee Club (BRGC) song?

Paul Nixon (member BRGC): I really liked when we used to do 'Lake Shore Drive' (Aliota, Haynes, and Jeremiah). Of the current glee repertoire, I like 'Damaged Goods' cuz I have a drum solo!!
JB: 'Spanish Bombs', which sadly is pretty much retired. I don't know if it's us performing it that I love or the song itself, but it was one of the songs that made me want to join the BRGC.
TI: 'California Uber Alles' (originally by the Dead Kennedys) is my sentimental favorite, because it's the first thing I ever heard the BRGC do. I was at a CHIRP record fair in the spring of 2008, and they got on stage and started singing the riff from the song. I thought, "I know that riff...what is that?" Then when the vocals came in and I realized who it was, I instantly knew I had to join the group.
SD: My favorite song to perform is 'Panis Et Circenses' by Os Mutantes. I don’t know if it’s our best song or not but I love the way it starts out so formally but winds up in a frenzy by the end. This song was my first exposure to the BRGC style of arrangement by committee. When I joined, I was happy to discover that there was no evil genius behind the group, nobody bringing in fixed arrangements and saying “you sing this”, just a bunch of people singing the song over and over and making suggestions to each other until it falls into place. I also like 'Paranoid' (Black Sabbath) but it really rips up my vocal cords.

LSD: So, the Glee Club is kind of like a gang... did you have to go through any type of initiation process (e.g. group beat down, clap some domes)?

Paul Kim (member BRGC): No initiation process, but i think newbies should bring a case of beer to their first practice!
PN: No. Except the waterboarding.
SD: If you can do 20 pushups in 20 minutes, you’re in.
TI: Our initiation process consists of coming back the second week. A lot of people have come to practice once, and only once. We're not for everybody, but the people who do come back and stick with it are some of the coolest and kindest and most interesting people I've met in my life.

LSD: Do you have any particular songs you'd like to see BRGC cover in the future?

PN: GG Allin, Descendents, Naked Raygun. I think we need to be a little more punk.
JB: I would 'heart' us to cover some Wesley Willis, or Neutral Milk Hotel.
SD: I always have about 4 or 5 songs queued up in my head that I think the BRGC would sound great covering but they change constantly. For the longest time I thought we should do 'Touch Sensitive' by the Fall and 'Slack Motherfucker' by Superchunk. Currently I’m hoping for 'Too Much, Too Young' by the Specials and 'Dance Dance Dance Dance Dance To the Radio' by MOTO.

LSD: Do you personally have any pre-show rituals? How about the band as a whole?

PK: Personally, I like to drink a lot before a show. as a group, we like to drink a lot before a show
JB: Nah - For awhile we were warming up on stage with Edelweiss, but when you have 20 people or more performing the best pre-show ritual is getting to the show on time and finding everyone to sound check.
TI: We have set lists, but I make my own set list that also includes a note to myself how the song starts and who starts it. Once I get started, I'm fine.
SD: I just try to scrape together some sort of bluish outfit then shamble on over to the venue. No big personal rituals. The group doesn’t have too many rituals either but sometimes we stroke Paul’s beard for luck before we go on.

LSD: I saw you perform at Ronnie's last week and was struck by the growing complexity of the vocal arrangements in some of the newer material.  Do you feel that the group's ability/mojo has been developing over time?

SD: Yeah, I think our ability has grown over time and the amazing thing is that we still learn songs the same way that we always did. It’s all very organic, we listen to the song over and over again, singing along and coming up with parts until it all meshes together. The difference is that the group has gotten a lot more confident about what we can do. We don’t shy away from songs because they might be too complex, we just sort of go for it and if it works, it goes into the set if if doesn’t, oh well.

I’m really happy with how comfortable we’ve become with tackling more challenging material but I’m glad too that we’re still pretty rough around the edges. I wouldn’t want to be in a glee club that takes itself too seriously. We’re never gonna kick someone out because they can’t sing.  At the end of the day, we’re more of a social club that sings than a choir that socializes and that’s just fine.

LSD: Seems that with a project of this magnitude (so many people) organization would be a daunting task and a major priority. How does that work? Is it challenging to get everyone together in one place?

AL: Yes, it can be challenging. Day-to-day organization is challenging, but the minute-to-minute aspect of it is not. We see the trees, but not always the forest. One day at a time. We try to have a consistent practice day, time, and place. Change is hard, but that’s the only constant in life, right? Oh, and death and taxes. Or just death.
JB: It's fairly easy to get enough of us to practice every Monday, and we have sign-ups to see which of us can do a show before agreeing to it (with a minimum of 18 folks as our bar). As far as logistics, like merch and supplies, we have three of us (Nathaniel, Kelly, and Paul) who take the leadership roles and help moderate practice and decisions that we make as a group. I think we get more done than congress... that's not a fact but it could be.

LSD: I heard that you all played your first non-Chicago show in Milwaukee recently. How does one go about transporting a punk rock glee club to an out-of-state show? Are there any plans for future road shows? Perhaps a BRGC tour?

Kelly Reynolds (member BRGC): Well, we rented a 15 passenger van from a place out by O'Hare to transport the majority. I drove the van, a few other people drove their own cars. It went pretty smoothly until we hit Milwaukee and it turned out I had the wrong address for the venue and a very limited map printed out from the internet; so we did a few loops and asked for directions, then switched drivers because I was having a hard time keeping calm, to put it politely (next time I won't skip breakfast or coffee before a road trip). Ultimately, we made it safe and sound and settled in alright before the show without any tears. On the way back, we stopped for fireworks! Unfortunately we didn't make it to any cheese castles.

We do have plans to travel, but it's difficult for everyone to go to the same place at once for more than one night. We'd love to get in a big bus and travel the country singing, but most of us have pretty busy schedules. Small Midwestern weekend tours to places like Minneapolis and Madison, or Detroit and Cleveland have been discussed.

It'd be a dream to have a mode of transport with room for all of us plus snacks, games, and all our pillows; but for now we're having a great time performing in our fair city of Chicago...where we can ride our bikes to shows.

LSD: Word on the street is that BRGC started with Craigslist Casual Encounter advertisement. Can you tell us a bit about that?

PN: Josh Dumas sent me an email about the glee club 3 years ago or so. I was pretty set on not doing it. My friend Bill encouraged me to come do it. I reluctantly showed up, really liked it, really liked the people and the vibe of everyone singing together. It was a lot of fun and everyone was friendly. So, I've been doing it ever since. As far as Craigslist rumors, I'm honored that people make up things about us. We've never gotten anyone new from Craigslist. So, if you're searching for a punk glee club to join, just go to one of our shows and talk to us.
AL: I joined the BRGC by showing up to a practice two years ago after hearing them bravely perform in front of a group of children. I didn’t even have to bring a child with me to the practice—at that point, the glee club had suspended that requirement. I didn’t have to make any other unseemly promises, either, just had to show up to practice.

LSD:  I'm a big fan of collectives and clubs. They seem to bring out the best in people. Do you feel that being a part of BRGC has made a significant impact on your life? How has the experience affected your overall view of the creative process?

PN: Yes. I have met some interesting people, got to play shows that are way higher profile than shows I've ever played before. I met my girlfriend. I've learned how to play the drums and lead a glee club. There's sort of a high turnover in glee club, so I'm always excited to see how the newer people are going to change the group dynamic too. The people I'd least expect change my life the most. It's great.
AL: I agree—we are definitely forced to be better leaders and followers than we might ordinarily be in other situations. For me, the BRGC is the only adult-ish creative hobby that I have, it’s totally unlike what I do the rest of the week. The people I sing with are not like people that I see at any other time in my week. I’m even more appreciative of other people’s creative efforts and so appreciative of the chance to be a part of a group creative effort.
PK:  I have met so many great people through the glee club. It has been a wonderful experience.  It is pretty amazing how much we get accomplished in a practice with 20-30 people.  I have been in bands with just four people that would struggle through practices to learn songs.
JB:  I was in an ensemble choir in school, but outside of school I always wanted to be in a band. I never picked up on instruments very well, yet I loved singing -- just not the spotlight -- so this was really a great place to land. A great group of creative folks.  I've studied and trained as an artist in photography, sculpture and new media - this was a great way to push my creativity and I feel I'm more open to collectives in my artistic projects.
TI: Soren once referred to our collective decision-making process as the "hive mind," and I think that's an apt analogy. We all bring ideas to the group and they get discussed and tossed around and some get used and some get discarded. Invariably the stuff that sticks around is the best stuff, and it's much better than anything we could have come up with as individuals. At my first practice, we learned a new song, 'Where Eagles Dare' by the Misfits. I was amazed at how such a chaotic process produced such a good arrangement in just a couple of hours, with no single person dictating how the song should go.
SD: I don’t know if it’s had any significant impact on my life but it sure has been a blast. It’s all the best parts about being in a band without the bullshit. Just a bunch of like minded people singing and having fun.

LSD: Where can Logan Squares expect to see the band next? Any big shows coming up?

PN: Actually, 9/30 at Viaduct Theater on Belmont and Western.

The Disco Biscuits

Say what you want about The Disco Biscuits, but these guys know how to throw a party.  The last time they did--the ninth installment of their self-created Camp Bisco--over 15,000 fans showed up to enjoy sets from tDB as well as performances by Ween, LCD Soundsystem, Thievery Corporation, and Girl Talk, among many others. 

They've come a long way since forming at the University of Pennsylvania in 1995, schlepping their gear from frat party to frat party and building a solid fanbase which they soon took to the night clubs of Philadelphia.  Since then tDB have brought their trance-fusion dance grooves to evergrowing audiences across the country.

2010 has been a big year for these guys.  Their latest studio album, Planet Anthem, was released earlier this year and reached #5 on Billboard's Heatseekers chart.  Riding the success of the album, the band found themselves breaking into larger venues across the country with a headlining return to the famed Red Rocks Amphitheatre as well as gigs at Verizon Wireless Amphitheatre in Atlanta, Boston's Bank of America Pavilion, Paper Mill Island Amphitheater in Syracuse NY, and Virginia's Hampton Coliseum.  Oh, and then there's that whole summer festival thing.  2010 saw tDB making open-air stops at Bonnaroo, ULTRA, Wakarusa, Bama Jam, Blackwater Festival, and, of course, the upcoming North Coast Music Festival here in Chicago.  In addition to their set at NCMF, tDB will be relocating across town to the Congress Theatre for a special late night, post-fest performance sure to feature special guests from the electronic-heavy NCMF lineup.

In anticipation of their stop here in Chicago over Labor Day weekend, the boys took time out of their hectic schedule to collectively talk to the Logan Square Dispatch about glowsticks, haters, and the death of the musical genre. 

LSD:  In past studio efforts, TDB have taken sort of a backwards approach to recording in that the records were based on material that had already been played and experimented with live for some time. The most recent record, Planet Anthem, represents a break from that method wherein the songs were for the most part created during production of the album. Were there any challenges in recreating the new material in a live setting? Now that you've had time to tour on them a bit, how have the songs off of Planet Anthem adapted to the stage, and how have they changed your approach to the live show overall?

The Disco Biscuits: Interesting. For the most part, the more we play the Planet Anthem songs, the more they become second nature just like all the others before them. But, there are times like, for example, when Magner triggers a spinning coin sample in Loose Change and other sounds and music that we want to be as much “from the album” as possible in the live setting. It could be a result of presenting the songs the way we want to, or it could be a result of simply being more sophisticated and advanced, technology-wise, as a band. Once you know what you CAN do with your new expensive toys, it is hard not to fulfill that potential. When we first started out, we didn’t have our own studio. We didn’t have the best and newest gear and computer programs integrated into our studio setting…let alone the live experience. So now, having access to that stuff, and the time to get it right, propels you to stay consistent with it whether live or in studio.

LSD: What percentage of the glow-stick industry do you think the band singlehandedly supports? It's got to be up there.

tDB: hahaha. Well, as music fans ourselves, we know there are other bands out there doing just as much if not more for the industry. Since Camp Bisco, we’ve been heavy supporters of the LASER industry – we have been touring with some pretty serious pieces of laser equipment. We need FAA approval for our outdoor shows!  It is quite the sight.

LSD: You guys are well-versed in the 'jam' scene, partially a product of it, and arguably still one of the major players involved, but you've really done a lot to diversify the notion of what a 'jam band' is. Does the term 'jam band' still have any meaning? Has the traditional 'jam' scene run its course? Where is the scene headed?

tDB: There is a lot of genre-blurring these days. For example, you look at bands like Phoenix and Arcade Fire, and it seems like alt-rock has become the new pop. Which speaks volumes for the next decade of music. We are in a good place for good music. There is still “jam” music out there. But the term was probably more applicable when it was defining a whole scene of music and fans. Now, as that term becomes dated, it is probably trendier to further define the sound of a band that you used to call “jam.” Ours is a combination of our changing personal influences and just a general feeling of where our songwriting and performing is headed. But, all in all, the idea of a genre (any genre), seems to be on the way out. You might say a particular album or period for a band was influenced or defined by a certain type of music...but the days of having each and every song from any one band fit into the same cookie cutter are long over.

LSD:  I'm amazed at how polarized music has become in terms of the fans. It seems I can't go onto a jambase or hidden track thread without having to endure the inevitable argument of why The Disco Biscuits suck and why The String Cheese Incident rules, or vice versa. Would you care to provide an answer here and end this debate once and for all?

tDB: We are huge music fans. Aside from playing however many of our own shows and side projects through the year, we are traveling around to see our favorite acts just like a lot of our fans travel to see us. A lot of the acts people compare us to…well, first of all, we don’t always see the similarity or even the basis for the comparison. But, more importantly, more often than not, we are big fans of theirs on a personal level.

The internet has been a big help to our career. Seriously. We kind of took off at the same time as everyone was getting internet in their homes, AOL and stuff.  People talked about us in a big way on the web, and still do.  People traded a lot of our music and opened it up to a lot more of their friends and with strangers.

But it is so easy to say something you don’t really mean, or havent thought out, when you’re behind a keyboard. And, ya know, it is probably the same 5 or 10 people going back and forth. The same percentage of people you would hear making those kinds of comments in real life.  At your Saturday night party or wherever.  Do you pay those people any attention? They’re crazy! They’re probably drunk, too. But, when it turns into words on the internet, they have some sort of authority because you don’t realize it’s just crazy Billy from down the street.

The reality is that everyone you see at a live music event, no matter what band where or when, is having fun. Ya know? We know everyone is going to have their favorite band. We know that some other people wont care for that band at all. Travel to see us, don’t travel to see us. Catch us in your hometown, or don’t. But the people who are talking shit have probably never been to our show. The people talking shit about any other band have probably never been to their show. That’s kind of a roundabout way of saying that haters don’t know what they are talking about and will never be open minded enough to contribute a legitimate personal opinion.

LSD:  tDB have an impressive amount of community involvement to add to their resume, notably the founding of HeadCount and involvement with The Conscious Alliance. Can you tell me a little bit about what you guys have had going on this year? How important is it that a band give back to their community?

tDB: Whether it is because we are playing upwards of 100+ shows a year and have some fans who attend a large percentage of those, or because we know and interact in various ways with a lot of our fans, or because we are the kind of band that constantly tours (vs touring every couple years in support of an album or whatever) there is a significant feeling of community involvement.  This year, with HeadCount, we played a benefit show at Brooklyn Bowl that donated $15K to a Philadelphia school for a solar power project they had in the works. HeadCount is in full swing for the 2010 midterm elections, and we’ve had them at our shows, at Camp Bisco, and have otherwise lent a voice to the cause. It is really important to have that give and take within the community, because we are so fortunate, but especially because the potential for greatness is there inside of these people.

LSD:  You guys will be returning to Chicago for the North Coast Music Festival this Labor Day Weekend with an after show at the Congress Theatre Sept. 3rd. I know you've played the Congress before, what is your take on the venue?

tDB: Everytime we come to Chicago, it is mind-blowing. We seem to grow each time, whether that is venue or attendance-wise. The Congress is one of the best places we’ve played in Chicago. How can you not love that big, open, beautiful room? The lasers are going to be AMAZING in the Congress.

LSD:  Do you remember the first place TDB ever played in Chicago? Favorite clubs/venues played since?

tDB:  We have played so many places in Chicago. In 1999, we really hit it hard. That was the first year we played Chicago. We played Chicago so many times in 1999! All small clubs that may or may not be there now, may or may not have changed names. The first time we played Chicago was some Saturday night at a bar. We played Milwaukee the next night, and were back in Chicago on Monday. Every time we come back, it is bigger in some way.  One year, it was Magner’s birthday in Chicago. I think we played the Vic. One year, we did this thing where the hometown guys Umphreys McGee were playing our hometown of Philly the same night. We each covered a song from the other band, and tried to start playing it at the same time.

LSD:  What can we expect from TDB in the near future?

tDB: Time will tell what the future has in store for tDB, and we’re excited to see it. We keep writing and playing new songs. A couple new ones for this tour, in fact, that no one has heard yet. We are moving into the amphitheaters and bringing along bigger and better production values wherever we go. Making the party bigger, more fun, and more memorable. We are hungry. And we’ll be around for a while.

***

The Disco Biscuits will be performing this coming weekend at North Coast Music Festival with an official afterparty set at the Congress Theatre this Friday, September 3rd.  Big thanks to tDB for taking the time to talk with us.

Derek Nelson & The Musicians

For years the songs created by Derek Nelson had never really met the ears of an audience, existing only in his head and within the crowded pages of his notebooks.  Despite playing his first gig ever in May of 2009, Derek Nelson has been writing songs since junior high, and so it comes as no surprise that Derek Nelson's debut EP, Something Obscure, comes across as the work of a finely seasoned folk veteran.  Released in October of 2009 to praise from the likes of Spin Magazine, the Chicago Tribune, and Jim Derogatis of the Chicago Sun Times, Something Obscure takes it's time and doesn't force a thing upon the listener.  Where other Windy City musicians bring the din and clamor of our fine metropolis to the mix, Nelson's music somehow escapes the grip of the city and brings to mind a relaxing day at the beach--the waters of Lake Michigan lapping gently against the coast of Chicago.  Nelson's velvet vocals are soaked with soul, floating somewhere between the likes of Langhorne Slim, Jim James, and Easy Tiger-era Ryan Adams.  With poignant lyrics delivered effortlessly over simple guitar arrangements and mournful wails of the harmonica, Something Obscure makes for a hauntingly beautiful listening experience.

Derek Nelson and The Musicians will be playing tomorrow night, Friday, August 27th, as a part of the Square Affair at Logan Square Auditorium.  The bill also features other local acts Jon Drake & The Shakes, The Minneapolis Henrys, and The Shams Band, as well as DJ sets by Dirty Diamonds.  On the eve of this inaugural event, we spoke with Derek about Springsteen, songwriting, and the art of working the word 'thump' into an interview as many times as possible.          

LSD:  The songs on your EP, Something Obscure, are delivered quite effortlessly. The simple structure of the songs paired with your haunting vocal melodies make for a very calm and relaxed listening experience. Is this relaxed feel translated to the stage, or do you try to rock a bit more when playing live with The Musicians?

Derek Nelson:  I'd say we definitely turn it up a few notches live, and we will on our upcoming album, as well. The EP from last year was my first time releasing anything, so we made a conscious decision not to overreach, and kept everything as simple and quaint as possible. Over the last year, the band and I have been writing a lot of new songs, and they definitely have a fuller, more thumping sound. We've added some thump to the old songs, too. Did I just say thump twice?

LSD:  Are most of your songs written with a full band in mind or do you approach the songwriting with more of a solo, singer-songwriter mentality and develop the tunes from there?

DN:  They usually start out as sketches in the wee hours of the morning with simple ideas for melodies and lyrics, or are written with Pete — the guitarist/drummer and best of friends since middle school, when I was miniature and he was, well, still incredibly tall. From there, the ideas are developed with Cathy (violin) and Ryan (bass) and Sarah (vocals/'shaking things'), who bring stuff out of these songs that wouldn't come out with anybody else.

LSD:  The RedEye once wrote that you 'prove there's nothing inherently bland about a dude with a guitar.' Do you think that statement can ever really be true?

DN:  I'd say that most dudes with a guitar are pretty bland, but there are exceptions. I have no idea if I'm there yet. Generally, though, it's a good rule of thumb to be doing something different and saying something meaningful. Take Springsteen, for example: even for all his huge, wall-of-sound records, "Nebraska" is still my favorite album by him.

LSD:  Have you had any formal training in music?

DN:  Nope. Took piano lessons once in college, but that's it.

LSD:  Where are you from originally? How long have you been in Chicago and what brought you here?

DN:  I'm from the north suburbs here in Chicago. I moved out to Missouri for college, and stayed for a year after. I've been back living and playing in Chicago for about a year and a half.

LSD:  Have most of your shows been played in Chicago? Have you ventured far from the city?

DN:  We've played a couple times back in Missouri, but other than that, we've stuck to Chicago.

LSD:  Are there plans for a Derek Nelson and the Musicians tour? Any new recorded material in the works? Has your sound changed since your last release?

DN:  We've been hard at work on a new album due to drop on November 11 at Schubas. We're very amped to release it, as it'll be a great representation of the sound of our live show, with fuller instrumentation and a more grizzly, energetic feeling (fighting the urge to say "thump" again). After The Square Affair, we'll be focusing on wrapping that up for the next couple months.

LSD:  What are you interested in with regards to songwriting these days?

DN:  Just telling compelling, more cohesive stories. I've been listening a lot to the English folk scene of late, and they're great at it — Laura Marling, Jonny Flynn, the like.

LSD:  How did you come to be involved in the Square Affair?

DN:  We're good friends with the guys in The Shams Band, and we were pumped when we heard that this show was coming together, especially considering the other bands on the bill. It's going to be a great night, and can't believe it's already here. The little things leading up to it — busking out in the square, playing at the farmers market, the pre-parties — everything has been really cohesive and cool. Party of the summer this Friday, friends.

LSD:  Favorite Logan Square hangouts?

DN:  Longman and Eagle is the best breakfast I've ever had. I really like New Wave Coffee, too.
 

***

 

The Square Affair: tomorrow night, Friday August 27th, at Logan Square Auditorium.  Do it!