ARCTIC MONKEYS Tranquility Base Hotel & Casino
( Domino)
Tranquility Base Hotel & Casino is not the rock record you’ re looking for. Once you accept this fact, you’ re free to surrender yourself to the brilliance of the Arctic Monkeys’ sixth studio record.
It’ s predecessor, A. M., was a big burly guitar record that proved to be the band ' s huge breakthrough in the States. So anticipation loomed heavily to build on that previous success with a carbon copy sequel. Apparently, Monkeys’ frontman Alex Turner had other plans. There’ s nary a guitar to be found on Tranquility, and when they decide to make a cameo, they’ re immediately regulated to the back of the mix. Nick O’ Malley’ s bass guitar is the lead instrument here. Turner has made a hard left turn, essentially drafting a lounge record with splashes of jazz and pop ornamentation. Like Bowie or even U2’ s Achtung Baby / Zooroppa phase, Turner immerses himself in an alternate universe and never breaks character. He’ s all in. Fully committed.
The songs are all vibe and groove. The hooks are elastic and ninja-like and when they find you, the listener gets seriously ear wormed. There’ s no finer evidence than the album ' s title track. The music is as weightless as deep space. There’ s just enough of it for Turner to sing-speak the lines“ Technological advances / Really bloody get me in the mood / Pull me in close, baby / Kiss me underneath the moon’ s side boob” in his charming English accent, chewing on every available syllable along the way.“ Four Out Of Five” is the closest the record gets to a rocker. The serpentine bass line is the spinal cord for a space age lodging commercial that gives the listener just enough
imagery(“ Lunar surface on a Saturday night / Dressed up in silver and white with / Coloured old grey whistle test light) to compose a short, Kubrick-ian film in their grey matter.
Tranquility Base Hotel & Casino is destined to be divisive. It’ s not conducive to a passive listen, and in this instant gratification information age, that’ s a seriously tough sell. But like any great film or exquisite painting, the songs continue to reveal themselves with every listen. Much like the ever expanding universe it so perfectly uses as its backdrop. Appearing 8 / 2 at Lollapalooza, Chicago
- Curt Baran
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HUNTSMEN American Scrap
( Prosthetic)
Chicago’ s Huntsmen blend Americana storytelling with the metal muscle of bands such as Neurosis, Red Fang and High On Fire on its debut full-length album American Scrap. On its eight tracks, everything from folk, metal, sludge, doom and stoner rock is explored. The one-plus minute opener,“ Bury Me Deep,” is where Pink Floyd meets Temple of the Dog, decorated with warm vocals, emotional lyrics and some sweet guitar and vocal harmony interplay. It’ s the perfect opening chapter to the album, which seamlessly merges into the acoustic guitar pattern of the seven-plus minute“ Pyre,” which slowly builds from its solemn and moody template with the doomy-ness of Lord Dying and a stoner rock vibe of Fu Manchu. The fantastic a cappella vocal harmonies of“ Canary King” carries its thought-provoking lyrics about early 20th century coal miners with some throaty vocals, giving the track a vivid cinematic element. Instrumentals“ Interlude A – Shipwrecked” and“ Interlude B – Insurrection” serve as eerie segments between the vocal tracks. The post-rock fury of“ Atlantic City " and the shapeshifting“ The Barrens” play to pleasing results, while the album ' s epic closer,“ The Last President,” featuring guest vocalist and fellow Chicagoan, Aimee Bueno, tells a chilling story, proving to be the perfect ending to the album.
Appearing 6 / 2 at Reggies, Chicago – Kelley Simms
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FRANK ZAPPA & THE MOTHERS OF INVENTION Burnt Weeny Sandwich The Roxy Performances
( UME / Zappa)
Originally released as an ambitious and psychotic post-mortem following Zappa’ s dissolution of the Mothers of Invention, 1969’ s Burnt Weeny Sandwich continues the series of premium vinyl reissues from the Zappa catalog. The unhinged carnival music and twisted-classical elements of“ Igor’ s Boogie” tip Zappa’ s hat to hero Igor Stravinsky. The song starkly contrasts the demented, bilingual, and profane doo-wop of opening cut“ WPLJ” and heartsick album closer“ Valarie”( credited to Jackie & the Starlites), which are ultimately revealed as the most conventional piece on the manic, madcap album.“ Overture to a Holiday in Berlin” is off-kilter classical music as only Frank could create, warped through innovative studio manipulation. By the time the listener reaches the fullblown head music of“ Theme from Burnt Weeny Sandwich,” it’ s clear that“ WPLJ” was a head fake. Listening to the slippery and virtuosic guitar, it’ s obvious that Zappa had come to play, but he hadn’ t come in search of chart success. Even his slippery, skittering and virtuosic guitar playing is deliberately buried beneath madcap percussion, like someone dumped a truckload of wind-up monkeys down a staircase.“ Holiday in Berlin, Full-Blown” features Zappa’ s languid psychedelic Latin / blues excursion, and“ Aybe Sea” showcases Mothers pianist Ian Underwood’ s skewed but melodic sensibilities. Stretching to nearly 17 minutes, the album’ s centerpiece is the proto-progressive, avant-jazz“ Little House I Used to Live In” wherein Sugar Cane Harris’ violin recalls the unfettered flights of Mahavishnu Orchestra. The new pressing faithfully restores even the tri-fold " The Mothers of Invention Sincerely Regret to Inform You " poster from the original package. The seven CD box The Roxy Performances includes four concert recordings from December 1973 at Hollywood’ s intimate nightclub The Roxy, alongside rehearsal and soundcheck audio of songs like the xylophone-forward Mothers’ favorite“ Uncle Meat.” A studio session includes a run through the first four tracks of 1974’ s Apostrophe, including the cosmic funk of“ Don’ t Eat the Yellow Snow.” Unreleased track“ That Arrogant Dick Nixon” is a retooled version of“ The Idiot Bastard Son.” The set is a fan’ s treasure trove running eight hours, spotlighting Zappa in the live environment where he thrived.
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– Jeff Elbel
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ROBERT PLANT & THE SENSANTIONAL SPACE SHIFTERS Live at David Lynch ' s Festival of Disruption
( Eagle Vision)
Following his Grammy-winning venture through American roots music with Alison Krauss and then with the revamped Band of Joy, former Led Zeppelin frontman Robert Plant followed his muse into a fusion of African rhythms and rock‘ n’ roll with his band the Sensational Space Shifters. In 2014, the well-seasoned group released its first album together called Lullaby and the Ceaseless Roar. This film captures a sold-out 2016 performance at David Lynch’ s inaugural Festival of Disruption in Los Angeles. The set features four cuts from Lullaby, beginning with a version of“ Poor Howard” introduced by the exotic and reedy twang of Juldeh Camara’ s nyanyero – an African one-stringed fiddle. Before long, the band careen into a retooled rendition of Led Zeppelin’ s“ Black Dog” that has the crowd singing ecstatically before venturing into a mesmerizing jam blending world music and hard rock. The sharp set breezes past in a mere hour, but every moment is packed with invention and musical thrills. Plant and three of his bandmates play frame drums during“ Rainbow,” as former Cast guitarist Liam“ Skin” Tyson unravels a sinewy line. Tyson spars with longtime Plant collaborator Justin Adams’ mandolin during the hypnotic“ Going to California.” Other Zep favorites include“ Babe I’ m Going to Leave You,” propelled by the limber bass of Billy Fuller, Dave Smith’ s muscular percussion, and John Baggott’ s shimmering Hammond organ. Plant includes his blues roots in the heady mix with a medley of“ Hoochie Coochie Man,”“ Whole Lotta Love,” and“ Mona.” The perpetually forward-looking Plant may not wish to revisit Led Zeppelin in the way that classic rock fans would want, but he’ s clearly in his zone within the sound of the Sensational Space Shifters. He appears energized throughout the set, in fine voice and spirits while providing ample room for his talented band to run. Appearing 6 / 18 at Jay Pritzker Pavilion, Chicago.
– Jeff Elbel
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SLEEP The Sciences
( Third Man Records)
Sleep’ s surprise release is remarkable for many reasons: it’ s the band’ s first fulllength album in 20 years; it was released on 4 / 20; and its themes of cannabis culture seem perfectly timed with the changing attitudes about the drug, both for medicinal and for recreational use. In other words, Sleep has never been more relevant.“ Marijuanaut’ s Theme” tells the adventure of an astronaut--an“ inhaler of the rifftree”--bound for“ Planet Iommia,” while“ Giza Butler” relates the earthbound tale of“ The CBDeacon” performing daily sacraments, including“ salutations to the cultivators bless the Indica fields / grateful for the yields.” But the lyrics( not necessarily sung, more like chanted or recited) are secondary to the riff-- the super-fuzzed-out, repetitive power chords that are the backbone to every Sleep song. The deliberate downstroke picking of guitarist Matt Pike allows each fuzzy chord time to ring out and to resonate.“ Sonic Titan,” mostly an instrumental composition, builds like other past Sleep songs, such as“ Holy Mountain” and“ The Clarity,” with a bare, blusey riff that is tweaked and explored during the song’ s 12-minute runtime.“ Antarcticans Thawed,” a song played live for years, is the most glacially paced composition on the album and relies on lyrical allusions to H. P. Lovecraft’ s story At The Mountains of Madness. The 14-minute track represents the band’ s most complex arrangement, with more frequent tempo changes and the most freeform, discordant guitar solos on the album. Appearing 8 / 1 at Riviera Theatre, Chicago
28 illinoisentertainer. com june 2018