Showing posts with label Indy Rock. Show all posts
Showing posts with label Indy Rock. Show all posts

Sunday, March 10, 2013

Local artist's performance gets rave reviews, and gets me tail

MIDNIGHT, CHICAGO--I'm at the L'An Riche, the swankiest, trendiest, most elegant restaurant this side of the Mississippi and other side of Elkhart, Indiana. The place is dark, intimate. Across the table from me sits Victoria Beckham, model/singer/businesswoman currently in a transition, she tells me, to actress/model/lingerie tester. Tall, curvaceous, lissome, with an elegant bearing and nice boobs, she epitomizes grace mixed with raw sex appeal. Her long lashes bat at me flirtatiously from across the table and her left foot is gliding up my pants leg. I stare at her sullenly. What a fucking bitch.

"How's your veal," she purrs.

"I hate it," I sulk, pushing it around on my plate.

"Maybe some wine will help," she says, pouring me a glass and stroking the neck of the bottle suggestively. Once the glass is poured, she pushes it over towards me, allowing our fingers to touch. I smirk, grab the bottle, and down a few slugs. Then I wipe my mouth with my tie and slouch back in my seat sullenly.

"So anyway, I was saying I'm just so fed up with our society's social mores," Beckham continues. "I mean, the idea that we can't have what we want when we want it is so unbelievably primitive when you think about it. The idea that sheer animal magnetism is absent our civilized species is a throwaway to a Victorian morality that does our primal psyche no good."

"Yup," I respond when she pauses. I have no idea what the hell she's talking about.

"For instance, the notion that sex should be interlocked with some type of relationship, however brief, simply isn't healthy. I mean, look at you and me together. What's to stop us from going back to my place, dimming the lights, and having me strip for you and pleasure you while you watched ESPN? Just our stupid culture's obsession with values."

"Right," I say when she pauses again. "Values. You nailed it."

"And speaking of nailing," she says, biting her fingertips softly and, when my attention is distracted by a dust mote floating gracefully through the air, grabbing a bread roll and thrusting it into a muffin vaguely shaped like a woman's behind, "I have a redheaded model friend  who said she's at my place right now, absolutely naked, chained to the bed, waiting. For us."

"Fantastic," I say, doodling a monster truck onto the menu. "She can have this veal. It sucks."

"So even though the answer is perfectly obvious, I'll ask you anyway: Where would you like to go after this?"

"I think we both know the answer to that," I say, leering appreciatively.

"I think we do," she asserts.

"You and me..."

"Uh huh..."

"...with nothing to come between us..."

"Oh baby..."

"...except Brendan Losch's solo performance." I whip out the stage bill and flash it at her with what I can only guess is erotic abandonment. "He goes on in two hours, so we'd better leave. Right now. So I can get a good seat."

Beckham sighs heavily. "I don't quite know how to tell you this..."

---------------------------

Except she does, as it turns out. The only reason I'm at this posh restaurant with some broad for whom, I'm told, half of Chicago would gnaw their left testicle off in order to get a shot at, listening to her prattle on about her high-power celebrity career and disdain for undergarments, is because Brendan's band manager, in a last-ditch effort to get rid of me for the evening, bribed her to take me out and keep me away from his show. In fact, as we sit here, a mere four blocks away at Cafe Mustache, Brendan is setting up for his gig. And what with Aaron Sandberg and John Morton accompanying him, plus Erik Bostrom sitting in the audience throwing empty beer bottles at their heads, it's the closest thing to a Bullets in Madison reunion this century is likely to get.

"So, let's run through it again," Brendan is (probably) telling John and Aaron right now. "First song, I'm on guitar, Aaron, you're on cymbals, John, you stand behind him and look pretty."

"As if I could look anything else," John retorts indignantly.

"Next song, John, you're on the cymbals, Aaron, you're on tambourine looking moody."

"I majored in that in college," Aaron asserts proudly. "Looking moody, I mean."

"The next two songs, I want you guys on either side of me, gently working the cymbals and tambourine, and then after that, Aaron can do background vocals, caressing the microphone stand and looking moody and discontent. John, you lay out on the floor and whistle backup."

"We got this," John assures him. "We're going to sizzle. The audience will be remembering this for at least a half hour."

"And one more time, where's what's-his-name? That tall guy who thinks he's a reviewer?"

"He's at that fancy Frog restaurant with that former Spice Girl," Aaron says, checking his iPhone. "I paid her twenty bucks, so she'll be all over him like Roseanne Barr at a buffet. No chance he's showing up tonight."

"Then I guess that's it," Brendan says. "Okay, let's set up the tambourine over there, and the cymbals over here...John? John, what's wrong?"

John's face has gone white and he shrieks like he shrieked that one time when he found out that men's fashion store would be out of Spritz cologne for a month. "I forgot the cymbals!" he yells and barrels through the already-crowded cafe, shoving several groupies and BiM-emulaters out of the way so he can make the fifty-mile round trip back to his tenement apartment on the poor side of town to retrieve his cymbals set. Behind him, Aaron is snickering.

"I hid them in the closet," he tells Brendan. "Now let's go get a beer and stare at our phones."

---------------------------

All of this is a reasonable surmise on my part, but since I'm not actually there but instead getting my time wasted by this prattling simpleton in front of me, I don't get to see it. Which just goes to show you once again: there is no justice in the world. Nor decency. Nor good veal, for that matter, which this dump I'm sitting in could say plenty about.

"Did I show you my tattoo?" Beckham whispers throatily into my ear. For some dumb reason, she's now sitting next to me in our secluded booth, with one thigh draped across my lap and her arms around my neck. I stare embarrassedly at passers-by, gesturing towards the empty seat in front of me, raising my eyebrows and point at her as if to say, She's a little dumb. What can I tell you? "It's of a comet," she breathes. "Right next to my...special place. Want to see it?"

"Nah," I say, rolling up my sleeve. "Now here's a tattoo." And I show her my pride and joy, up on my shoulder: Brett Michaels' made-up face, emblazoned with the logo "Open up and say Ah!" She looks suitably impressed.

But not impressed enough to pay the check, call a cab and get us the hell out of here over to the show in time for Brendan's full set, where he'll be playing music that has so far garnered the attention of XRT MTV and the Home Shopping Network. I grow desperate. And as William S. Burroughs once said, Desperation is the raw material of drastic change.

So as she fiddles with her bra strap and talks incessantly (and a bit irritatedly, it now seems to me) about the Kama Sutta or something like that, I whip out my Bic lighter and surreptitiously set the table lining on fire. The resulting chaos should buy me ten minutes to shove past her out the fire exit and grab a cab, so I can make the show. The subtlety of this plan is brilliant, I realize, and necessary. And as Plato once said, Necessity is the mother of invention.

Anyway, dear readers, that's the best I can give you at the moment, as I am currently en route. So if it's not too late, go check out the show, and if John has those cymbals, rest assured, they're going to rock the joint. If not, whatever. Because, after all, as Brendan Losch once said, They won't give a shit. Or something like that.

Which would you take? A no-brainer.

Friday, June 22, 2012

Two-"man"-ish indie rock concert sizzles at Schubas

CHICAGO--At first, I suspect it's just my court-mandated medication that has me hearing things.

I mean, it certainly isn't the star performer making me distractable. Brendan Losch has nothing if not stage presence. He's at the microphone, guitar in hand as comfortably as a rod is in a fisherman's, his quiet humility balanced seamlessly with his curious blend of crafted showmanship.


Currently, he's singing "Tired from Sleeping," the first track off his latest album Low (which was preceded last fall by Under, and last year's Down). The lyrics, as always, stir me: 
Tired of trying
Nothing goes my way
So sick of lying
To myself...

As I watch, I can't help but think of what Shakespeare said about the man "that hath no music in himself," how that man "is fit for treasons, stratagems and spoils." Losch clearly is not that man. Which reminds me: I need to call Homeland Security and convince them to take him off their wiretap list. Honest mistake of a tip on my part. Anyone with a beard like that deserves government scrutiny.

Still, there's something oddly...deja vu-ish about this performance. I listen more closely to his singing:

Tired of trying
Nothing goes my way
So sick of lying
To myself...

He and accompanying musician John Morton have been driving the crowd to a screaming frenzy for forty minutes now. And there are only two of them. I had asked Morton in a pre-show interview how two musicians, however talented and able to multitask, were going to simultaneously play two guitars, percussion, chimes, glockenspiel and assorted banjos, kazoos and hooch jugs while harmonizing Losch's lyrics exploring the meaning of individuality in the face of the pressure to conform?

"I can loop that stuff on my keyboard," Morton told me before the show. "Looping is what professional musicians do. And I'm professional. And a musician. So I'll loop. Now bugger off."

Indeed I did. And indeed he does. Loop, that is. Through their set, Losch has claimed most of the attention with his electrifying presence, leaving Morton to set up various riffs, sound effects and midi files of people cheering and clapping ("just to warm up the audience," he told me before the show, "which is what professionals do, something you wouldn't know anything about. Say, when are you leaving again?"). And the outcome is plain to see.

But something still seems off. Losch's voice is strained, and his posture is a bit more deflated than it was ten minutes ago, when the song...first started?

No, that can't be right. I listen again, trying to dope out whether this is part of the indie rocker's mandatory ethos, or whether it really is time to change my meds:
Tired of trying
Nothing goes my way
So sick of lying
Up here...
This sounds vaguely familiar. I squint at my notes, realizing that Losch is repeating the first verse of the song, which he began...forty-two minutes ago. I look more carefully at him and realize he's sweating bullets, his hands are shaking, and the friendly smile with which he had been engaging the audience is now somewhat strained, complemented with scathing glares towards the back of the bar.

Following this gaze, I see Morton towards the back, chatting up a brunette.

Oh yeah. I just noticed: Morton left the stage a half hour ago.

Losch sings again:
Tired of singing
Morton went away
So sick of carrying
This song...
Wuh oh.

Apparently, Morton has looped his entire performance for "Tired of Sleeping" and then, finding himself bored and with nothing to do, quietly slipped off stage, leaving Losch to perform the rest of the song by himself. Unfortunately for Losch, Morton's looped music is on Replay, and with no way to wind down the melodics by himself, Losch has resorted to coming up with every possible permutation of the song's lyrics he can think of while Morton talks animatedly with whatever woman he's found who's drunk enough to pretend to take him seriously. This would explain why he's been on the same song for forty-three minutes in a row. Not that the audience cares. They'd listen to him sing his favorite recipe, as long as he accompanies it with the appropriate guitar riffs.

"I mean, the thing about music is, it's got to be good," Morton is now telling the brunette, who appears to be listening politely while smacking herself in the face to make his presence less painful by comparison. "Because nobody likes music that is bad. You see? You see how that works?"

"Excuse me, John," I interrupt, gesturing subtly towards the stage. Behind him, the brunette mouths Help me, but I ignore her. I've got bigger fish to fry. "You know, Brendan, uh..."

"Yeah, yeah," Morton grunts, trying to wave me off. Clearly, he thinks he's got this woman all but seduced. "Looped music, professionals. I'm a professional, man. Just go draw your pictures in your notebook."

"I'm a reporter."

"What ever!" he snaps, diving into a pocket and chucking its contents on the floor. "Look, here's a quarter. Now leave me alone."

Not being made of stone, I scamper off to retrieve the coin, which has rolled under a nearby stool. But I can't ignore the situation much longer--Losch's singing has become quite hoarse. Not exactly the hanging-to-sanity-by-my-fingertips-on-the-edge-of-a-cliff hoarse, but definitely the if-that-guy-doesn't-bail-me-out-soon-I-may-go-postal hoarse you hear from musicians looking for a break in the set. Certainly, his lyrics are starting to betray his desperation:
Tired of performing
Want to go away
So sick of
Music...
"Also, music has to be different," Morton was telling his fan. "Not original--I mean, we rip stuff off all the time. But we do it differently. So, music: good and different. Which I am. Now come home with me."

"I think Brendan needs you up there," I say, tugging his sleeve.

"I told you," Morton snarled. "I looped it. Christ!" And with that, he's out the door, figuring that, after getting one song completed in a now-approaching-fifty-minute set, he's earned his $12.50 commission for the evening. The brunette seems to have ducked out a side door. I can only watch her exit in complete envy.

Hours later, I'll visit Losch in the hospital, where he'll be hooked up to an IV, his calm demeanor all but abandoned, his own commission for the evening handed over to a South Side bounty hunter who's promised to return Morton to him in pieces, starting from the waist down. But before he collapses off the stage and is passed around in what must be this place's first crowd-surfing-the-unconscious stunt, I take note of how Losch, bereft of all accompaniment but his own wit, rises to the occasion:
Tired...
Away...
Sick...
...kill John Morton...
I'm hoping that one makes the B-side.



Sunday, April 17, 2011

Intercepted letter to Bullets in Madison from band manager Joel Pendelton

Following correspondence to Chicago band Bullets in Madison from their manager intercepted via FOIA filed this morning.
Guys:

Okay, I know you "fired" me after I booked you to that kid's bat mitzvah in Boise, and I know you think I spend too much time at my car dealership and not enough time cold calling concert venues. But I've got some advice that can't possibly miss this time. I just saw the Clinch Mountain Boys and Cherryholmes concert at the Chicago Symphony Orchestra last night, and I've got to tell you, they packed quite a crowd. I took some notes of what they did, and I think that, if you take a few pages from the Gospel of Bluegrass, your indy rock thing might just hit Zinc on the Billboard.

Songs
I listen to your music and I love it. I also want to kill myself. But I listen to bluegrass, and I want to go to church. And marry my cousin. Now don't church and weddings naturally lend themselves to more people? Which would mean more fans? Just seems like a no-brainer to me, is all.




Musicians
Okay, how can I put this? You're an all-male band, and you know I'm totally liberal and open-minded about that sort of thing. But there were quite a few females on stage at this concert, and I think that it would help gain an audience if the audience got the idea you liked girls too. You know, sexually. You guys do know women, right? Mothers, girlfriends, wives, illegitimate daughters, whatever. Just shove a banjo in their hands, they'll blend right in.

Attire
Somber colors, t-shirts, wool caps. Great. I like it. But the fedoras, sequin gowns, button-down shitkicker suits and ten-gallon-hats these guys were wearing could work too. No, don't say anything. Just picture it. You want to set an upbeat ambience, right? Actually, I guess Losch's flannel shirt would still work. Which brings me to...

Atmosphere
The bands last night called out for people to clap their hands in sync with the music. And cheer. And whistle and stomp and square dance. How about square dancing? The opening riffs of "Joel Found His Angel Cowering" would be perfect for a hootenanny! And Losch wouldn't even have to change his shirt!



Trust me on these, guys. Meet me at the thrift shop for some wardrobe shopping and we'll ring in a summer tour that the Oakridge Boys couldn't possibly compete with. Oh, but we'll have to do it around eight. The lot opens at ten.

Yours most sincerely,

Joel Pendelton
Professional Indie Rock Band Manager
c/o Pendleton Used Cars
Berwyn, IL