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ST . VINCENT Masseducation
( Loma Vista )
With every release , Annie Clark becomes more and more subsumed by her St . Vincent alter-ego . On her sixth release ( if one includes Love This Giant , a one-off collaboration with David Byrne , formerly of Talking Heads ), Masseduction , a chameleonic approach to the music proves to be a bounty for both artist and listener . Clark effortlessly inhabits every musical environment she cultivates , be it ambient , supple balladry (“ New York ,” “ Slow Disco ") or terse , pulsing Technicolored techno (“ Fear The Future ,”). She even manages to melt off some of the icy veneer that ’ s left her earlier recordings more difficult to connect with emotionally . “ Happy Birthday , Johnny ,” arguably her most personal composition to date , laments her failure to be there for a friend in need (“ Annie , how could you do this to me ?”/ Of course , I blame me ), augmented by the most minuscule of soundtracks .
Remaining so completely invested in the material , Clark ’ s delivery and execution often obfuscate her insanely accomplished musicianship . Of course , one is quickly remind of said skills when she drops some skin-scrapingly abrasive guitar runs on the albums title track ( let us not forget , she ’ s been known to bust out Big Black covers in concert without warning , and their music is the antithesis of radio friendly unit shifters ). That ' s why Masseduction is such a feast between the ears . In one breath , she ’ s making out with the boys and girls in the balcony at Studio 54 (“ Sugarboy ”), the next she ’ s riding a nursery rhyme groove that so syrupy (“ Pills ”), it ’ s easy to dismiss how how easily the song ' s subject matter takes the piss out of Big Pharma ' s ubiquitous , far reaching choker collar .
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Even the ever-eager protagonist in “ Savior ” will do anything to please , dressing up as a nurse , teacher , cop or a nun . The songs on Masseduction never have to work that hard . It looks smashing regardless of what its wearing . Appearing 1 / 12 at Chicago Theater , Chicago .
--Curt Baran
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KNUCKLE PUCK Shape Shifter
( Rise )
I felt so old ( I was 22 at the time ) when Knuckle Puck had to explain on twitter that their 2015 album was pronounced " co · pa · cet · ic ." I had assumed some younger fans had never heard the word . Besides dealing with my own mortality I thought Copacetic was somewhat bland . So when Shapeshifter was announced I was cautiously optimistic . After multiple listens I can confidently say that Shapeshifter is an improvement over Copacetic . The album delivers anthems like “ Want Me Around ,” “ Everyone Lies to Me ” and “ Gone .” When these songs are played live , expect loud sing-alongs and plenty of crowd surfing , making the tracks among some of the best music the band has made . The rest of Shapeshifter , however , isn ’ t as quite as memorable . The latter half of the album just blends together , without any noticeable dynamics . Shapeshifter is the sound of Knuckle Puck maturing and becoming a better band . However , in 2017 , the competition is extremely tough , and in a year with so many great pop punk releases , this albums in danger of getting lost in the background . Appearing 12 / 29 , 12 / 30 at Metro , Chicago .
– Michael Obrecki
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THE WHO Live at the Isle of Wight Festival 2014
( Eagle Vision )
The Who played the Isle of Wight Festival twice as a young band , including a show before a staggering crowd of 650,000 in 1970 . Due to its unexpected size and impact upon the local community , the festival was shut down by British Parliament . Any locals pining for a repeat opportunity had to wait 32 years for the festival ’ s revival and 34 years for the band , but Pete Townshend and Roger Daltrey brought their mod anthems and a
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a couple of new surprises back to a multigenerational crowd . Pete Townshend comments , “ Who knows ? Most of you were probably started here , in some [ nasty ] old tent ‘ round the back , your mom and dad , smoking their mary-ju-wanas .” The audience surely included some older fans who were present the first time the band played “ I Can ’ t Explain ” on the grounds . At this show , the band were not yet playing material from 2006 ’ s Endless Wire , but a pair of new tracks recorded for 2004 ’ s The Who : Then and Now are included in the set . Townshend leaps and windmills through slashing rocker “ Old Red Wine .” Longtime touring keyboardist Rabbit Bundrick features on piano during the Elvis Presley tribute “ Real Good Looking Boy .” The band is a lean six-piece . Current member Pino Palladino ’ s towering presence on bass is still relatively fresh following the death of John Entwistle at the start of the Who ’ s previous tour . Keith Moon ’ s godson Zak Starkey thunders at the drum kit . Pete ’ s brother Simon Townshend covers rhythm guitar .
Daltrey is in strong voice , howling and stammering through “ My Generation ” and digging deep into his guts for the feral screams of “ Love Reign O ’ er Me ” and “ Won ’ t Get Fooled Again .” Townshend takes lead vocal for pair of songs including the slow-burning “ Eminence Front ” and an intense solo-acoustic performance of Quadrophenia ’ s “ Drowned .” Other hits are strewn throughout the set including “ I Can ’ t Explain ,” “ Who Are You ,” “ Pinball Wizard ” and “ Magic Bus .” The festival crowd surges for the opening synthesizer riff of “ Baba O ’ Riley ,” and surges for its “ teenage wasteland ” refrain . This set captures the 23-song set list on two audio CDs and DVD / Blu-ray . Cameras cover the stage from all angles including , with occasional shots showing the 35,000-strong audience for scale . The audio is well worth mentioning . Townshend ’ s guitar roars through tracks like “ Bargain ,” leading an explosive mix . Townshend asks at one point , “ Is it loud enough ?”
– Jeff Elbel
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KALI MASI Wind Instrument
( Take This To Heart )
There are over 30 sub-genres of punk rock . You ’ ve probably heard of pop-punk or hardcore punk , but what about horror punk or punk jazz ? My point is that a lot of music falls under the umbrella term of “ Punk Rock .” Listening to the debut record from Kali Mas , Wind Instrument , you don ' t need a list of 30 sub-genres to know what you ' re listening to . Wind Instrument is pure , heartfelt , in your face punk rock . Kali Masi has a punk rock sound not unlike Elway , Polar Bear Club , and The Menzingers . Every song on Wind Instrument is filled that
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familiar punk rock passion that makes you want to scream and dance along . The standout songs on Wind Instrument are “ Your Other Left ,” “ Some Friends ” and “ C . A .” Every one of those songs is a great introduction to Kali Masi . If you ’ re interested in listening to an album that does a very good job of capturing the Midwestern punk rock ethic , Wind Instrument is the album for you .
– Michael Obrecki
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THE SMITHS The Queen is Dead ( Reissue )
( Rhino )
Perhaps it was online pressure by Morrissey or fans on social media , but the 31st anniversary of The Queen is Dead reissue shows what the fuss what all about in 1986 . Released during Reagan ' s so-called revolution in a heavy tide of overproduced rock records smothered in reverb and synth bands wringing out their last notes , The Queen is Dead delivered on the promise of their massively influential tremolodrenched single " How Soon Is Now " released a year earlier . Sonically it was a major step forward from Meat is Murder , though we still prefer the rockabilly and post punk of the sophomore album . Producer Stephen Street was also growing with the band which makes the results even more enticing . QID is powered by the band ' s greatest songs , including " Bigmouth Strikes Again " jettisoned by Johnny Marr driving acoustic guitar and Moz ' self-effacing lyrics . The title track pokes fun at stuffy British life and the monarchy with great humor (" Charles don ' t you ever crave , to appear on front of Daily Mail dressed in your mother ' s bridal veil ?"). Despite his missteps , Morrissey may be rock ' s greatest lyricist ." The Boy in His Side " sounds a bit more dated , with it ' s twee , sing-song chorus . The gems here are extra live tracks from Boston in 1986 , demo versions of album tracks , including a breathtaking version of Marr ' s finest moment , " Some Girls Are Bigger Than Others ." The Queen Is Dead is The Smiths at their most confident . Morrissey appears 11 / 25 at The Riviera
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Chicago – John Vernon
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