Best shows to see: Home of Easy Credit, Flying Lotus, Holly Golightly & the Brokeoffs, Kids & Explosions | Bleader

Best shows to see: Home of Easy Credit, Flying Lotus, Holly Golightly & the Brokeoffs, Kids & Explosions

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Holly Golightly & the Brokeoffs
  • Holly Golightly & the Brokeoffs
As usual our Soundboard page has a few top-notch shows to recommend for the early part of the week—and as usual, there's some good music that isn't written up. So before I share some highlights from the Reader's concert coverage, allow me to remind you about Arrested Development and Serengeti on Mon 10/15 at Double Door, Tombs and 16 on Tue 10/16 at Township, Regina Spektor on Wed 10/17 at the Chicago Theatre, and Cadence Weapon on Wed 10/17 at Schubas.

More after the jump!

Mon 10/15: The Home of Easy Credit at Jerry's on Division

"On its self-titled debut for Northern Spy, this New York duo—bassist Tom Blancarte, who's a regular collaborator of trumpeter Peter Evans, and his wife, Danish vocalist Louise Dam Eckardt Jensen, who also plays flute and alto sax—uses not just its name but also its song titles ('Arches of Gold' and 'The Feast of the Meal Replacment Bars' among them) to indict the American dream as a curdled capitalist deception," writes Peter Margasak. "Darkness and violence pervade the Home of Easy Credit's heavily improvised music, so that it would deliver a punch even without its sociopolitical subtext. Blancarte produces an agitated, astringent sound, both thwacking his double bass and viciously bowing it, switching among muscular percussive patterns, knotty walking lines, and strident drones. Jensen manipulates and enlarges her voice and horns with electronics, sometimes creating clouds of loops or unleashing torrents of abrasive consonance."

Tue 10/16: Flying Lotus at Metro

"With each new recording, LA beat maker Flying Lotus (aka Steve Ellison) moves further and further from the standard points of reference for EDM and hip-hop, delving deeper into his own hermetic universe," writes Peter Margasak. On the new Until the Quiet Comes, "from track to track the mood shifts dramatically: the tightly coiled electro-funk and in-the-red J. Dilla-style beats of the instrumental 'The Nightcaller' (which changes direction completely midway through, jumping into a warped Prince-like vibe) rolls into the jazz-driven 'Only If You Wanna,' with its swing drum patterns and Squarepusher-esque bass; then that cut drifts into the glitchy, spellbinding ambience of 'Electric Candyman,' with guest vocalist Thom Yorke bringing a lightness of tone to the skittering, clopping beats and mentholated keyboards." For more on FlyLo, see Artist on Artist, where he talks with omnivorous local producer and DJ Chrissy Murderbot. This show is sold out.

Tue 10/16: Holly Golightly & the Brokeoffs at Beat Kitchen

"Five years ago Holly Golightly left her native England and her working band to form the Brokeoffs, a duo with a Texas native who calls himself Lawyer Dave," writes Peter Margasak. "The couple settled in Madison, Georgia, where they now run a horse-rescue shelter on their own property and occasionally make records, among them the brand-new Sunday Run Me Over. Their life together and their decision to work as a duo—both play guitar and sing, and Dave plays drums—might suggest that they're ready to drift into cozy rusticity, but Golightly sticks by her scrappy, postpunk-influenced take on raw American roots music, which braids together unsentimental honky-tonk and gutbucket blues."

Wed 10/17: Kids & Explosions at Double Door

Animator Josh Raskin, aka mashup artist Kids & Explosions, "occasionally exploits the novelty factor in his combinations of well-known songs, or plays them for laughs—in the goofy 'Swear Words,' which stitches together profanity from a variety of tracks, he does both," writes Leor Galil. "But Raskin's style goes a lot deeper then gimmicks, and he's just as capable of making songs that are gorgeous or even elegiac. On his 2010 self-released debut, Shit Computer, he cuts out chunks of vocals, chops up guitar licks, and purees melodies; he might then stack those vocal cuts into a jittery, glitchy patchwork, or reconstitute a finely diced melody so that it sounds ever so slightly 'off' from the original."

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