Real to reel

Local observations from a movie, music buff

The fall music review
A look at some highly anticipated albums from Kanye to Band of Horses

By Dan Ochwat

The fall music push offered up some long-awaited releases from notable acts both indie and mainstream. Here are some reviews, good and bad.

Les Savy Fav, “Let’s Stay Friends,” (9/18)

A landmark outfit of the independent rock scene (large in part to their infamous live show earmarked by the comic antics of lead singer Tim Harrington), Les Savy Fav has finally released their first full-length album since “Go Forth” (2001) and the singles compilation “Inches” (2004). Both albums weave a substantial thread in my musical makeup, making “Let’s Stay Friends” my most anticipted album of the year.

At first blush, “Let’s Stay Friends” is noticeably less rowdy and anxious than the band’s previous work, nervously dusting up feelings that perhaps the Fav has gone soft. However, it’s not the case; rather, this album is more entertaining from beginning to end than anything else they’ve done. Clocking in under 40 minutes, it’s a charged rock album with some more melodic moments and a well-rounded feel. The song “Comes & Goes” is borderline folky, which is a bit awkward at first, but you come around to it, and the song “What Would Wolves Do?,” which starts out light, is the catchiest song they’ve ever released. The album is more than satisfactory.

 

Band of Horses, “Cease to Begin,” (10/9)

I interviewed lead singer Ben Bridwell for The Real Chicago in May 2006, right at the release of the band’s debut “Everything All the Time,” an album largely drawn from him at a time in his life when nothing was really at stake. A quiet, humble dude, that album grew to become a perennial critic fave, and the band’s fan base has grown, reaching beyond the mere indie obsessed.

With its second album, “Cease to Begin,” the band has new members, and the band since left Seattle for Mt. Pleasant, S.C., to be closer to family. (A move that I now regret giving him a hard time about following a show at Schubas in June ’06. He gave me an earful, deservedly so.) The actual point I’m making here: These shakeups definitely changed the band’s sound. It’s softer, safer, even a tinge of country has crept in. There’s simpler writing and a sweeter sentiment. I can say with confidence, I prefer the earlier sound, but there are some great songs here, especially the first three. “No One’s Gonna Love You” is the absolute standout, a track destined for the world of movie trailers and to secure this band a legitimate slot in popularity.

 

Beirut, “The Flying Club Cup,” (10/9)

Zach Condon and Beirut were probably the breakout artists of 2006 with their Balkan-influenced debut “The Gulag Orkestar.” A brilliant album, and even more brilliant live, anticipation for this follow-up couldn’t be higher. Perhaps it was too soon to release another, but the now French-influenced second album disappoints.

A bit stronger in the songwriting, a no doubt fuller sound and even a touch prettier, the album overall just doesn’t grab you. In fact, the album feels a bit repetitive, and you’re out of gas by the time the track “In the Mausoleum” hits, which sounds like a children’s TV show theme song meets an opera. Some of the best tracks close out the album, but it’s too late.

 

Fiery Furnaces, “Widow City,” (10/9)

I never thought I would say this about a Fiery Furnaces record: “Make the long songs longer!” Seriously, well not really, seven minutes is about my tolerance, but three songs on the latest LP near the seven-minute mark or exceed it, and they’re my faves off this excellent release from the Oak Park-raised brother-sister duo. “Widow City” feels like a groovier, chunkier Furnaces and is my favorite album of theirs to date (“Blueberry Boat” went over my head).

It’s their first album off Chicago’s Thrill Jockey label, which probably doesn’t factor into anything, but it does make me like it more. Rugged guitars, experimental arrangements, whacked stories — it’s a joy and, in typical Furnaces fashion, not for everyone.

Kanye West, “Graduation,” (9/11)

The latest from Kanye is nowhere near its predecessors. Lyrically, we hear more ego-tales than inspirational ones (despite support from soulful, introspective piano samples); he’s less witty, and he’s running out of things to say. Could his next album be called “Retirement?” Also, unlike the earlier albums, there’s even one or two absolute train wrecks. In particular, a song titled “Barry Bonds.”

Coldplay’s Chris Martin joins a track at the end of the album, a weak attempt at raising the level of interest in the album, but truly, “Graduation” just doesn’t take, despite really pulling for it. I like Kanye, and I still think he’s the apex of the genre today. Production-wise, Kanye’s skill is being in tune with the trends in music and subtly transitioning them into mainstream hip-hop. He’s done it with a few songs on the new album, namely “Stronger” and “Flashing Lights,” which feel influenced by a lot of current electronic music and even old Kraftwerk or something. They’re the best tracks on a mediocre album.

Other big releases

Legends of experimental instrumentation, loops and sonic mishmash in their own right, Animal Collective rolled out “Strawberry Jam,” (9/11), and it’s outstanding. The song “For Reverend Green” is worth the purchase alone.

Four-piece folk/pop band Rogue Wave dropped its latest and ill-titled “Asleep at Heaven’s Gate” (9/18). Two songs drive the whole album, which overall misses the mark, and they’re locally titled — “Chicago X 12” and “Lake Michigan.”

Broken Social Scene quietly created a new album this fall under the awkward name Broken Social Scene Presents: Kevin Drew. The album, “Spirit If...,” (9/18), starts off as strong as some of the best Broken Social Scene records but becomes a bit long-winded.

Swedish crooner Jens Lekman provided another album of ambient, pretty, poignant and at times bust-out-funny ballads. He is truly an original scribe. The album, “Night Falls Over Kortedala,” (10/9) is kind on the ears but not as magical as “Oh You’re So Silent Jens.”

Finally, a crooner more of the angelic kind, Iron & Wine, released his latest, “The Shepherd’s Dog,” on 9/25. The album still has that gritty, rickety front porch sound, but it’s not as memorable as “Our Endless Numbered Days,” or even his collaboration with Calexico, “In The Reins,” for that matter.

 

Concert calendar

If dressing up for Halloween and hitting the bars isn’t your thing, there are some choice concerts: The Fiery Furnaces are playing the Logan Square Auditorium with local three-piece Pit Er Pat; The Hold Steady are teaming up with Art Brut to see who can outtalk-sing one another at the Metro (they’re also playing 10/30); finally Film School and Land of Talk make up an excellent double bill at Schubas (they also play 11/1).

Other recommended shows: Scottish rock/new wave band The Twilight Sad play the Empty Bottle 10/4. Beirut plays the Portage Theater on the same day. On 10/5, electronic/pop Fujiya & Miyagi play the Empty Bottle, and The Sea and Cake play the Metro. With a nice new album in stores now, John Vanderslice visits the Empty Bottle 10/6, same day as jazzy, mood band Slaraffenland at South Union Arts. Of Montreal plays the Metro 10/6 and 10/7, and Tokyo Police Club plays Schubas 10/7 and 10/8.

The excellent new band The Besnard Lakes play the Empty Bottle on 10/8. Flamboyant but damn catchy Patrick Wolf brings his costumes to the Metro. On 10/10, Grizzly Bear and Beach House play Park West. An incredible double bill at a terrible venue, Interpol and Liars play the Aragon Ballroom 10/11. The next day, three great shows are in town: Ted Leo & the Pharmacists at the Metro; Spoon at Riviera Theatre and orchestral Final Fantasy is at Schubas.

On 10/13, The Go! Team and The Cool Kids ramp up the Double Door. Daft Punk without the space thematics, Justice is at Metro on 10/17. The New Pornographers play the Metro 10/18 and 10/19. Touring with a recent new album the Cure-esque Shout Out Louds play the Logan Square Auditorium 10/19. Another choice double bill, Rogue Wave plays with a top-notch acoustic outfit, Port O’Brien, at the Double Door on 10/24.

The Decemberists play with Laura Veirs & The Saltbreakers at the Vic Theater on 10/28 and 10/29. On 11/2, Jens Lekman cracks up the Logan Square Auditorium, same day the Stars play the Vic Theater. Their Canadian cohorts, Broken Social Scene, plays Kevin Drew’s “Spirit If” at the Metro 11/3. Sunset Rubdown visits the Empty Bottle 11/3. Underrated Annuals head to Subterranean on 11/6, and possibly the bill of the year, Battles, Caribou and Born Ruffians play the Metro on 11/8.

Keep sending me your music or anything else on your mind at danochwat@hotmail.com. I’ve also joined the MySpace army, so give The Real Chicago some love at http://www.myspace.com/danochwat

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