The alternative-rock boom of the 1990s resulted in lots of outre musicians landing major-label deals that would’ve been unthinkable in any decade before or since. Chicago four-piece Cupcakes, who emerged in 1996, both exemplify and transcend that era. On their sole album, 2000’s Cupcakes, released on Dreamworks, they mold arena rock bombast, power-pop hooks, and dance ecstasy into freewheeling jams whose clean polish glistens even when the songwriting doesn’t quite shine. Front man Preston Graves frequently busts out a show-stopping falsetto that kicks the songs into hyperdrive, a vocal feat that stood out in a time of postgrunge front men who were more likely to bellow than croon. But Cupcakes’ idiosyncratic ingenuity comes out most strongly in their blend of rock and electronic music–every so often an arpeggiating guitar line that evokes a trance melody cuts through to accentuate the interstellar panache in Graves’s lyrics. Cupcakes have been dormant for most of the past two decades, but they decided to celebrate the 20th anniversary of their only album with a reunion performance. Even if Graves can no longer hit the high notes on the semi-acoustic ballad “Cosmic Imbecile,” this is a don’t-miss show. v
Guitarist-vocalist Julia Steiner and guitarist David Sagan met as first-year students at the University of Notre Dame in 2010, and they’ve since become ingrained in Chicago underground rock. Under the name Ratboys, they made themselves a home in the emo scene in the mid-2010s, playing country-flecked indie songs and drawing in a couple prolific collaborators to fill out their live sets: drummer Marcus Nuccio of Pet Symmetry and Mountains for Clouds and bassist Sean Neumann, who makes delightful indie pop as Jupiter Styles (he’s also a Reader contributor). This rhythm section bolsters the Ratboys’ third album, the new Printer’s Devil (Topshelf), a soothing reflection on growing older and bittersweet farewells. Steiner and Sagan wrote it in Steiner’s childhood home in Louisville, Kentucky, as her parents went through the process of selling the house. When she gently sings, “I just had a thought / ‘What if I never came home?'” at the beginning of the taut, straightforward single “I Go Out at Night,” you can feel the thrill and sadness in her voice as she processes her growing sense of dislocation. The sweet, wordless vocal harmony that rises up in the middle of “My Hands Grow” suggests that relief can be found in the homes we make for ourselves–and Steiner has thankfully fashioned her own anchor with her band. v
Few forms of music and dance embody raw emotion as exquisitely as flamenco. This formidable and quintessentially Spanish art form fuses elements from Jewish, Arab, and Roma cultures and distills the essence of grief, tragedy, fear, and joy into every note, gesture, and stomp. Hosted principally by the Instituto Cervantes, the first half of the 18th annual Chicago Flamenco Festival (part two is promised this fall) consists of ten performances, an art exhibit, workshops, and a wine tasting over the course of a month. The carefully curated events focus on all three essential elements of flamenco: song (cante), dance (baile), and musicianship (toque). The bill includes artists from France and Spain as well as the U.S., including local favorites Clinard Dance Flamenco Quartet, featuring Wendy Clinard as principal dancer, Steve Gibons on violin, Marija Temo on vocals and guitars, and Jose Moreno on vocals. San Diego flamenco dancer La Chimi will perform with dancer, percussionist, and guitarist Oscar Valero and guitarist Jose Manuel Alconchel at the opening-night ceremony on Thursday, February 27, and then the next night with her ensemble, Luna Flamenca, at the festival’s first full-length performance. Among the other artists are Jose del Tomate, a 21-year-old guitarist born into a long dynasty of acclaimed flamenco musicians, and dancer Nino de los Reyes, who has performed with international jazz and pop superstars Chick Corea and Paul Simon and recently became the first-ever dancer to win a Grammy; he contributed rapid-fire footwork and clapping to the 2019 Corea album Antidote (Concord). Rather than showcase the sort of glam-pop flamenco popularized by superstars such as Rosalia, the fest focuses on straight-to-the-jugular flamenco whose undiluted power may allow the audience to experience duende–the mystical force and passionate, enrapturing spirit of flamenco. In either case, these performances will undoubtedly heat up Chicago’s winter nights. v
Though her work is often characterized as minimalist, composer Eliane Radigue is a category unto herself. During the 1950s and ’60s, the Paris resident worked as an assistant to the originators of musique concrete, Pierre Schaeffer and Pierre Henry. But the music she composed after leaving their orbit employed long tones obtained from microphone feedback, tape loops, and synthesizers, and it’s both quiet and demanding; close listening is necessary to perceive the subtle shifts in tonal color that occur as these pitches gradually coalesce and disperse. Just after the turn of the century, Radigue transitioned from playing electronics to composing for acoustic performers, and the first instrumentalist she chose was American cellist Charles Curtis. The essence of their first collaboration, Naldjorlak I (composed between 2005 and 2008), is the wolf tone, which occurs in stringed instruments when the resonant frequency of a bowed string and the resonant frequency of the instrument’s body interact with each other to create a new sound–usually a raw maelstrom of string and wood noise. Cellists generally do whatever they can to avoid wolf tones, but on Naldjorlak I, Curtis sustains and modulates them for three quarters of an hour, obtaining rich layers of rasping and resonance that are every bit as entrancing as Radigue’s electronics of yore. On Curtis’s three-CD survey Performances & Recordings 1998-2018, just released by the Saltern label, he exercises similar devotion to the diverse requirements of a piece by 17th-century Scottish composer Tobias Hume, another by 20th-century 12-tone composer Anton Webern, a Velvet Underground-steeped original named “Music for Awhile,” and a more recent Radigue composition. Curtis will return to Naldjorlak I for this Thursday concert, which is part of the Frequency Festival (booked by former Reader staffer Peter Margasak). The festival also presents performances of Radigue’s music by violist Julia Eckhardt and trumpeter Nate Wooley on Wednesday, February 26, in the Bond Chapel of Rockefeller Memorial Chapel. Curtis will make a nonfestival appearance at the Art Institute that same day, playing over prerecorded drones in response to the work on display in the Alsdorf Galleries of Indian Art. v
Psalm Zero have been playing a hybrid form of industrial metal informed by the noisier side of dark and electronic music since forming in New York in 2012. Originally the duo of multi-instrumentalist Charlie Looker (a classical composer and cofounder of experimental bands Extra Life and Zs) and guitarist Andrew Hock, the group showcased synth-heavy avant-rock compositions on their first two albums, 2014’s The Drain and 2016’s Stranger to Violence (both on Profound Lore). But shortly after the release of Stranger to Violence, Looker parted ways with Hock after Hock was accused of sexual assault. That decision forced Looker to cancel several previously scheduled tour dates, but he retained the Psalm Zero name and continued to write material for the band while occasionally collaborating with friends. The band’s new album, Sparta (on Looker’s Last Things imprint), features bassist Ron Varod and drummer Keith Abrams, known for their work with New York avant-garde/progressive metal group Kayo Dot (who headline this tour in support of their own new full-length, Blasphemy). Sparta feels more clear-hearted and intentional than Psalm Zero’s earlier records, perhaps as a result of Looker reassessing his approach after Hock’s departure. Whatever the reason, Sparta is an evolution: though the band’s roots in industrial metal and darkwave are still perceptible, a stronger sense of storytelling comes through on tracks such as “Return to Stone” (with guest vocals from Kristin Hayer, aka Lingua Ignota) and “Animal Outside.” Looker’s earnest-sounding singing on the latter recall Violator-era Dave Gahan, and make me wonder if this could’ve been an alternative-pop chart hit had it been released in 1990. It seems likely that Psalm Zero are just going to grow from here, so this show is a good chance to see them on their way up. v
Memphis musicians enjoy a well-deserved reputation for having more going on beneath the surface than they initially let on. Alex Chilton, Tav Falco, and Jim Dickinson are known for putting a trashy stamp on roots music in their songwriting, but they also incorporate outside influences at unpredictable times. Such is also the case with the Reigning Sound, led by singer-guitarist Greg Cartwright–a founding member of the Oblivians, a trio that deconstructs blues and punk until they sound nearly avant-garde. Though the Reigning Sound, which Cartwright launched in 2001, are far more earthbound, they also have many dimensions. Where the Oblivians use the blues as a touchstone, the Reigning Sound draw on Memphis’s soul legacy, and much like the garage bands that came from the city in the 1960s (the Gentrys, the Box Tops), they can incorporate that influence without camping things up. On their most recent studio album, 2014’s Shattered, Cartwright’s vocals sound like Van Morrison circa 1967, after he left Them but before the jazzy textures of Astral Weeks. While soul is front and center, a folk-rock strain runs through a significant portion of the record–and remarkably, it never sinks into lazy introspection. Cartwright’s message to the world sounds powerful even confined to a record, and he burns like a candle onstage. v
There is still an assortment of unique beers at the Beerhead Bar & Eatery chain, the result of their “Collab AF” promotion with 37 different brewers in four states. Yeah, they say the “AF” means “All February.”
Alonzo King, Beerhead Beer Director
I has a chance to sit with Elonzo King, Beerhead’s Beer Director at their Elmhurst restaurant, where we talked about (and drank) some of the 26 beers they made in collaboration with several Illinois breweries.
“Every beer we put on tap was a representative of a certain style,” Elonzo explained. “We could have asked for seven or eight IPAs, separated only by Northeastern or fruity styles. But was also wanted to see representation for milk stouts, pastry stouts and meads, whatever people might seek out. We wanted this to be an authentic, informative experience.”
The collaboration idea was hatched last year, and Beerhead brought the idea to all the brewers near their restaurant locations. “There was a lot of positive response to the idea. For one reason, we would be buying the end result directly from them. Some of the brewers couldn’t take part because their operation was too big to make just a six, seven, eight barrel batch.
”We asked each brewer to pick out five of 50 possible styles,” Elonzo said. “Then we went over each of the choices to narrow out duplication of style, and to see how the brewers could showcase their strengths, or to work with a kind of beer that was new to them.”
The resulting beers proved to be all over the map: there were brews intended to exemplars or their style, like an ESB, Belgian Quad, Czech Pils or Red Ale. There were also plenty of experimental or otherwise oddball beers, like Crystal Lake’sMidnight Rambler Black IPA, a raspberry seltzer from Odd Side Ales, or Hoppin’ Frog’sChocolate Covered Strawberry Stout.
Elonzo walked me through a tray of some of the collars, paired with some of their spicy meatballs, and then a “Campfire Pizza,” a pizza crust baked with marshmallows, chocolate sauce and Nutella.
AlemanYoungMan
A straightforward stout, inspired by Young’s Chocolate Stout, made with chocolate roast malts, but no chocolate. There was also a slight note of coffee, and this just might have been improved by a nitro tap, but this was a nice step outside the box for this itinerant Chicago brewer.
PollyannaAbracadabricot A saison made with Kveik yeast, hops from Michigan and France, and then apricots. Elonzo said he thought the Kveik already gave it a stone fruit character. I found more apricot in the palate, but the finish did kind of dry out in the end. Apricot can overpower a beer, but this style met the fruit on its own terms.
Illuminated Brew WorksMillennial Munchies The most “out there” of the local beers, this was a “Pastry Stout” inspired by a Zagnut bar. The inspiration came in the form of coconut, peanut butter powder, marshmallow, and chocolate malt. I’ve managed to enjoy a few coconut beers, but for once this one went overboard. But that seems to be the way of pastry stouts. My philosophy if I didn’t care for a beer like this, was that you may like it, so go right ahead.
B. NektarCordial Hoptimist A mead based on orange blossom honey, with added cocoa nibs, vanilla and tart cherries, then dry-hopped with Santiago hops. Served sparkling, this one bridged that tenuous gap between a mead and a milk stout. I could not nail down specific tastes, but instead enjoyed the whole thing.
We wrapped up with some sweet dessert beers to go with the Campfire Pizza, and discussed whether you should match sweet desserts to sweet beers, or contrast with something hoppy.
TemperanceOatmeal Raisin Old Ale Uses macerated dried plums instead of raisins, along with flaked oats, brown sugar, and vanilla. One of the few oatmeal-based beers I’ve found to actually taste like oatmeal, otherwise it’s added for smoothness. Definitely a “cookie stout,” which I guess I can enjoy a little better than a pastry stout.
Wild OnionDouble Puft An imperial brown ale with extra malt and marshmallow. This had a light nose for an imperial style, but then marshmallow by itself doesn’t have a very strong smell. Alcohol impression is not that strong, but then again, this was my last of seven tasters.
The restaurant also installed some “outside” collaborations, like Dogfish Head’s Grateful Dead Collaboration, American Beauty, Tighthead’sLongsnapper collab with Chicago Bear Patrick Mannelly, and Florida’s Hidden Springs,Banana in the Tailpipe, a Berliner Weisse with coconut, a collaboration with Barrel Culture Brewing of North Carolina. I bring this one up because it was one of the samples Elonzo had poured for me. It had very little sourness for the style, but a lot of what seemed like banana-flavored marshmallow. Dipped in pineapple juice.
The beer menu list only had a few items stamped “Keg Kicked,” but that is likely to increase as the end of the promotion draws near. Elonzo said he has been trying to get extra kegs from the brewers, but some of the liked the results so much, they put them on draft at their own tap rooms. Both the restaurant and the brewers might be expected to repeat the collaboration in the future.
Beerhead has locations in Elmhurst, Vernon Hills and Schaumburg, Illinois, with five other franchises in Ohio, New York and Michigan. The beer-centered chain keeps up to 50 beers on tap and a large selection of packaged beers, with crowlers where permitted.
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Meet The Blogger
Mark McDermott
Writer, trivia maven, fan of many things. I thought to learn all there is to know about beer as a way to stay interested in learning. It is my pleasure to bring Chicago’s craft beer scene to you.
The ChicagoBears released a pair of veterans on Friday. Here’s why the moves were the right decision.
It turns out the freezing temperatures aren’t the only thing leaving Chicago this weekend.
In an unsurprising move, the Chicago Bears announced that veteran cornerback Prince Amukamara and wide receiver Taylor Gabriel will be released by the Bears, ending their tenure with the team.
Amukamara spent three seasons in Chicago, playing in all but four games. Gabriel spent the last two in the blue and orange, missing seven games due to concussions in 2020.
While the Bears have numerous other options in the secondary, it’s possible that they’ll turn to the 2020 NFL Draft to add depth to the receiving core given this year’s receiving talent in the Draft.
Given that both players are 30 and 29 years old, respectively, it’s an opportunity for the Bears to get a bit younger at both positions. It’s also a beneficial move for the two players themselves, as they’ll have a bit more time in searching for a new team for 2020 and beyond.
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Perhaps most importantly, the move frees up $13.5 million in cap space for the Bears according to Spotrac. That’s a sizable increase in cap relief, basically doubling their total cap space to $27 million.
Though it’s not certain how exactly the Bears will spend their $27 million, rumors began to swirl on Thursday that the Bears could be targeting veteran quarterback Derek Carr. The soon-to-be 29 year old QB carries a cap hit of around $20-21 million in the three years remaining on his contract.
The rumors were further fueled by a cryptic Instagram post from Carr, hugging former teammate turned Chicago Bear Khalil Mack. Fans immediately began to speculate of a potential reunion.
With just under a month remaining until the start of the 2020 League Year, there will be plenty of time to speculate on the Bears moves for 2020. Until then, Bears fans will have no shortage of rumors and Instagram posts to pick apart.
The road to state has been released. Every team knows its playoff path after the brackets were released earlier today. I usually have some initial impressions but nothing really jumped out at me.
Seeing all the sectionals generally takes all the steam out of the regular season but there were some fun conference races decided tonight. And two other very notable things…
Indian Creek pulled it off. The Timberwolves finished the regular season a perfect 30-0. Drew Gaston scored 16 and Cooper Larsen added 15 in a 67-38 win against Somonauk tonight.
Also, seems worth noting that Manteno (ignored by the notebook all season) won it first conference title in 23 years.
Friday’s top games
Benet 43, St. Viator 40: The Redwings pick up another win on their late-season gauntlet. They still face Stevenson and St. Charles North before the playoffs begin.
Yorkville 49, Oswego 44: Interesting result here. The Foxes win it on the road.
Mundelein 63, Lake Zurich 41: The Mustangs are going to be an interesting case when it comes to the All-Area team. Conor Enright (14 points, seven assists) and Scottie Ebube (11 points, seven rebounds) have been very consistent this season.
Oak Lawn 55, Reavis 36: David Reyes scored 20 and Trey Ward had 14 for the Spartans, who have been out of the spotlight for awhile now. It will be interesting to see how they fare in the playoffs.
Hinsdale South 59, Addison Trail 50: The Hornets are 72-3 and conference champs. Aaron Tims scored 20 and Billy Durkin added 14.
Eisenhower 63, Argo 48: Jemel Jones scored 23 for the 22-6 Cardinals.
York 33, Hinsdale Central 29: It’s the first conference title since 2006 for the Dukes. Vince Doran got a bath…
Loyola 57, Fenwick 49: Matt Enghauser had 17 and Bennett Kwiecinski 14 as the Ramblers clinch the conference title on road. Bryce Hopkins scored 23 for the Friars.
Evanston 61, Glenbrook South 60 OT: Blake Peters had 16 and it sounds like Dom Martinelli was a bit hobbled but still scored 30 for the Titans.
Lockport 52, Lincoln-Way East 41: Really nice win for the Porters, who scored 21 in the fourth quarter. They had 12 assists on 18 buckets.
Waubonsie Valley 35, Naperville Central 32: Marcus Skeete wins it on a buzzer beater for the second consecutive game.
Schaumburg 35, Palatine 21: The Saxons win the MSL West.
St. Charles East 80, Wheaton North 73: The Saints have an interesting road in the playoffs and are pretty hot, 15-2 in 2020. The losses are to St. Charles North and Benet.
DePaul Prep 65, St. Ignatius 35: TY Johnson puts up 21 as the Rams dominate and put some points on the board. Brian Mathews had 16 points, 10 rebounds and five blocks.
Andrew 68, Lincoln-Way Central 48: Hmm. The Thunderbolts open my eyes a bit with this one. Noah O’Connor scored 21 and they are 16-10.
Tinley Park 76, TF South 71: Sophomore AJ Casey scores a career-high 40 points and grabes 11 rebounds.
Pitchfork Music Festival is one of the most anticipated events in Chicago, and it brings in crowds from all over. This year, Pitchfork 2020 is ahead of the game, with eclectic lineups that feature diehard favorites and newcomers you’ll be glad to discover.
We’ve got all the important deets on this amazing festival, scheduled for July 17 – 19, because we know you want in on the fun.
The fest takes place every year in the Near West Side at Union Park, propped right in the middle of the triangular intersections of Ashland, Lake, and Ogden. If you’re taking the ‘L’, the Green or Pink Line to Ashland/Lake station is right on the northwest corner of the park. Parking availability is highly unlikely, so biking or taking a Lyft are recommended as well.
Entry Rules
Pitchfork 2020 is an all-ages fest. Make sure you’ve got everything you need from home because there’s absolutely no re-entry into the fest if you choose to leave. Feel free to bring non-professional cameras, backpacks, a sealed bottled water, and lawn chairs. Tents, flags, musical instruments, selfie sticks, and your pets are a big ‘NO.’ Lockers are available for your belongings.
What to Wear
Pitchfork 2020 is a rain-or-shine event, but don’t let a little drizzle get you down; some rain dances during your favorite set are sure to help turn it around for you. Shorts, tank tops, short sleeves, and sundresses are appropriate for this peak summer month, but hats, closed-toe shoes, and raincoats are advised for bad weather. If you get wet, stop by the Buffalo Exchange, Futurgarb, or Transit Tees booths to pick up something dry.
When you need a break from jammin’ at the stages, check out some of the many tasty food vendors on site, such as Black Dog Gelato, Bang Bang Pie, Leghorn Chicken, and Wow Bao. Learn about a good cause at a non-profit booth like Girls Rock! Chicago or One Tail at a Time. Want to make a difference? Spend time talking with Pitchfork’s partner this year, RAINN, the nation’s largest anti-sexual violence organization. Plenty of local artists will be displaying their work, as well as a pop-up craft festival, book fair, and record shop. Talk about sensory overload!
Where to Stay
If you don’t live in Chicago, first of all—we’re sorry. You’re missing out. Second, don’t worry because we’ve got great places for you to crash. Partnered hotels include the Chicago Marriott at Medical District, which is closest to the fest. Others are the Chicago Athletic Association, Hyatt Regency, and the Hard Rock Hotel. Maybe you’ll run into one of the headliners after it ends! If those are a little out of budget, you can always rent an Airbnb in the area.
Yeah Yeah Yeahs, Angel Olsen, The Fiery Furnaces, Jehnny Beth, Deafheaven, Waxahatchee, Tim Hecker & The Konoya Ensemble, SOPHIE, Fennesz, Hop Along, Dehd, SPELLING, KAINA, Femdot
Saturday, July 18
Run the Jewels, Sharon Van Etton, Twin Peaks, Danny Brown, Thundercat, Cat Power, Tierra Whack, BADBADNOTGOOD, Dave, Oso Oso, Diving Niño, Boy Scouts, Ezra Collective, Margaux
Sunday, July 19
The National, Big Thief, Kim Gordon, Phoebe Bridgers, Yaeji, Caroline Polachek, DJ Nate, Maxo Kream, Rapsody, Faye Webster, Mariah the Scientist, Dogleg, The Hecks, Dustin Laurenzi’s Snaketime
For tickets and more info, head to the Pitchfork Music Festival website. We can’t wait to see you at Pitchfork 2020!
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