Dig ‘in: Freakons, OTHERPEACE, Best Bet, The Klittens
Check out what the No Wristbands team is listening to and what’s in our show calendars this month on our latest Dig ‘in.
INCOMING
Freakons - S/T (Fluffy & Gravy Records LP)
Upon initial examination, coal mining seems like a fairly nebulous concept to inspire a band start up. Granted, the occupation’s history has had a profound impact in Kentucky, Wales and Leeds, where Freakwater’s Catherine Irwin and Janet Beveridge Bean and Mekons’ Jon Langford and Sally Timms grew up respectively. But beyond that commonality, the mining trade is representative of greater world issues—ecological harm, government repression and exploitation of the working class. Taken in its entirety, that’s more than enough fodder to support Freakons’ self-titled release. The distinct voices of each participant adds richness and texture as they intertwine and harmonize. The tracks are at turns defiant, mournful and cautionary. Instrumentation, while sparse, frames the compositions appropriately and is bolstered by the string playing of Anna Krippenstapel and Jean Cook with Jim Elkington providing his distinctive fretwork. In altruistic fashion, Freakons are putting their money where their mouths are by donating a portion of the record’s proceeds to Kentuckians For The Commonwealth, an organization promoting economic, environmental and social justice in Appalachian region. -Bruce Novak
OTHERPEACE - Capitalism Blues (self-released LP)
You probably know Matt Clark's work even if you don't know that you know it. Clark, who's now putting out music as OTHERPEACE is a former member of the long running indie art project Joan of Arc, and is a musical contributor for NPR's This American Life. Hearing those disparate outputs, at first glance you might not expect a beautiful, contemplative slow burning record, but that is exactly what you get here. Produced by former No Wristbands guest Mark Greenberg at Wilco's Loft, Capitalism Blues has that meditative quality of Neil Young at his most ditchy (check out the Neilish solo in "Set Aside Your Fear"). I like how much room he gives songs to breathe, an early album highlight is "Fifty-Foot-Long List of Boundaries" with its earned outro that moves at just the right pace with the right amount of ambient noise. This album feels immersive, and lived in, somewhat familiar, but also thrillingly new, all captured in album closer "Blind vs. Prologue.” -Mark Joyner
Best Bets - On An Unhistoric Night (Meritorious Records LP)
Best Bets deliver a bevy of infectious pop songs that are more spit-shined than studio polished. Songwriting partners, Olly Crawford-Ellis and James Harding, originally formed the New Zealand garage-punk outfit Transistors in 2009 while in high school. Their adrenalized approach carries forth with Best Bets where they are joined by Salad Boys’ Joe Sampson (bass) and Matthew Phimmavanh (guitar/keys). The band most comfortably resides in the sweet spot of mid ‘70s to mid ‘80s, inspired by a time when bloated musicianship gave way to a succession of power pop, punk and new wave with glam and garage rock as their forebears. To be sure though, On An Unhistoric Night is a product of its own time. On “Whataworld” Best Bets survey the current social climate and conclude: “Oh what a world it is, oh what a time / Oh what a world it is, I can’t survive / Oh what a world it is, oh what a time / Oh what a world it is, barely alive / Tell me when it’s over.” There may be no easy escape from our predicament these days, but spending time with this record is a respite worth living for. -Bruce Novak
The Klittens - Citrus (self-released LP)
Prior to forming their band, the five members of The Klittens would gather to bounce around political ideas that aligned with their growing sense of feminism. That train of thought became a source for their DIY approach to music where the personal is political. Citrus marks the Amsterdam band’s first extended effort following 2020’s Pigeonhole three-song EP. Referencing the record’s title, The Klittens are a combination of sweet and sour—their tag team vocals luxuriate in melody and counterpoint while their lyrics chronicle disappointment and failed connections. “Herkenbosch” is a bittersweet reminiscence of vocalist Winnie Conradi’s childhood hometown that bounces between affection and ambivalence. Listening to the song, it’s evident that while we’re all a product of our upbringing, there’s a larger world that awaits us and finding our place starts with pursuing the ideals that matter to us the most. -Bruce Novak
UPCOMING
Fontaines D.C.
Where: Vic Theatre / Directions
When: May 6, 7:00 PM
It would be understandable if Fontaines D.C. took some time to contemplate their next move following the breakout success of their 2019 debut Dogrel. While many bands have fallen victim to sophomore slumps by fast tracking follow-ups that are lesser versions of their first efforts, Fontaines D.C. have expanded their palette in short order with A Hero’s Death 2020 and Skinty Fia this April. Avoiding stasis also resulted in 4/5 of the group relocating to London from their Dublin homeland. The beauty of catching a maturing band live is that you’re likely to get an overview of their song catalog. So we can expect the heady rush of Dogrel’s strident missives intermixed with the soul searching numbers that inhabit later releases. To be sure though, Fontaines D.C. will not go gently into the night and that makes for a sight and sound to truly behold. -Bruce Novak
Sorry
Where: Thalia Hall / Directions
When: May 11, 7:30 PM
Asha Lorenz, Sorry’s vocalist and songwriting partner with Louis O’Bryen, has professed a desire to create warped pop by subverting conventional elements of the medium. That’s a fairly apt description of the band’s music that’s saturated with enough melody to perk up your ears, but remains slightly elusive and mysterious when consumed in its entirety. Tempos escalate only to be reigned in again with a sauntering tension and underlying agitation. Electronics are interspersed with rock and jazz textures that provide a richness that’s distinct from other indie outfits. Sorry is the support act for Sleaford Mods throughout their North American tour, so expect a bruising performance because this pairing’s sure to leave a mark. -Bruce Novak
Amyl and The Sniffers
Where: Logan Square Auditorium / Directions
When: May 14, 8:00 PM
This one is gonna be wild! Hailing from Melbourne, Australia, Amyl and The Sniffers have a great new record out last year called Comfort To Me and they are bringing their high-energy, raucous punk rock band to the Logan Square Auditorium. The show sold out in just a matter of minutes—way to go Chicago!!! The band consists of Bryce Wilson on drums, Dec Martens on guitar and Fergus Romer on bass—all supporting the incredible Amy Taylor. She’s a dynamic performer in the tradition of people like Iggy Pop and Poly Styrene, and not afraid to dive headfirst into the mosh pit maelstrom that she’s created. On the great song “Security,” she sings “Security, will you let me in your pub? / I’m not looking for trouble / I’m looking for love.” If you’re lucky enough to have a ticket to this one, you might just find both. -Tom Novak
UNCOVERED
Didjits - Hey Judester (Touch and Go Records LP)
Formed in 1983 in Mattoon, Illinois, the Didjits put out a couple of self-released cassettes, as well as their debut album Fizzjob. But the release of Hey Judester in 1988 found the band really hitting their stride—and to my mind, this is their best record. Produced by Iain Burgess, it’s their first LP on Touch and Go Records. With 12 songs clocking in at a breakneck 26 minutes and 10 seconds, this one grabs you from the get-go and doesn’t let up. The trio of Doug Evans on bass, Brad Sims on drums and wild man Rick Sims on guitar and vocals created a punk rock record that is definitely influenced by midwestern classic rock and raw 1950’s rock & roll. Rick’s guitar fires off right from the start to get things rolling on “Max Wedge” and the bass & drums jump right in. They shotgun into “Stingray” before dialing down from 11 to 10 on “Plate In My Head.” The middle of the record finds Rick channeling his wildest Little Richard and Jerry Lee Lewis on a few deranged songs. Wrapping things up with the fabulous “Stumpo Knee Grinder” and the cathartic “Dad” (“but you know I really hated you when you hit me with that belt”) and you’ve got yourself a helluva record. -Tom Novak
We recommend listening along over at our Spotify page. Here’s this week’s content: