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Tonight Oneohtrix Point Never and Spektral Quartet perform at Pritzker Pavilion. Tomorrow night Psalm One and Night Moves kick off this year's Milwaukee Avenue Arts Festival in Logan Square. On Saturday Dreezy headlines Reggie's Rock Club and George Clinton & Parliament Funkadelic play the Venue at Horseshoe Casino. On Sunday you can catch the Antlers at Lincoln Hall or Bone Thugs-N-Harmony at House of Blues.
Be sure to head to Soundboard to dig through all our concert listings and take a listen to our weekly "Best shows to see" Spotify playlist, which you can find at the bottom of this post (and, while you're at it, follow us on Spotify). Read on for some more show selections from Reader critics.
"Of all the movements that have transformed rock 'n' roll, none can match no wave for impact out of proportion to actual size," writes Bill Meyer. "DNA, Mars, the Contortions, and Teenage Jesus & the Jerks—the bands that appear on the scene's ur-document, the 1978 compilation No New York—didn't sound much like one another, but they all had short life spans, small discographies, and antagonistic stances toward their audiences. After Teenage Jesus broke up, banshee-voiced singer-guitarist Lydia Lunch quickly moved on. She's recorded with collaborators as diverse as big-band arranger J. William VerPlanck and industrial bangers Einstürzende Neubauten; she's written books that expand on Burroughsian themes such as distrust of dominant culture and drug use as subversion; and most recently she's conducted self-help workshops. But she didn't revisit the choppy, destructive assault of the Jerks until 2012, when she formed the four-piece Retrovirus—its current lineup includes drummer Bob Bert (Sonic Youth, Pussy Galore), bassist Tim Dahl (Child Abuse), and guitarist Weasel Walter (Cellular Chaos, Flying Luttenbachers)."
"Serious scholars of underground rock appreciate what Tesco Vee did to bolster the early midwestern punk scene, not just running zines but also founding Touch and Go Records," writes Monica Kendrick. "Trash-talking scum punks still in touch with their potty-mouthed inner 12-year-olds, on the other hand, revere him for fronting the Meatmen, who appear periodically to remind folks that rock 'n' roll's id isn't some elegant Dionysian poet—it's a filthy beer-farting dude who sings about 'Tooling for Anus.' Virtually every Meatmen song ever written is breathtakingly vulgar, and these guys have no taboo topics; you can count on their gross garage-metal crunch to crank a party into overdrive or end it entirely, depending on what your friends are like. Lately somebody must have shined the Meatsignal into the skies above Michigan, because Savage Sagas (Self-Destructo) is the first new Meatmen album in 18 years (not counting a 2009 covers record)."
"On its seventh album, the new Tightrope (Yep Roc), this combo from Raleigh, North Carolina, sounds more comfortable and confident than ever in its hybrid bluegrass style," writes Peter Margasak. "Chatham County Line's sensibility is rooted in folk-rock—on Tightrope's opening track, 'The Traveler,' guitarist Dave Wilson sings a plaintive melody that’s shaded by gorgeous vocal harmonies, and none of it would sound out of place in a Fleet Foxes song. But the clawhammer banjo of Chandler Holt and the astringent, propulsive fiddle of John Teer (who doubles on mandolin) make it pretty clear these guys have been mainlining mountain music for a long time."
"All Out War has released the bulk of its catalog since the turn of the millennium, but this long-lived New York hardcore band is a product of the mid-90s uprising propagated by Earth Crisis, Strife, Hatebreed, and plenty of other Victory Records outfits, which made dropped guitar tunings and double kick pedals de rigueur," writes Kevin Warwick. "Some 15 years and hundreds of lineup changes later, All Out War's signature album remains 1998's For Those Who Were Crucified. As if the band's militant name weren't enough of a clue about its message—in this endless struggle of life, we're all doomed—there's also the grim cover art, full of crucifixions and soldiers in gas masks. The chugging metal-inflected guitar, ominous tom rumbles and builds, and oppressive vocals (from sole constant member Mike Score) only drive the point home harder."