Pitchfork Music Festival returned for its 15th year on September 10th for a weekend of incredible music, food, and art. The show’s artist’s graced the three stages with enough energy to power even the dimmest corners of Union Park. 

Day one of Pitchfork started unconventionally with waiting in line to go down the stairs from the “L” station. Ahead of me, several other people in line were dressed in a similar theme: reusable water bottles clipped to their bags, beaten up Dr.Martens, and vintage T-shirts. The sounds from the festival were floating up from behind the gates, and ticket hawkers stood prepared at the base of the stairs to shout out their wares.

The three stages were at the various corners of the park, with large swaths of dead grass in between. Early in the day, some attendees opted out for lounging in the shade while they listening to the performances, the sound systems carried music loud and crystal clear to the back of the park. I arrived in time to see the Chicago local, DEHD, blast through their set.

Vocalist and bassist, Emily Kempf commanded attention during her performance. Wearing 4 pigtails and baggy clothing, she exuded the kind of effortless coolness that permeated the festival. Listeners swayed to some of the songs in an almost meditative trance. Her face was illuminated by the camera’s, giving us glances at her braces-filled snarl as she shredded through song after song. She asked for a “vibe check” at one point to which the crowd responded with enthusiastic cheering. DEHD’s performance was a perfect constellation of riffs, crooning, and headbanging.

Immediately following DEHD, Indie darlings, Hop Along began their set. Already drawing a crowd at their mic check, the listeners cheered at every snatch of song that came from Frances Quinlan’s guitar. Once ready, they launched right into “Waitress” and to the sounds of screaming fans. Hearing Hop Along live is an experience not to be missed. The myriad of layers to their sound, the rasp of Frances’ voice, and the general feeling of myrrh are something that doesn’t always come through when listening to recorded music.

Like many other artists would share throughout the weekend of the festival, Frances expressed a collective feeling: “It feels so good to be doing this again”.

Saturday began with me running to catch Divino Niño. Having only seen them once before in 2019, I knew that their show was not one to be missed. Hanging near the back of the crowd, Camilo Medina’s face greeted me on the screen, charismatic and full of energy.
Sporting a white tank and combat boots and a pearl necklace, Camilo crooned and thrust across the stage. With all the bravado of a rockstar, Camilo truly took us there. The band switched seamlessly between moods and even instruments, at times forgoing guitars completely to rap or dance around the stage. It was a great reminder of what live music can be, especially after months of lockdown.

We ended this Pitchfork weekend with one thought in mind: See Danny Brown. This year marked the ten-year anniversary of his album, XXX, which Danny made sure to mention during his set. New to his music, I wanted to see firsthand what his stage presence was like, and to hear his incredible lyricism firsthand. What I was met with was a hodgepodge of music festival moments: Fans rushing to get to the stage, Danny doing call-and-response with his choruses, crowd surfing, and good old-fashioned moshing. By the time a wall of death opened in front of the stage, I knew that this was going to be the highlight of the show. Danny bantered with the crowd, admitting he hadn’t practiced his songs over quarantine: “I was too busy with my air fryer, man.” Which turned out to be true as Danny stumbled over the lyrics to one of his songs and jovially laughed it off. The crowd could care less it seemed as the energy radiating off the crowd was permeable. A turquoise blue bra sailed onto the stage at one point, of which Danny scooped up and wore for part of the set.

After a summer spent mostly indoors, it felt good to see Chicago concert-goers come together under the sun once again for a weekend of live music. If it’s one thing this city knows how to do, is celebrating the return of live music with all the joy and screeching one can handle.

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Kabir Kumar’s music marries various genres in a lush, multi-color landscape. Producing music in Los Angeles under the moniker, “Sun Kin,”  their 4th full-length project, After the House, released on February 12th. Track after track this album is full of danceable, introspective hits. Each song feels like a different world for one to explore, with Kumar’s distinct sound and as your guide during the journey across the dance floor. 

Starting with the second track, “Trying to trust” takes off with soaring, cavernous synths. Adding in a tinkling piano and a drum heartbeat, all before the 30-second mark, the song begins to build the first sweet sounds of Kumar’s vocals. The electronic piano takes on a distinct ‘80s sound toward the 1:45 mark, creating an uptempo swath that evens out the rapid congas. We’re brought back to Kumar’s voice which sings out, “Trying to trust /my simple body/It’s your gentle touch.” This track is a great example of how Sun Kin invites the listener to shape reality along with them. As they mix their vocals toward the 5:00 mark, we come across a section where the congas and the base take center stage, slowly inviting back in that soaring synth and disco sounds. A longer track at 6:32, it’s effortless and addictively danceable.

Skip one track over to “Purification Grave” which upon the first introduction, sounds like something out of a Studio Ghibli movie. It’s delicate and soft. Xylophones and staggered plucking lead the listening into the track as Kumar finesses each element into the song with ease. Things pick up with the introduction of a snare with a kick drum underneath. Gathering the other percussive elements along for the ride, the soft elements meet with a dumpy baseline around the 1:00 mark. As all the elements begin to culminate together, wind instruments are added. A sad, soaring synth line comes in, lending a lush, ascitic feel to the track before returning to that heavy bass and percussion once again. The overall mood of the track is one of life and death. The sweetness of life is marked by the tinkling of the xylophones, and the path through the afterlife and possibly underworld is highlighted by that squelch of the baseline. It’s ethereal and darkly pretty.

In “Blue Light (keeps me up at night),” begins creating a palette of sounds with congas and a trance-like bass. The kick drum and snare keep the beat as a (descriptor) synth sweeps over in a whiny tone, not unlike a theremin. This blue and silver cityscape that Kumar is painting begins to expand. Heat is added to the track via disco guitars at the 44-second mark, creating an entirely different vibe. Your attention shifts to Kumar’s vocals and they sing, “I think there’s a blue light in my room/keeps me up and thinking about you.” With the added element of the guitars, the track has an R&B feel to it. Kumar spoke about this track and added the vocals. “I felt pretty singing the chorus. I felt more pretty than I’ve ever felt singing a chorus,” they said. This song is a soulful show of what Kumar is capable of. My only criticism is that the pitch effect toward the tail end of the song felt slightly misplaced as it is so brief.

What’s great about After the House is that there is something for everyone. Kumar blends so many different elements, from disco guitars to congas and soaring, speculative synths, this project is multifaceted. It’s easy to picture this album being played as a crowd dances through the night, blue lights and disco balls abound. An ode to the disco of the past, and thoughtfully composed house music of today, this album is intimate and masterful in its execution.

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R&B has come a long way from trios of men in satin shirts singing their hearts out in the rain. It is no longer just about waiting around for circumstances to change with a no-good lover – R&B it has evolved. DEJA is gliding into the scene on a silver, pop-infused cloud. Her aptly named debut album, Intro, is a homage to owning your own feminine power, all set to sultry tracks and snappy lyrics.

Intro starts out with “ted talk”, a track that celebrates that messy and powerful feeling that comes after a perfect drink. The chorus starts off with DEJA crooning, “They try to tell me how to live, I don’t care I’m the best I’ve ever been.” This paired with perfectly timed bass, and watery sounding synths make for a track that has its place in both a “Grown Folks” bar and on playlists with the phrase, “Bad Bitch” in the title. DEJA mixes in breathy harmonizing which keeps the overall song very soft. It’s about being completely fed up and the release that comes with reaching that point.

Skipping one track down to “Sit Down”, DEJA keeps up the theme of power and assertion while crooning, “You can never walk a mile in these heels.” Underneath the vocals is a subtle trap beat that adds bite to DEJA’s sensual voice. Following a drum breakdown that leaves few elements besides the vocals, the listener is set up for a change in the song. A delightfully creepy section of harmonizing starts up at the midpoint of the track, all while the trap beat still plays underneath. What is created here is a stylistic ode to horrorcore hip hop, a la Three 6 Mafia. DEJA continues to repeat, “You could never walk a mile in my heels, sit down” through the end of the track. What’s great about this track is that it experiments with many different elements. From isolating parts of the underlaying bets to weaving in otherworldly harmonizing, DEJA takes R&B to a haunting new place.

The next track is made for slithering around the dance floor. Reminiscent of Sade, but with a sound that is all DEJA’s own, “Last Dance”, is as smooth as butter. It is melodic and steady, a stark difference from the intro of the song in which a computerized voice asks, “Please may I have this dance?”. DEJA’s vocals are lush and carry the listener through the song with repetition. Her repeated line, “I saved the last dance for you,” is more of a question as she invites her partner to join in the hypnotic rhythms. A slower counterpart to the EP’s empowerment jams, “Last Dance” highlights DEJA’s siren-like voice, and ability to write a simple yet timeless R&B track.

Continuing onto the next track, “Control” opens with a broken down drum section that includes what sounds like conga drums in the arrangement. DEJA picks up the pace with this track, asking the listener: “What makes you think I wanna be like you?”. She includes more of her gorgeous harmonizing on the chorus, before letting her voice seamlessly combine the pop and R&B sounds of the track. Throughout the EP there are repeated vocal synth elements that are subtle enough that it doesn’t become overbearing. DEJA’s vocals shine with the addition of synthesized backing vocals, keeping her sound modern and interesting. DEJA’s Soundcloud page describes this track as a “sticky banger”, and one would have to agree with this statement. Its simple pop elements flow well with the jazzy, smooth rhythms of R&B. Her music is all at once familiar and brand new, which is no easy feat.

Intro ends with “Paris”, a minimally arranged track that lets DEJA do what she does best: draw you in with her amazing vocals. A thumping bass marks the beginning of the song, and slowly adds in other elements. Muffled claps and snaps are introduced, along with more synthesized vocals. It’s a slower jam, but these simple elements keep you grooving right on through. Right at the 1:15 mark of this track, the snaps and claps give way to a smooth organ section while DEJA sings, “You are my antidote, and I’m hooked.” Ending with a track that speaks to overindulging and decadence is in line with this EP’s overall ode to empowerment. You can have your cake and eat it too, in Paris it, would seem.

Intro is an indulgence. From its cool-girl pop elements to soulful R&B the record is worthy of any late-night rendezvous – DEJA’s entrance into the alternative R&B scene is a grand one indeed. Her songwriting and vocal skills are that of a seasoned professional and are like a breath of cool air to the senses. DEJA’s debut EP is now streaming on Spotify and Soundcloud.

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Chicago is known for birthing some of music’s biggest names and movements. From Chance the Rapper to Kanye West, to being the birthplace of house music, this city is where music lives. It comes as no surprise that Chicago should also be home to Ifeanyi Elswith.

Elswith is a contemporary R&B/hip-hop vocalist from Avalon Park. Her new album, Everything Fefestyle (released on July 24th) is filled with her soothing voice and witticisms. With things currently in a state of disarray due to the global pandemic, Elswith provides a momentary escape in the form of her incredible voice and effortless style.

R&B has evolved over the years. What was once a genre ruled by the bleeding heart aesthetics of the early 2000s, (think singing passionately in the rain), is now a multifaceted juggernaut. New artists like Elswith are paying their respect to the genre, all while keeping it fresh with pop-like samples and slinky vocals.

The album’s first track, “Who are you” layers soulful, twangy guitars with classic R&B sampling like slow, rhythmic snapping. Straying from the long-suffering narrative of early R&B, Elswith croons: ‘Don’t think you’ll play the part just because you’re cute’. While it can be seen as a celebration of sexuality, especially for Black women, many lyrics often celebrated the “ride or die” chick, the one that was willing to put up with various hardships through a relationship including infidelity.  She continues with, ‘Do you value loyalty or will you stab me in the back,’ solidifying that this isn’t your average R&B bop.

Skip one song over to track 3, “Fefestyle”. This song is fun, fresh, and packed full of pop culture easter eggs like “Avatar the Last AirBender”. Elswith rattles off a list of positive affirmations for the listener in her springy soprano voice, all while utilizing numerous pop culture references. At just 1 minute and 44 seconds, this track is a little pick-me-up in song form. 

The 4th track, “Don’t Call Me Your Baby Girl” changes the vibe of the album. Instead of the sultry sound of some of the earlier tracks, this song is jazzy with a capital “J”. Evocative of Left eye’s style of rapping, Elswith’s voice is snappy and demands attention to her witty lyrics. The guitar reverbs alongside keys sound like they could belong in any modern jazz club.

Elswith’s powerful voice especially shines in the 7th track, “XO”. Filled with feelings of longing, its repetitive lyrics make for a perfect end-of-summer jam. The vocals layer over each other, creating a multi-layered song that drips with the bittersweetness of summer love. Combined with thoughtful lo-fi sampling and ending with a hallmark of R&B, a string of bar chimes.

Elswith is one to watch. Her style fits in perfectly for those looking for a very, “right now” sound and the old R&B fans at the same time. Keep up with her music on Spotify for that cool girl sound you have been missing in your life.

Photo Credit: Artist photos by James Washington Jr. Below album artwork is by Queen Hibbler.

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Meet Cordoba: A jazz fusion sextet from Chicago. Beginning with lead singer Brianna Tong, Cam Cunningham, and Zach Upton-Davis at the University of Ilinois-Chicago, the three founding members would eventually evolve into a powerhouse of a sextet that blends hip-hop, soul, and rock. The group is also active in organizing in Chicago, with the belief that housing, education, health care, and leisure are rights for everyone. These themes often show up on their lyrics in past releases such as Break the Locks Off Everything New. On the cusp of the release of their new single, “diluvian” from their upcoming debut LP release, I got the chance to ask them some quick questions.

Sarah Thomas: Let’s talk about the intersection of art and activism. Is art inherently political?

Brianna Tong: I definitely do not think art is inherently political. You could have crappy hotel art that is just nothing behind it. I used to be a community organizer and was also in a band and the two were kept very separate, so I didn’t think a lot about how they were really connected. I see a lot of people doing cool stuff to bring the two together, like fundraising. But I think in some ways that you can imagine better worlds and put that imagination in a format that people can consume. I think there’s a lot of different ways that art can be activism and art can organize. But you have to try. 

Cam Cunnigham: I think human beings are inherently political and art is an expression of our deepest thoughts and desires so it makes sense for art to be political. Our art has been more explicitly political recently. I don’t think artists have a responsibility to do that at all. 

BT: There are a lot of different things we could make songs about that are resistant to the status quo.

ST: Do you all have any pre-show rituals?

CC: Brianna has this tea. It’s not a Cordoba show if Brianna doesn’t have the “5733” mug.

BT: I love show makeup. I’m big on putting on some dumb ass makeup because it feels good. It feels good, man.

Zach Upton-Davis: It’s critical to be on exactly your second beer. And no more. You must have slightly decreased anxiety and inhibition but adequate levels of coordination.

CC: If Zach has had exactly half of a burrito, I feel like it’s going to be a good set.

Khalyle Hagood: I’ve got a favorite hoodie, but now I’ve gotta get something for the summer.

ST: Who is your current favorite artist or album and why?

Zach Bain-Selbo: About a year ago I had a job I hated and it was really hard to get through. And I think what saved my life was Carly Rae Jepsen’s Emotion album. I think I listened to it about a million times.

KH: FKA Twigs, Fallen alien on Magdalene. It’s on my pre-show, get crunk playlist.

ZUD: I really like Unkown Orchestra’s Sex and Food is really good and the new Toro y Moi mixtape thing. But what I listen to more than anything else is this online radio station, WorldWide FM.

ST: Let’s talk a little bit about your creative processes. Do you do anything special?

CC: I find that I’m most creative at night. The best days are days that I can start writing something at 8 or 9[pm] and I can stay writing it until like, 2 am.

BT: I have a lot of little ideas and voice notes on my phone. Sometimes stuff will just come to me and that’s ideal. The gold trash bag on top of the other trash bags. (Laughs)

Cordoba’s LP is scheduled for release later this year Their single, “diluvian,” will be debuting on March 27th, 2020. You can listen to their music, here.

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Hailing from Toronto, Canada, Kiwi Jr. will be releasing their debut album, Football Money on  January 17th via Persona Non Grata.  Opening for the likes of Alvvays and New Pornographers, their sound is a mix of punk and jangle pop, reminding the listener of heavy hitters like The Cars. Composed of singer-guitarist Jeremy Gaudet, bassist Mike Walker, guitarist Brian Murphy, and drummer Brohan Moore, Kiwi Jr. is a bright spot in the punk scene.

Starting with the third track, “Salary Man,” we get a feel for how the rest of the album will play out.  This modern take on Japanese slang for an office worker finds the lightheartedness in the plight of 9-5 drudgery with lyrics like, “I want cigarettes from Japan that taste like oranges.” With an easily digestible, rollicking tune and simple, semi-shouted lyrics, “Salary Man” sets the tone for the rest of the album.

Just one song down is  “Gimmie More,” where the punk elements of this album begin to shine. The repetitive lyrics, singing “gimmie more,” and the twanging of the guitars make this upbeat track have the air of earnest. What’s great about this song is that it’s an upbeat narrative of the dissatisfaction one feels with growing up and finding that being an adult isn’t all that it’s cracked up to be. Near the end of the song, it builds to a buffet of instrumentals, as if the acceptance that “more” isn’t always what one needs.

The 6th track, “Soft Water Apple,” is as soft and sweet as its name implies. Slowly fading into a soft melody, this short song is 1 minute and 7 seconds of pure bliss. The soft, wailing synths blend with watery bass lines, painting a mournful picture that is a delight to listen to. It’s a welcome departure from the enthusiasm from the rest of the album. Without the sharp sounds of the other tracks, Gaudet’s vocals are able to shine.

The first few seconds of “Swimming Pool” is like something straight out of the ’60s. The first few seconds of chiming guitars on this 9th track are a warm undertone to the song. With the addition of a tambourine, the song opens into a gooey landscape, one that encourages listeners to have a lazy moment. The drums beat out yet another simple rhythm, allowing for the guitars twang to reverberate in a way not unlike the classic, jangle pop sounds of R.E.M.

Kiwi Jr.’s debut is short, sweet and addictive. Their easily acceptable melodies paired with repetitive and punchy lyrics make for an album that can be played all the way through, no skips necessary. The band will be kicking things off with a UK tour, followed by gracing the stage of Austin’s SXSW in March of 2020.

Image by Padrian McLeod

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If there’s ever been a perfect venue to see Crumb play live, Thalia Hall is it. Still on the American leg of their tour, the band filled the space to the gills with eager attendees. Opening for Crumb was Chicago band, Divino Niño, whose sound is a nostalgic mix of ’70s and psych-rock. They jammed through their set and got the crowd singing along to “Maria” as they neared their finish. Before Crumb came out, Gwen Stefani’s “Sweet” played through the venue’s sound system. The stage crew brought out giant, spherical balloons in black and silver. If you have ever listened to Crumb, you know this add on is a complement to their moody and ethereal sound. It was the perfect backdrop to be awash in the mournful voice of the lead singer, Lila Ramani. 

By the time the band walked onto the stage, the crowd had thickened and began to buzz with excitement. Backed by visuals from their new album art, they launched into “Jinx.” The heightened basslines perked up the crowd who began to sway the music, as if in a trance. Lila’s vocals wrapped around the crowd in their clear, dreamy style that has hooked fans from the beginning. Hearing how Lila’s voice filled the space and wrap you in their warm embrace is just one of many reasons to see them play live.

As the opening strums of “Plants” began, the stage was bathed in blue light. Accompanied by visuals of ripples, the aesthetic matched the higher, mournful pitch of the lyrics, “Tell me, tell me something sweet.” Crumb is a band that can make the color blue seem warm. Clutching their down coats, the crowd swayed along appreciatively and reflected their appreciation right back.

“We played here a couple of months ago and it was awesome. We wanted to come back and see y’all,” Lila said before strumming into the opening of “M.R.”

The night continued with the unique juxtaposition of Crumb’s signature, eerie sound, and a lively crowd. One person walked by wearing a shirt that simply read, “Sad Songs” and it was a great reflection of the mood of the night: a bunch of folks gathering to enjoy the melancholy show.  They played through a melody of their old and new songs, ending with “Locket.”

“This is our old song. If you know the words, please sing along. We appreciate it,” Lila said. Finishing to loud cheers and cries of, “encore,” Crumb blessed the crowd with “So Tired.” Crumb’s sound made the blues and silvers of their stage set up seem warm on what was a chilly night. Calling it one of their bigger shows, it is not hard to see their impact on the psych-rock scene. 

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With a new album slated for release in 2020, Surfer Blood is as fresh as ever with their latest EP release, Hourly Haunts. Finishing up a tour with a performance at Riot Fest, the band took time out of their schedule to answer a few quick questions about their upcoming album and give advice to budding musicians.

Sarah Thomas: How would you say this new EP differs from 1000 Palms?

JP: That’s a good question. It’s not very technical. It’s just three-chord songs, played really fast, and that’s it. That’s what we’re trying to do now. 

ST: Can you speak on that a little bit about being self-produced…

JP: The good news is that Micheal and I are both very into the engineering thing, and we’ve been working on it for years. Recording ourselves is great.

Micheal: We definitely took our time with this record. We didn’t have to worry about paying an hourly fee and we kind of just explored what we thought sounded cool and different. We just took our time and had a lot of fun with it on this record. 

ST: So what’s some advice for being a good musician in general? 

Lindsey:  You gotta love it. All of the musicians that I love the most don’t necessarily have like all of the technical abilities that some of the greats surely do, but they have soul. And all of my favorites are just in love with the music and that’s what comes through.

JP: Work hard, play shows outside of your hometown, and don’t worry about merch or t-shirts. Like if a band is playing their first show and they have like five different t-shirts.

L: Yeah, lower your overhead.

JP: Also, never forget it’s an art form.

Micheal: Never think you know it all. When you think you’ve learned it all and done it all, just keep honing your craft and learning. Learn the insides and outs of everything you love. 

Tyler: If there are dishes in the kitchen and you’re staying at someone’s place and it’s not that weird, you can politely wash them. That’s something nice to do.

M: It’s the little things.

ST: Who’s your favorite artist and song as of right now?

L: My favorite song right now is a New York artist named Gemma, and the song is called “Keep on Dancing.” It’s so good, I’m obsessed.

JP: Ultimate Painting, it’s a British band. The song is called “Woken by Noises.”

M: I’m like the classic rock dad playlist guy in the band, but I do appreciate hearing new stuff. What do I play all of the time? I feel like my friends know me better than myself.

JP: The Eagles, “Take it Easy” !

M: Oh yeah! The original “Take it Easy.”

T: That’s a hard question actually.

ST: How about favorite karaoke song?

TJ: Oh! Roy Robertson’s “Crying.” It makes me feel alright.

ST: Awesome, thank you and good luck with the set!

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For 2019, Blink-182 made a comeback as Friday’s headliner, naturally, the crowds were large by 6 pm, surging with the after 9-5 crowd. Nearly everyone was sporting all-black attire was peppered with brightly colored hair that was a nod to Riot Fest as the destination for punk and alternative music.

The sun was just beginning to set by the time that Glassjaw stepped out onto the Rebel Stage. People stood on tiptoes trying to see the band over the crowd as they began the set promptly at 7:30 pm and the crowd immediately began to sing along. This came as no surprise,  the band has been around since the early 2000s, playing a part in the development of the underground music scene in the states. The crowd did not miss a beat with lyrics, latecomers were eagerly pushing their way to the center of the fold, it was clear that Glassjaw was high on the list for many attendees. Friday came to a close with the crowds growing thicker by the hour, making for a tough time to get from one end of the park to another, especially with limited lighting.

But the Friday crowd would prove to be no match for Saturday’s when the park began to fill early with people on a mission to see Slayer’s last Chicago show. Slayer shirts were nearly everywhere you looked, with fans all over the age spectrum and a few toddlers to boot. Saturday was like a clear reminder of why Riot Fest is often called, “Warped tour for adults” – the mood was rowdy but never out of control while the sun beat down on the park. 

In keeping with the laid back vibe, Lando Chill chatted with friends before beginning his set at the Radicals Stage as one of the earlier performances. With a smoothness to match the relaxed crowd, Lando crooned, “You feel that? That’s your purpose calling” at one point, encouraging the crowd to vibe with him as he rocked to the rhythmic bass of the music.

Surfer Blood took it up a notch at the Rise stage. Their fans showed up in earnest while they played some of their biggest hits.”Can we get a little more haze up here?” JP asked before launching into “Island”, a song he called, “spooky”. With lively shows and a dedicated fan base, it was no surprise to see some folks make their way from the back of the crowd to the front of the stage, with one being rewarded with a guitar pick at the end of their set. 

“Dedicated fans” was a theme for Saturday while the crowd for Microwave was like a wall of people. They wasted no time hyping the crowd up, and the response was a mosh pit and shouting the lyrics back at the band. The crowd’s enthusiasm must have reached the stage because the band played a large selection of songs which according to some festival-goers is not a common thing, “They never play this one live anymore!” pointed out a fan near me before “The Fever” put everyone under a spell.

Leaving Microwave’s set, the crowd at Riot Fest became thick with Slayer shirts. Almost functioning like calling cards, people nodded at and high-fived each other after glancing down at one another’s band shirts. As Saturday came to a close, shouts of “Slayer!”  could be heard periodically as fans made their way to the exits. 

After some rain, Sunday left the park with large patches of mud. Entry was delayed for about 15 minutes before everyone was able to dash to the stages to see the early bands. Ultra Q was one of them. Formally known as Mt. Eddy, Ultra Q is fresh off their recent rebranding and just as fresh on stage. The guitar-forward group kept the crowd going through their energetic and punk-influenced sounds. The lead singer, Jakob Danger, thanked everyone for coming out early as the crowd grew steadily in size. 

After a high-energy morning, It was time for a different kind of energy. Playing at the radicals stage, Ganser’s moody tones was a great change of pace for Sunday. With Riot grrl vibes and repetitive lyrics, the Chicago based, post-punk band was a breath of fresh air after the power chords of the week. 

Despite the wet and muddy weather Riot Fest ended on a high note. The festival grounds remained full and the beer flowed freely. With artist bookings that reflect the commitment to diversity, Riot Fest holds its own as one of Chicago’s must-do festivals yet another year.

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Crumb has been blending jazz with a smooth mix of synth-pop for nearly four years now, a combination that has created a dedicated following of the band. Since the release of their self-titled debut, the band, which consists of Lila Ramani, Brian Aronow, Jesse Brotter and Jonathan Gilad, have lead their listeners on dream journey after journey. Their full-length release, Jinx is no exception.

The very first track, “Cracking” is aptly named as it cracks open the album with the jazzy sounds of horns and Lila’s ethereal vocals setting the tone for the album.

Skip one song over to “Ghostride,” where Lila’s monotone vocals burst into a clear, yet breathy landscape as the music swells during the chorus. The lyrics bring out the psych-rock feeling of their earlier work as Lila sings, “The phone rings and reminds me I’m alive/and I’m feeling kind of high.” Ending at the 2:06 mark, this short track hooks the listener and leaves them wanting for more as it ends suddenly with a twang of the guitar.

The 5th track, “M.R.” starts with a sample that is also a nod to their earlier, 60’s-inspired work. With crispy drums and a watery synth throughout, “M.R.” showcases the elements that have made Crumb’s listeners come back for more.

“The Letter” begins similarity to “M.R.” as the effects of the guitar call to mind images of crystal caves with its low, melodic tones. The lyrics, “Sister, why don’t you/Walk on the wild side today?” align well with the dreamy tones in this track, which again ends quickly at the 2:06 mark. This short song marks a transition from the sleepy jazz sounds of some of the first tracks and makes space for “Faces,” the 9th track on the album. Another short song, the jazzy bass on this track carries the listener through Lila’s reflections as she repeats, “It makes me so mad” as the final chorus fades away and lets the atmospheric synth finish the song as if Lila’s thoughts are also not completely spoken aloud.

At just 27 minutes long, the 10 tracks on the album seem to hint towards more to come as it feels abrupt in places that are asking for more vocals or longer tracks.

Crumb will be kicking off their tour in New York on August 8th at SummerStage.

The post Crumb drop an “Ethereal” EP appeared first on Quip Magazine.

Ain’t no party like a Vans House Party. In its ninth season, the second in a series of shows were curated by the headlining band, The Breeders. Handpicked for the night, the concert featured heavy hitters like Divino Niño. With their retro, surfy sounds, the group strummed through their dreamy, and sometimes bilingual set. Guillermo Rodriguez was all smiles before strumming the opening for “Maria.” “It feels like a dream to play with The Breeders and Pale Hound,” he said.

The crowd ebbed and flowed as people made their way to the front of the stage or went to grab a beer or merch. With a healthy amount of Vans wearers, the crowd came dressed in casual cool, ranging in ages reflective of the lasting legacy of The Breeders, and the freshness of Divino Niño.

Following Divino Niño, Ellen Kempner of Pale Hound jumped into her set with electric energy. The crowd made its way from the various bean bag chairs or half-pipes in the venue as Pale Hound lit up the stage. Even after snapping a guitar string, Ellen and crew had the crowd transfixed as they powered through their hits from their new album, Black Friday. Ellen didn’t miss a beat. Even after snapping her guitar string on her first song, she showed off her incredible vocals and guitar skills. For an overcast day outside, the crowd still grew in size as Pale Hound went through some of their set. With the energy of the crowd increasing, the love for The Breeders was noticeable among the attendees. “They are one of my biggest inspirations and we would definitely not be here without them,” Ellen said.

During the concert, there were opportunities to look at the art curated by The Breeders. Titled “All Nerve,” the art featured double exposures of collages with masonry bricks in various states of decay and splashes of color. Created by Chris Bigg, the works included, “a number of album cover visuals that were sent to the band in the early stage of art direction.” The same art provided the backdrop for The Breeders who took the stage to a sea of cheering. Preceded by a band member with a small bubble machine, Kim Beal gave a quick hello before beginning. The crowd sang along and cheered when Kim announced they were going to, “sing a few songs from a little album I like to call Pod.” A person near the front of the crowd jumped high into the air as a small mosh pit began. They played classics like, “I Just Wanna Get Along,” and finished their set with “Gigantic” by which the venue was alive with everyone dancing. The lights came up and like any good show, everyone leaving was slightly sweaty and had huge smiles.

The post The Breeders bring down the House of Vans appeared first on Quip Magazine.