Loom & blink

Of course, it is probably wishful thinking with regards to the uncertain state of the music business to believe that there is a coherent and ascendant Chicago scene in the making, but I am beginning to believe that it may be true. A common thread running through many of these bands is guitarist Dave Miller - who credits Ted Sirota - leader of the genre-busting Rebel Souls - as being perhaps the "father" of the movement. There is also a strong avant garde scene in place as well, but whereas there is a free jazz element in the post-Sirota groups, it is only one element amidst many. Of course it would be a misnomer to suggest that these bands - although they seem to all spring from a common environment - all sound the same, as the two bands on this night clearly represent different ends of the spectrum. Loom utilizes Eastern European folk and classical, front line horns, rocking drums, noisy guitar and accordion to produce beautiful tapestries, while blink invents techno-electronic soundscapes with free form saxophone bursts (courtesy of the talented Mr. Greg Ward). (This turn to "industrial" sounds may be due to Chicago's factory-heavy economic scene and/or the rise of groups like Ministry and Stabbing Westward, but that is a subject for another time.) In any case, a double-header featuring these two bands was sure to draw some of the local "glitterati" and The Whistler was packed with a crowd that included luminaries like singer Leslie Beukelman, saxophonist Caroline Davis, vibraphonist Katie Wiegman, the "Kellys" (bassist Sill and pianist Brand), Black Slang drummer Anthony Capers, cellist Katinka Kleijn and recent Grammy Award winner - bassist Clark Sommers.

Loom started off the evening strongly with the "The Queen" (which will be the single 10" vinyl coming out on Whistler Records any day now) and immediately the audience was transported into the band's world of wonder. Swelling, glistening horns, shimmering keyboards, Miller's electronic bursts and a powerhouse rhythm section creating waves of sound and intricate interplay in an atmosphere that recalls the music of the Old World mixed with rock and modern jazz. The group confidently wove together brightly-colored songs from their outstanding debut release - Music Box Ballerina (see our review here) - including "Kentucky Animal Orchestra" and "Scott Free," along with "October" from Ulery's excellent Scenes and Themes (see here). They also previewed some exciting new numbers ("Shadow Ballerina" and "When I Think of You") from the upcoming album (working title: Flora.Faun.Fervor)due out later this spring/summer on ( 482 Music , and which sounds like it is going to be another killer. The key to the secret of the beauty of the music of Loom is contained in the fabric of Ulery's personal compositional vision, wherein the group at times sounds like a deranged polka band, while at others as if classical composers Dvorak and Enescu were sitting in with Sonic Youth (often within a matter of a few bars). This is stunning and almost indescribably beautiful music which has so much going on at once that it is almost impossible to fathom, yet the intricacies are organic and produce a warm and vibrant whole that doesn't overwhelm and bludgeon the senses.

The various parts of the music are performed with a sincerity and care that clearly suggests the players understand that the music they are playing is special. Thad Franklin's trumpet and flugelhorn flights were absolutely lovely, while saxophonist Charles Gorczynski added strong ensemble play and cool fire on his solos. Dave Miller is content to be a complementary member – lurking in the background – providing electronic bursts, keyboards and the occasional tasty solo. Rob Clearfield's accordion is perhaps the signature sound of the band, and he also adds excellent playing on his other keyboards. Meanwhile, drummer Jon Deitemyer's playing combines raw power with sensitivity in such a lyrical manner that can truly affect a listener in an emotional manner quite unlike most drummers. Throughout it all, Ulery stands tall - centering his compositions with his solid, yet deliciously off-kilter basslines. The band is scheduled for the following upcoming appearances: March 5th at Kryptonite in Rockford, IL, March 6th at Magnus in Madison, WI, March 7th at Tonic Room in Chicago, and March 12th at the Majic Series in Grand Rapids, MI. Hearing Loom perform these songs live is a thrilling and far too rare experience and hope we will see much more of this ensemble in the future.

In the second set, blink premiered the new music they would be recording over the weekend for their new CD release, and if the concert was any indication, it should be worth the wait since 2008's wonderful debut The Epidemic of Ideas (see our review here ). In attempting to describe blink to a friend I came to the conclusion that they were an industrial/free jazz/electronic/techno/jazz/rock/um... band or just "um-band" for short. The centerpiece of blink is Jeff Greene's five-string bass - which he often plays in the higher register (like Peter Hook of Joy Division/ New Order), and through electronic effects. However, Greene additionally does something quite original in that he often plays chords on the bass, Although many bassists will throw a chord in here and there for emphasis, Greene's reliance on chords is almost unheard of. This allows guitarist Dave Miller to concentrate on single string lines, arpeggios and waves of distortion. Quinn Kirchner provides muscular hard-rocking drums and perceptive soft touches, while alto player Greg Ward produces sheets of sheer searing sound. Sequencing is utilized to add synth stratum and other electronic sounds and both Miller and Ward double on electronic keyboard.

Greene often favors a reiterated bass line approach for the spine of his music - which somewhat hints at the industrial, techno and bass and drum sounds of the '90s, but his eccentric lines do not in any way resemble the usual attempts at funky dance music that came out of that era, nor did they generally ever employ free jazz shredding. Additionally, the music is overtly atmospheric and can mutate from calm and placid to aggressive - not unlike "cool down" music, but with the employment of noise as a an additional source for their sonic canvas as a primary tenet. Intriguing work from a talented and ground-breaking combo - I look forward to hearing the new blink release in my CD player.