Category: Reviews

Review: Durand Jones and The Indications – Flowers

For their newest album, Flowers, Durand Jones and The Indications went back to the days of recording to simple equipment while they were all college students at Indiana University, only this time it was just the three of them (Aaron Frazer – drums and vocals, Durand Jones – vocals, and Blake Rhein – guitar) recording in their guitarist’s Chicago studio crafted after multiple successful albums and world tours. The result is an album that lets them get their flowers, as the kids say, and enjoy and build upon their successes both as a band and with their own solo projects.

The lush, brief, titular intro track lets you know this is going to be a lovely time, and sure enough, the beats and bass (courtesy of Michael Montgomery) prove this on “Paradise” — in which Frazer sings about how he must be mad to keep pursuing an unresponsive lover, but he can’t help it. Jones has convinced his lover, at least, because “Lover’s Paradise” has them doing everything from traveling to Paris to catching a matinee.

Frazer and Jones both claim “I Need the Answer” to strife, war, and divisions on the next track. “Why’s it so hard to find the humanity when every man is more than just what you see?” Frazer asks, and Jones as “What will we leave for futures to see who we are?” We all want these answers. We need them. “Flower Moon” is so groovy that it practically warms up the bed for you.

We’re back to some heartbreak on “Really Wanna Be with You,” in which Jones sings about wishing he could be with someone who might’ve been the one, but the ship has sailed. “Been So Long” is about going back to your old stomping grounds and getting the scoop on everyone still there. “Everything” is about how a lover’s attention is all one needs. It’ll be on all of your bedroom mixes this year.

On “Rust and Steel,” Jones compares a crumbling relationship to a car that’s slowly breaking down, and then Frazer claims “A fancy car won’t get you far when you’re on your own” at the beginning of “If Not For Love,” which features a sharp saxophone solo from Mae Sun. The final track, “Without You,” is a plea for a lover to return after Jones realizes, too late, that he’s lost her thanks to his bad behavior.

Flowers is another solid album from DJI. They’ve yet to miss. Give them and this album all the flowers.

Keep your mind open.

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[Thanks to Sam at Pitch Perfect PR.]

Rewind Review: Pixel Grip – Arena (2021)

Just as we were starting to come out of the pandemic, Chicago’s Pixel Grip emerged from the weird state we were all in and gave us Arena – a wild record of dark wave, cold wave, techno, industrial grind, noise rock, and music designed to get us back into the groove of partying and screwing.

I mean, the album opens with throbbing bass and a song called “ALPHAPUSSY.” It’s a hot industrial track that grabs you by the throat (and crotch) and doesn’t let go for over three minutes. It picks up where Lords of Acid‘s “Pussy” left off. “Club Mania” thumps and bumps to keep the dance floor jumping. “Snap your neck, just to watch me walk up in the place,” says singer Rita Lukea – taking command of the club and your eardrums. “Take a break like a Kit-Kat candy bar,” she advises. You should probably take her up on it.

“Ruby” slides into sultry and spooky sounds, setting up perhaps a sexy liaison or a deadly encounter – your choice. The rolling synths (courtesy of Jonathan Freund and Tyler Ommen) of “Pursuit” sound great, and “Play Noble” is a neat switch for the band – briefly dabbling with electro-pop that mixes with dark synths in a cool combination as Lukea suggests, “Let’s stay up ’til the morning. This is your moment.” I hope you’re hydrated, not only for that invitation, but also for the following track, “Demon Chaser” (with guest vocals from MONĀE), which is nothing short of a hot, pulsing make-out track.

Just go ahead and put “Dancing on Your Grave” on both your Halloween and bedroom playlists. You’ll thank me and Pixel Grip later. The growling sound of it is like a panther circling you in the parking lot of a strip club while a murder of crows watches from the roof.

“Alibi” is brighter than most of the album’s tracks, and is a nice change because it shows off Lukea’s voice and how she can easily switch to lovely electro pop vocal stylings with seemingly no effort. They almost go full-synthwave on the closing track, “Double Vision,” which is another good showcase for Lukea’s voice and gives Freund and Ommen a great chance to show their love of Giorgio Moroder.

This whole record is dynamite. Get into this arena as soon as you can. You’ll like it there.

Keep your mind open.

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Rewind Review: Mdou Moctar – Funeral for Justice (2024)

Mdou Moctar‘s most recent album, Funeral for Justice, was recorded after two years of touring with his band, hearing music from all over the world, and seeing injustices across the world. This all lit a fire under the band, resulting in a record that’s a mixture of Tuareg rock, psychedelia, and punk rage.

The opening title track wastes no time, bringing in Thin Lizzy-heavy riffs and then snappy, sizzling drums. “Imouhar” crushes on all levels. Moctar’s guitar burns hotter than the fires on the album’s cover, and his three-piece band is so locked in that even the Incredible Hulk couldn’t shake them loose. “Takoba” is excellent Tuareg desert-psych with percussion made for long walks across hot dunes.

Speaking of hot things, the opening guitar on “Sousoume Tamacheq” is like a flare going off to signal danger ahead. “Imajighen” pumps the brakes a bit, but still keeps you rolling at a smooth pace as a warm breeze moves over you. The vocals on “Tchinta,” particularly on the chorus, seem like praise, but might be cries of injustice (considering the theme of the album). Moctar’s closing solo on it is stunning.

“Oh France” has some of the wildest drumming on the record. It sounds like it’s being played by two people in a giant cavern with a secret temple in it. The album ends with the mind-altering “Modern Slaves,” a song about how slavery, somehow, still exists in this world and how many of us willingly become slaves to multiple masters.

Funeral for Justice feels like Moctar’s fiercest album to date. Use with caution. It might set your house on fire.

Keep your mind open.

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Review: Paddang – Lost in Lizardland

Imagine you’re in a bleak future where you’re unsure of the loyalties of those around you, as they might be allied with beings intent on your surrender and supplication. Wait…are we already in this place?

Toulouse, France’s Paddang certainly thinks so, as their new album, Lost in Lizardland, is a cautionary tale of sinister forces out to enslave and / or destroy us. The three-man band of Thomas Boquel (guitar and vocals), Rémi Fournier (drums and vocals), and Guirec Petton (bass, synths, and vocals) unleash a wild mix of cosmic rock, psychedelia, and punk chaos to warn us of not just things to come, but also things happening in real time.

“The End of Hanoumane” (an altering of “The End of Humanity?”) is an interesting start, because the “end song” is a setup for an epic journey ahead of us. “Pressure” reminds you of Osees grooves mixed with King Gizzard and The Lizard Wizard trippy tracks. Heck, “Draconite” even mentions an “altered beast” as the world of our story begins to unravel and reptilian beasts emerge. The slight Middle Eastern touches on Boquel’s guitar are sharp.

“Predator” has the beasts chasing after all of us…or maybe not. “Are they monsters, or are they true? Are they like me, are they like you? Shall we resist or surrender? Brothers, I wish we never become predator(s).” “Lizardland” is about waking up in a world that sort of looks like yours, but you feel something isn’t quite right or know everything is wrong. The breakdown for the outro is great.

“Moros Journey” is the tale of the album’s heroine, Moros, as she tries to navigate the crazy Lizardland world, avoid beasts, and figure just what the hell is happening…and if the golden city she saw in a dream is a real safe haven or a fantasy. It’s a fun, fast track that stomps the gas pedal for the rest of the album. “The Astral Flood” is the album’s heaviest psychedelic track, with lyrics about floating into another plane of existence and the album ends with “Agartha” – a song about finding “energies I can’t ignore, something hidden at the core” (of humanity? Of ourselves? Of the universe? It’s probably all three.). It has plenty of fuzz and fast beats, but there’s a fun pop-rock groove to it you can’t deny.

It’s a wild record, and, I suspect, one that needs to be heard live whenever possible. Get lost in this. You’ll come out of it a bit different.

Gardez l’esprit ouvert.

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[Merci à Angie à NRV!]

Rewind Review: Elephant Stone – Back into the Dream (2024)

I’m late to Elephant Stone‘s last album, Back into the Dream, but they’re certainly not late to their always sharp psychedelic grooves and uplifting lyrics on it.

Robbie MacArthur‘s guitar work on opening track “Lost in a Dream” is outstanding, reaching shining heights above sparkling clouds at some points as even shinier synths bounce like sunlight off a warm lake. “The Spark” features more great guitar work, and “Going Underground” has hints of the band’s love of The Rolling Stones (check out that drum beat by Miles Dupire-Gagnon), with Jason Kent‘s Hammond organ taking a full step forward on the track.

“History Repeating” is almost a shoegaze track with those background guitars and Rishi Dhir‘s smooth bass line throughout it, and “bae” is a shoegaze track with its distorted vocals and enough layers of reverb to make a birthday cake for Roky Erickson. If that track doesn’t take you out of your body, then “Godstar” will as Dhir’s sitar and Shawn Mativetsky‘s tabla pretty much levitate your speakers off the floor, desk, or car doors.

“The Imajinary, Nameless Everybody in the World” is the kind of song that only Elephant Stone can seem to pull off – psychedelic, spiritual, lovely, rocking, and multi-layered without coming off as noodling or tying to force some kind of sound or reaction. It starts off almost meditative and then floats into cosmic jam territory. It’s the rightful centerpiece of the album and is over seven minutes of psych-bliss (and check out that Adam Kinner sax solo!).

“Pilgrimage” is another lovely one, with the band’s synths, piano, and saxophone putting down perfect sounds for a late night trip that’s taking you to a sunrise you’ve wanted to see for quite some time. “On Our Own” has the band embracing their admitted love of The Beatles, and album closes with the soft, short, subtle “Another Year Gone” as Dhir reminisces about past prophets, past choices, past loves, and future joys and mysteries to come.

Elephant Stone have another gem in their catalog with Back into the Dream. It’s both another fun record for us long-time fans and a good entry point if you’re new to them. Sit back and enjoy it.

Keep your mind open.

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Rewind Review: Mavis Staples – Only for the Lonely (1970)

Mavis Staples‘ second solo album, Only for the Lonely, is a heartfelt, heartbreaking, and heart-lifting record, with the songs expressing a lot of emotions and moments Staples was living through at the time.

“I Have Learned to Do Without You,” with its slow-dance guitar and drums and soulful string arrangements, automatically lets you know this album is going to be full of songs to which anyone who’s been through heartbreak can relate. Staples sings, “I got over you!”, but you’re not sure if that’s 100% accurate. “How much water can you pour in a boat before that boat begins to sink?” Staples asks on “How Many Times” – in which her exasperation with a lover comes through in every note.

She finds better times on “Endlessly,” as she sings, “You were made for my arms to surround.” to a lover to whom she’ll be “as faithful as the sunrise.” The horn section on “You’re the Fool” is a great backup to Staples’ powerful and soulful voice. On “Since I Fell for You,” her gospel vocal training shines and makes you pay attention.

“What Happened to the Real Me” is a powerful anthem for jilted lovers everywhere, with Staples’ backing band putting down a solid groove while horns and strings charge behind her voice. “Since You Became a Part of My Life” and “It Makes Me Wanna Cry” are back-to-back, going from praise of a lover and how they changed Staples’ outlook on life to Staples being crushed after his departure. It shows how well she can sing either type and make you feel all those emotions. The closer, “Don’t Change Me Now” has Staples thanking her lover for taking the time to build the love they have, and pleading that he doesn’t screw it up. You’ll think, “Yep. That guy’s an idiot if he thinks he’ll find better.”

Only for the Lonely is a perfect title for the record, as Staples sings to those of us (all of us?) who have felt that emptiness and hope cycle of love again and again.

Keep your mind open.

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Review: Lorenzo Dada & Leo Benassi – Island EP

Don’t let the cartoonish cover fool you, Lorenzo Dada and Leo Benassi‘s Island EP is a solid house record with plenty of bounce and bump in it.

The opening bass of “Midnight Piano” alone will make your head turn and your hips shake. The tapping beats of “Slow Ride” mix with subtle horns and softer bass for a smooth make-out groove.

Apparently, there are “No Flamingos in Salinas,” but there are plenty of smooth, lush beats and grooves on this track. It’s bright and bouncy and something you’ll probably slide into a dozen mixes this summer. The EP ends with the dreamy “Dream On,” bringing in bubbly beats and looping synths to create a groove that I’m sure a lot of hip hop DJs will slow down and sample.

I’m sure you’ll dig this and drop it into many sets of your own, too.

Keep your mind open.

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Live: Underworld – Radius – Chicago, IL – May 17, 2025

Underworld are one of those bands I wasn’t certain I’d get to see live. Most of their tours are in the UK and Europe, and I didn’t get to see them the last time they were in the Midwest at Detroit’s Movement Music Festival years ago on a Sunday night.

Lo and behold, they announced a brief U.S. spring tour with only five stops, and one was in Chicago at Radius. I snagged tickets from the presale as soon as they were available. To my further delight, they announced it would be an “open to close” show with two full sets and no opening act.

They brought in a big crowd and instantly had us dancing with them. They barely let up during the first set, banging out classics like “Low Burn” and “Techno Shinkansen” while a simple and effective light show played out behind them.

During the twenty-five-minute intermission, I met a family of three who’d flown in from Atlanta, Georgia for the show. The mom and dad had brought their fourteen-year-old son (It was an all-ages show.) there for his first concert ever, and they all had a great time. I’m sure there were many people like them in the crowd, as Underworld was only doing six shows on this U.S. tour: One in Brooklyn, the Chicago show, and then four out west — Seattle, Portland, San Francisco, and Bakersfield, California. It was a rare opportunity to see them east of the Mississippi River.

The second set was loaded with fan-favorites, including “Pearl’s Girl,” a fun version of “Dark & Long (Dark Train),” “Two Months Off,” a faster, almost jungle version of “Cowgirl,” a hard-hitting version of “King of Snake,” and, of course, “Born Slippy” to close it off.

As we walked back to our car after the show, I could hear behind us a father asking his daughter if she enjoyed it. She did. He explained how “Born Slippy” “was from this movie called Trainspotting. It’s a really good movie that’s from before your time.” Most of Underworld’s music is from before his daughter’s time (They are still making excellent albums.), so it was great to see so many younger people at this show and for Underworld to make it an all-ages performance. We need more of that…and them.

Keep your mind open.

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Rewind Review: Esquivel – More of Other Worlds, Other Sounds (1962)

Somewhere between the late 1950s and the mid-1960s was an aesthetic of design that was known as the “space age bachelor pad.” It was partially inspired by James Bond films, speculation on a glorious, automated future that was to come after World War Two ended, and thrilling adventures in space exploration.

Of course, if you were going to live in a space age bachelor pad, you needed space age music to play on your hi-fi stereo, and that’s where Esquivel entered the scene. More of Other Worlds, Other Sounds is the sequel to 1958’s Other Worlds, Other Sounds, which blew people’s minds back then. More does the same with blends of Latin jazz, big band swing, beautiful piano work, and plenty of odd sounds that come out of nowhere.

“The Breeze and I (Andalucia)” is almost a John Barry Bond movie theme (Dig those horns!), but Barry is happily drunk and goofing around in the studio. The weird hand percussion and surf guitar on “Chant to the Night” are trippy compliments to the great trumpet playing on it. “Canadian Sunset” builds to a thrilling point and then drifts into comfortable warmth (or is it cool dark?).

“Street Scene” has plenty of low-end piano bass to get you prowling, while the middle keys provide sultry glances from across the road. Esquivel (and His Orchestra) does a fun, luxurious spin on the classic “I Get a Kick Out of You” with great piano flourishes. “Primavera” is a song you’ll think you’ve heard in hundreds of elevators, airports, and train stations…and you probably have.

“Street of Dreams” has sublime and subtle percussion behind Esquivel’s plucky piano work, and another trumpet solo that you can practically frame and hang on a wall. “La Mantilla” is layered with Latin acoustic guitar, piano riffs, and hand percussion, instantly transporting you to a place that only exists in dreams. Esquivel’s version of “One for My Baby (and One for the Road)” takes a song popularized by Frank Sinatra and makes it even woozier.

The percussion on “Dancing in the Dark” almost sounds out of whack, almost like Esquivel is playing piano in one room while a samba band plays in another and the recording equipment is set up in the hallway between the two rooms (and a jazz trumpeter is on the veranda outside). You’ll want “Snowfall” on your Christmas playlists this year and every year afterwards. It’s bright and perfect for a cozy night of snuggling in your satellite bachelor pad. The album ends with “Travelin’.” It’s a good finisher, as it’s perfect for putting on as you start on a new journey to some exotic place, even if it’s only a couple miles down the road.

This is a lounge classic, like all of Esquivel’s work, and shouldn’t be missed. Your date will thank you.

Keep your mind open.

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Rewind Review: Various artists – Disco Italia: Essential Italo Disco Classics 1977-1985 (2008)

The importance and sound of Italo disco from the mid-1970s through the mid-1980s cannot be underestimated. The disco scene in Italy at this time was something unlike anyone had seen on either side of the Atlantic and it influenced DJs, club owners, club goers, and bands across the world.

Disco Italia: Essential Disco Classics 1977-1985 from Strut Records is an excellent compilation of such music. It begins with Five Letters‘ “Tha Kee Tha Tha” from 1980, in which you can still hear disco and also hear just a touch of the New Wave of music to come. The bass plucks and pops alone are worth a listen. Kasso‘s “Brazilian Dancer” from 1982 is a great disco house track with fun, goofy lyrics about a man so handsome he might be an alien because no one on Earth could be such a stud.

Number One Ensemble‘s “Flor de Coca” is such a slick disco track from 1980 that you might fall on the dance floor when you hear it. “Now Baby Now” by Kano somehow adds early Devo and krautrock sounds to 1983 disco…and it works. Jumping back to 1979, we get the fabulously named Freddy the Flying Dutchman & The Sistina Band with their bass-popping, post-punk saxophone honking “Wotjyla Disco Dance (Part 1).” Firefly barely attempts to hide their stealing of Chic‘s “Good Times” on 1983’s “Live (Is Gonna Be on Your Side),” and it’s thus a lot of fun.

The cowbell-forward “Burning Love” by D.D. Sound is over nine minutes of funk from 1977. It’s amazing – full of hot bass licks, low-end male vocals, breathy female backing vocals, some sort of falsetto vocals, and more grooves you’ll find on an interstate roadway. When Revanche tells you it’s “1979 It’s Dancing Time,” you believe them. The percussion-heavy “Let Me Be Your Radio (Part 1)” by Red Dragon Band from 1980 would make Bow Wow Wow‘s jaws drop.

Rainbow Team‘s 1983 groover, “Dreaming,” follows a path laid down by Diana Ross with its lovely female vocals and tight drumming. 1978’s “Do It Again” by Easy Going is “What if Steely Dan made disco records?” It’s great. The bass on the “Maxessa Edit” of Tullio De Piscopo‘s “‘E Fatto ‘e Sorde! E? (Money Money)” from 1985 is so thick it feels like the song it going to tip over at any moment. Valentine asks “Tina Are you ready?” at the beginning of this weird 1983 track that is more new wave than disco, which is fine by me.

Don’t skip out on this collection if you love disco or odd European stuff from the 70s and 80s.

Keep your mind open.

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