Suscribe to Weekly Updates
* indicates required

View previous campaigns.

Photos from Eric Sardinas Concert, March 23 at the Redstone Room PDF Print E-mail
Feature Stories
Written by Matt Erickson   
Tuesday, 26 March 2013 09:54

Photos from the Eric Sardinas concert at the Redstone Room on March 23, 2013. For more work by Matt Erickson, visit

Photo by Matt Erickson,

A Judiciously Expansive Palette: The Kopecky Family Band, March 26 at the Redstone Room PDF Print E-mail
Feature Stories
Written by Jeff Ignatius   
Tuesday, 19 March 2013 16:46

The Kopecky Family Band. Photo by Will Morgan Holland.

The second track on the debut album by the Kopecky Family Band is the mid-tempo number “Heartbeat,” pleasant but unremarkable until the two-tiered bridge, which ultimately explodes with what sounds like a theremin.

It’s actually co-founder Gabe Simon whistling, multitracked and treated with reverb, and those 15 seconds demonstrate a maximalist tendency – understandable for a six-person band with members who play several instruments. The album starts with horns and cello, for instance, before the guitar rock kicks in, and the record employs an expansive sonic palette.

But the key thing about that whistling is that it’s right, the perfect touch at the perfect moment. Beyond the typical mix of loud and quiet songs, the Kopecky Family Band on the vibrantly dynamic Kids Raising Kids (out April 2 on ATO Records) has a judiciously sharp sense of how much or little songs require; adventurousness is tempered by discipline.

“Change” is acoustic guitar, some ethereal atmospherics, and vocals – anchored by the inherently poignant singing of Kelsey Kopecky. Straightforward opener “Wandering Eyes” has a swagger bordering on stalker menace. “Are You Listening?” finds Simon whistling again, but in a conventionally tuneful way.

“That’s the dynamic of the record: to get that simple or to get as a big as a song like ‘Hope’ – multiple layers, tons of strings, tons of keyboards ... ,” Simon said. “There have to be those moments when you say, ‘Does it need everything? ... Can this song survive just by itself? Or does the song need these layers to build it into something great, ... memorable?’ That’s what I think is cool about the record: It has both of those things. That’s what six people allows to happen.”

Photos from the Ana Popović Concert, March 15 at Rascals Live PDF Print E-mail
Feature Stories
Written by Matt Erickson   
Tuesday, 19 March 2013 11:46

Photos from the Ana Popović concert at Rascals Live on March 15, 2013. For more work by Matt Erickson, visit

Photo by Matt Erickson,

Straddling a Stylistic Gulf: The Quad City Symphony, March 9 at the Adler Theatre PDF Print E-mail
Feature Stories
Written by Frederick Morden   
Sunday, 17 March 2013 17:09

With one foot on the familiar, sturdy dock of 19th Century Romanticism and the other in the precarious boat of innovative and demanding 20th Century Modernism, the Quad City Symphony was able in its March 9 concert to demonstrate diametrically different musical styles without drowning – but not without getting wet.

Without a guest soloist to share the stage and musical load, Music Director and Conductor Mark Russell Smith and the Quad City Symphony showcased two iconic Russian pieces for virtuoso orchestra: Maurice Ravel’s orchestration of Modest Mussorgsky’s Pictures at an Exhibition and Igor Stravinsky’s The Rite of Spring. Either piece by itself would have been considered a featured work, but together they were a grueling concerto for orchestra that required the musicians to perform as though each was a soloist.

Both compositions are musical depictions of works from other artistic disciplines: The Rite (a piece of Modernism first performed in 1913) accompanied an original story ballet, and Pictures (first composed in the late Romantic style period in 1874) described the subjects of paintings by Viktor Hartmann. Both composers used variations in orchestration, tempo, tonality, and melodic texture to differentiate the subject matter or plot of each painting or dance. But the orchestra struggled with the radically different use of these elements, and as a result the contrast between Romanticism and Modernism wasn’t always clearly demonstrated in the performance.

Disposable Fun, and a Bit More: Them Som’Bitches, March 22 at Bier Stube PDF Print E-mail
Feature Stories
Written by Jeff Ignatius   
Sunday, 17 March 2013 09:54

Them Som'Bitches

The title of the second track on the Asphalt Plains EP from the Quad Cities-based garage-country band Them Som’Bitches is “D.G.A.F.,” with the first three letters standing for “Don’t Give a.” You can figure out the rest, and it’s about that subtle. For good measure, the phrase turns up in the next song, too.

Despite that symptomatic coarseness, the six songs on Asphalt Plains represent a modest achievement, despair and nihilism delivered with a wink and elevated by consistently engaging performance. Over 20 minutes, the band’s shit-kicking aesthetic unerringly evokes a very particular picture: for me, aimless folks marking time in a trailer on the scrubland, with no other sign of human activity.

That’s nearly explicit in “Buzzard Ridge,” with animal-call samples taking the roles of instruments – and doing it well. I particularly like the owl, which appears to think it’s a background vocalist, and the howling. These fanciful flourishes all over the EP are a bit on-the-nose, but that’s part of their charm; we ain’t talking high art.

Even without the sound effects, though, the punks-doing-country songs suggest a dual nature: the barren beauty of the American Southwest invaded by loners with nothing better to do than drink and shoot stuff.

<< Start < Prev 11 12 13 14 15 16 17 18 19 20 Next > End >>

Page 19 of 162