Writing and Photography by Bobby Talamine
Edited by Fiza Javid

The Salt Shed Chicago
Sun 5/7/23

Fever Ray, with opener Christeene.
Quite the combination of all things performance art.
Coming form different perspectives- sure.
But performance art nevertheless.
Christeene's set is minimal, flanked by her synths / sample keyboardist stage right, and her saxophone player stage left.

Christeene commands the stage front and center, sometimes highlighted on her plastic case to elevate everything genre bending, everything that's renegade, front and center.
Eight songs total to commend, eight songs total to prove the point of reckless and uninhibited abandonment.

All of her set though, carefully thought out, and from the heart believe it or not.
She has lots to say between songs, nothing scripted, nothing planned, down to her opinions on Chicago style hot dogs, and specifically Celery Salt, compared to say, Bath Salts.

It's wicked stand up humor, and it does bring the laughs of support, again, because there's nothing fake about Christeene- she's making up as she goes along her own world of righteous abandon, down to the multiple shedding of colorful onesies for this and that song.

Christeene has been a mainstay of New York's underground club scene for awhile now, developing her performance art with in your face reckoning, take it or leave it style.
That kind of fierce reckoning only adds to the confidence of power, a power to act in a way that's uninhibited, both in performance, and in actual lyric.
The songs- "AKTION TOILET". "GUTT IT". "BEAUCOUP MOROCCO". "BUTT MUSCLE". All the way to the last: "FIX MY DICK". All in caps the way it read on the setlist. All in caps to show action, and the for the feint of heart- there's the exits.

The image of Christeene, like the wicked child from the Exorcist, kinda, but not really- more like the facial makeup is warpaint style, down to the choice of eye lenses that look ill fitting.

But again, that's the point with Christeene. She makes it known that all of this in your face performing, juggernaut style, is a way for you to ask questions, find some happiness in letting out anger, try to feel some sense of normalcy in a raging world gone wrong through "Woke this", "Woke that".
​
Her points throughout are well taken, especially hearing her demeanor throughout her set, a Brooklyn- ish feminine take on all matters of life.
Have to say the yin and yang of it all is downright captivating.
Only better things to come in my opinion- if given a bigger budget when it come to performance, all the better to unleash the hounds of confrontational, ever expressing yet again- "Don't fear art. Don't fear art of any kind".

As for Fever Ray- a whole nother world of sophisticated and artistic performance art, at a level of seduction and restrained and captivating exotica immersed in seductive beats, presented in a way to transfix, and move and send out spells and sway to the mighty beat.

Yes, that sentence is a lot to take in, but meaningful, nevertheless.
This is complex art, coming from Fever Ray, showing deliberate flaws in makeup, choice of clothing with two sizes too large suits, let alone choice of color of said two piece suit and tie.

The keen perceptions of "Not standing out", well, make you stand out.
​
Imagine being on the Red Line CTA train, northbound, out from the subway at North and Clybourn, heading up the metal tracks, during rush hour, heading to the Fullerton Station. You have roughly ten minutes or so to observe fellow passengers on said train, and it's still sunny out.

Towards the back of the train, standing, you see someone dressed like Fever Ray and fellow bandmates. What's the first perception? Artistic in nature? Down and out? Coming from a low level impromptu theatre group, and no time to change? Can you give a second look? First assumptions- always the wrong assumptions, without having a sincere conversation with the said individual.

​Any conversation like that would have to be overcoming anxieties and fears, let alone the release of second guessing.
I bring this up because individuals like this, artistically inclined, yet kind of starving, living hand to mouth, paycheck to paycheck, or maybe a once a month commission of some sort, are everywhere around you, and have been since- ages.
Just look at Basquiat as a fine example of this.

Had you not known his relevance and history, prior to becoming a famous artist, and you bumped into him on the street, you wouldn't even give him notice- assumptions ever present.

So with Fever Ray, it's deliberate, they/them view of things, and how to present said songs, after pivoting from The Knife.

I obviously have no proof of all of this- this is clearly my take on perceptions- perceptions while performing, perceptions from album release art, perceptions from promo photos.
Like all good performance artists, and exceptional musicians- I have questions.
Questions such as visions of an older male, with bald head, and disfigured makeup.
Questions of looking beyond the visual, and attempt at conversion, with the deliberate portrayal of defects.

Rising above defects to show the art from within.
All of this is captivating, and well worth mentioning when hearing they/them songs performed live, and presented the way they were.

There was a change of plans, when entering The Salt Shed, and getting notice of which songs we were allowed to photograph.

The head of security at The Salt Shed laid down the rules- "Songs 6, 7 & 8 from the pit only". "Songs 1 though 5, from the back of the house".
Not your usual first three, then gone kinda vibe.

But again, it's Fever Ray, they/them rules. And I have to say, song six- "To the Moon and Back", presented so delicately, with a few roses, and a stance from Fever Ray that was stationary, yet exhibiting sensual front and back movement, before dispersing of the roses was downright captivating, and just so memorable.

Same goes with the seventh song "Shiver", Fever Ray bathed in red, surrounded by backup singers, swaying left and right to the beat.

And same with song eight- "Kandy", alone, under the streetlamp with heavy and isolated backlit lighting.

All of this, not just songs 6 through 8, the whole entire set, a production worthy of theatrical and sophisticated intent, presented heartfully, somewhat dialed down, but provocative, nevertheless.

Fever Ray is a shape shifter, a shape shifter of the highest order, worthy of your attention, up there with Bjork, up there with present day Mitski.
​
A "make do with what ya got" kind of artist- where, if given a room of odds and ends and knick knacks, they/them could make the room come to life, all of those interesting things, whether normal or not, speaking to they/them to come to life, and find useful- please don't discard.

To me, visions like that, are of the highest order, witnessing art in everything, even everything mundane.

I could go on and on about this- to the point of sitting down with some of you over coffee and discuss further.

Have been pondering multiple drafts on this review, how to comprehend, how to proceed, what to discuss.

I chose this option because of the all inclusive gloriousness of they/them art, and my take on they/them's vision, related to the songs, and presented as such.

The setlist- some 16 songs total, ending with "Coconut".
And in my opinion, it wasn't enough.

This show, with Fever Ray- could've gone on into the wee hours, with maybe a half hour break for a deep breath.
​
Fever Ray was THAT good.

Bobby Talamine - JBTV Music Television Chicago

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

The Clyde- Fort Wayne, Indiana
Saturday 5/6/23

Right off the bat-
All three bands- Ministry, Gary Numan, Front Line Assembly-
All performed with a sense of urgency.
All performed like their lives depend on it.

Different scopes of urgency depending on song and feel between the three of them- sure- but still- the sense of impending dread on the current state of things in the world we live in was ever evident throughout.

Maybe top some extent this got lost on the crowd (name the venue on this tour)- but I'd have to feel that there are fans in the crowd (name the venue) that feel the same way I do about this.

All three are intelligent bands, intelligent musicians throughout.
Yes, they all bring the heavy, and yet make things a  party.
But if you read deeper into things- you get a sense of just how precious things are in the present day- what we have, what we witness, what we hold dear.
First and foremost- live performance of course.
You just never know what's in store down the road.

As for Ministry- Al Jourgensen in particular- we're way beyond the past of self abuse.
Love how things are more focused on the current state of things, dire as they kinda are.
I bring this up because he's come out the other end, somewhat unscathed, and can still voice loudly and intelligently the wrongs of the world, not just local, but also national.
So go ahead, attempt your contempt prior to investigating. Nothing you say or do is gonna change anything- for a guy like Al to still be around in the here and now- anything you say is light in comparison to him grappling and co existing with his own demons and making some modicum of peace and acceptance.

That to me is a sign of not just the walking wounded, but a walking and surviving hero, who still creates, who still has lots to say artistically.
And to do this with an eye towards rooting out the fake, and the bullshit artists who may think they're assisting in the greater good, but only in it for themselves- mostly through greed- attack at full speed- root them out- make fun of them, poke them with a sharp stick, and kick them to the curb.

So not before a single note has been played, we have tapes- isolated tapes such as the knucklehead televangelist Kenneth Copeland- deep in fake prayer, calling out to Covid 19, and that "You should be destroyed forever". Calling out for a supernatural heatwave of sorts- banishing Covid 19 to forever hell. Just goes to show, scientifically speaking, that banishing Covid 19 through a monumental heatwave- well - good luck with that.
And he's not alone in the Al Jourgensen ripe with fodder camp.
​
If there was a debate of some sort with all them- politicians, televangelists- Wayne LaPierre and the like, and Al was onstage with them at the podium, and things got heated with the back and forth- good luck handling all that with Al.
But this is the whole point performance wise, from opener "Alert Level", into "Good Trouble", and next into "Disinformation", and so on.

It is a heated argument goddamnit.
Heated to the point of worldy exhaustion.

All of this industrial at a crack the whip pace is intense for a reason- bring the mighty and heavy beats, accentuate the preacher madness of all things written lyric wise- hopefully some minds will follow.

So by all extent and purposes, you blow minds and eardrums, all in one fell swoop.
Same goes as well with Gary Numan and Bill Leeb and Rhys Fulber of Front Line Assembly, which we'll get to in a minute.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

​The Salt Shed Chicago
Fri 4/21/23

Four songs into their set at The Salt Shed- and Brian Molko of Placebo takes a brief pause and states "So what's it been? Nine and half years or something?" Hands resting comfortably on the top of his guitar, relaxed, all smiles, and affirmatively happy to be back in the states, happy to be back and playing with his mates, Stefan Olsdal in particular.

It seems like ages, like Brian said, that they haven't come through Chicago.
One of the bands that was chatted about as a "Must See" from last year's Riot Fest was Placebo when the lineup was announced, then the unfortunate happened, their cancellation, supposedly because of "visa and logistical issues".
So you are powerless over such things, hope for the best, hope things work out for a tour down the road.

And then it does come to fruition, with Brian and Stefan onboard for their North American Tour 2023, and a stop at the majestic Salt Shed in Chicago.
And what a setting for these guys- a venue that has superior lighting and sight lines, and with a PA that provides heavy heft (if you know what I mean), forcing you to dance and move on your feet.

That front row of fans- all smiles and excited as all get out for these guys.
And how about the line before the doors opened?

It stretched west on Blackhawk to Elston, then south on Elston for a bit, and this was like three hours before they moved the line into the plaza area to the east of the doors to the venue.

So yes on all counts, and also on Friday night- the perfect setting for amped up revelry.
The setlist, mostly adhering to newer material, but still resonates with the their fans, all songs tight, and coming off percussive and propulsive, opening with "Forever Chemicals", into "Beautiful James", and then "Scene of the Crime"- Brian and Stefan backed with extra oomph, with solid drums from Matt Lunn, and more keyboards and synths from Nick Gavrilovic and Bill Lloyd, fleshing out the bits and pieces that make Placebo songs into a well oiled machine.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Riviera Theatre Chicago - Saturday, March 11, 2023

Natalie Mering, known professionally as Weyes Blood, currently touring North America titled "In Holy Flux Tour", with a stop at the sold out Riviera Theater in Chicago.
And to sum up: I so needed this.

And when you see her enter stage left / audience right, adorned in her white floor length gown, similar to her album cover art for her latest release- "And in the Darkness, Hearts Aglow"- the stage is set for tranquil / mellow, with artificial candles all along the floor of the stage, mostly stationed by instruments and microphone stands, and the stage is bathed in washes of yellow hues, like a brushstroke of delicate watercolors as the medium of art, played with of choice.

All of the above says lots in regards to where things are going performance wise, the overall feel of performing anything from "And in the Darkness, Hearts Aglow"- finding our way together through the fraying and what seems like the continual dismantling of our social fabric and sense of all things community and harmony.
That in itself is deeply explored, with the opening song of the night and the tour as well - "It's Not Just Me, It's Everybody".
​
The song, as gentle as it is musically, envelops you in, with swells of orchestral strings, like ripples from a lake, pushing forth a gentle dream of gorgeousness, all the while gently communicating the fucked up nature of the human condition and current status of the state of the world and community, both locally and globally.

The line "We've all become strangers/ Even to ourselves"- speaks volumes, all songs setlist wise, and the keen observation that she's not the only one suffering through all of this.
The other aspect of this is none to positive, and of course easy to pursue, what with more angst on top of more angst. That's the easy way out- through welled up anger and crashing drums.
Why not make the attempt to convey such sorrowful observations through meditations and daily written reflections of inner self, just to make each day a bit more bearable?With an eye and an ear towards sophisticated melody?

That's the concept worth living through Natalie's eyes.

And song after song, she conveys it beautifully, like floating on a gentle lake, looking up at the night sky, observing stars and planets, and the  faint light of the Milky Way.
Seven songs from "And in the Darkness, Hearts Aglow" are presented throughout in similar fashion, such as the second song of the night- "Children of the Empire", along with "God Turn Me Into a Flower", "Grapevine", "A Given Thing", "Twin Flame", and "Hearts Aglow".

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Thalia Hall Chicago
Tues 12/13/22

Sunn O))), brought down to their roots and their original format as a duo, referred to as "Shoshin Duo", with a stop at Thalia Hall in Chicago.

First off, to get an idea on all things in regards to this Winter Tour that they're currently on, it's best to let them describe it a bit.

"They will perform as a pair, core members Greg Anderson and Stephen O'Malley, immersed in profound valve application, spectral harmonics, distortion, and of course volume. Pure and primeval riffs of temporality, massively heavy structures of sound pressure. Witness live experience of physical sound, and glacial maximalism like no other."
I can say first hand- all of the above is true.

To start, on a Tuesday night in Chicago's Thalia Hall, before Greg and Stephen take the stage, and the opening acts equipment is finally cleared away- their they are, albeit in somewhat limited form from past tours- but still- their they stand, the stacked amps, in an abbreviated semi circle, on full display.

You should have heard the main floor quiet down a bit to take it all in, under blue lighting, after some brief tunings from the roadies.

Lost count how many cell phones went up to get some shots, just of the amps alone.
And the tech heads in crowd, discussing this and that equipment and amp wise- suspended in disbelief, some of the verbage chatting about, clearly over my head and pay grade in audio / tech gear.

Have to say from a visual perspective, they're amazing, the concise and stacked amps, like a mini Stonehenge with untold stories to tell, both past and present, so ominous and imposing, and ready to do what they're made to do.
And then comes the fog, from front stage and back stage, immense amounts of it, and the house lights drop.

Once Greg and Stephen are settled in- the the deep drones begin.
Hard to describe this in detail, witnessing yet again Sunn O))) perform live- it's a sonic bludgeoning of might and feel, with patience, and delivery of notes that are concise, and well thought out, through texture, and immersion.

Yes- you feel it, along with hearing it, and you succumb, while standing still.
With me, you find your breathing patterns slowing down, like going into a meditative state, which I believe to some extent is the main goal- the audience participates in the ritual, equal to the band members performing.
And even that statement above doesn't clarify it completely- again, they're best witnessed firsthand, and communally with like minded folk.

Greg and Stephen are not just musicians, but technicians as well, elevating their game with performance, and figuring to the tenth letter the logistics what's needed to make each and every show, no matter the venue a most memorable experience.
​
True- once twenty minutes or so into their set, it becomes a sonic bludgeoning, but in a positive way, making this a transformative experience with them yet again, the might and sheer will of volume, with steady and ferocious notes of low end that literally pummel your sternum again and again.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Thursday, December 1, 2022. 

When The Smile released their debut album back in mid May of this year- "A Light for Attracting Attention", Thom Yorke made it be known in multiple interviews that the band's name, was "Not the Smile as in ha ha ha. But more of a smile of the guy who lies to you everyday."

Thought about that quote a lot when discovering, and rediscovering the album off and on since its release.

Clearly an album in my top ten releases for the year, and on multiple levels, has me questioning everything as of late, especially since seeing them live at the Riviera Theatre in Chicago.

The subdued and transfixed audience- like you could hear a pin drop.
The way the three band mates presented themselves from left to right- Thom Yorke on multiple basses and vocals and occasional synths and samples, followed by Jonny Greenwood on upright piano and guitars, and of course Tom Skinner on drumming, percussion, and some keyboards as well.

And they were not completely upfront to the lip of the stage- they remained immersed towards the back a bit, secure in their spots.

But the overall feel- the way the songs were presented, especially with the opening song on this tour, and also the album itself- "The Same"- and the refrain of "People in the streets- Please, we are all the same"- over and over and over, through Jonny's pulsating upright piano chords adding the overall tension and powerlessness.
The way Thom persists with the overall angst of the word "Please", over and over- was just haunting, and has stayed with me since.

Like a "Please" for me internally, to dial it down a bit, let alone my neighborhood, my work, my city, my country, my world.
I know it may sound a bit crazy, my thoughts on this, let alone others, and I haven't shared this with anyone up until writing this review.

But from the get go, this show with The Smile has been transfixing on so many levels, like I needed to be there to catch them at this moment in time far beyond documenting anything- but also to get my head on straight as far as inner self.
Good art of all kinds will do that to you- questioning everything, internally / externally.
Not that Thom and Jonny in particular are doomsayers - but it's clear to me as well that they somewhat have the same thoughts, although their approach is anxiety done cinematically.

Now I bring this up because of all their side projects and soundtrack making over the years, clearly their project The Smile and what has grown from that beyond the recording stage shows how relevant and important this release is compared to their body of work.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Thalia Hall Chicago
Sat 11/26/22

The Sanctum Dark Music Festival is in town over the long Thanksgiving Weekend, with two days at Thalia Hall, and the last day at the Empty Bottle in Chicago.
​
Because of prior commitments, could only hook up for one of the three days, which was Day Two, with headliner Boy Harsher, along with RIKI, Pixel Grip, Sacred Skin and opener Club Music.

This day hits hard folks, and as Jae Matthews of Boy Harsher so eloquently put it at the beginning of their set- "This is a night of dance. A night to dance the night away. I better see everybody dance".
Of course she says this with a wicked grin across her face- but just like that- she got her wish.
Some twelve songs or so total for their set, and everyone was dancing.
Main floor, balcony, balcony side boxes- didn't matter.
Everybody was dancing.

Was amazing to see this from various vantage points- from the pit, to the back of the main floor, or even from the front rail balcony- everyone was having a blast and dancing.
From opener "Keep Driving", which builds on a slow and wicked pulsating groove, through "Give Me a Reason", and then into "Morphine"..everything about their set was elements of a slow and seductive burn and build, with lots of tension, and then more tension with the beats. all the while some modicum of restraint.

It's a cool and wicked trance, Boy Harsher songs, knowing full well immersed in the beats and the heavy whisper vocals from Jae, and her partner Gus in all things electronic, that when immersed in a few songs in their set, you have a sense that the tightened rubber brand can break, and they could easily unleash the hounds.
If they wished to go dark and heavy, they obviously and easily could, punctuated by screams and yowls and breakbeat synths followed by pummeling drums.
You just can sense it over an over again.

And the order of the day with Boy Harsher is restraint.
Followed by a slow and heavy and seductive build.
And they stay on track with this, even with an awesome cover of Chris Isaak's "Wicked Game", made heavier and with forlorn, courtesy of the seductive sometimes spoken word vocal of Jae Matthews.
Not an easy song to pull off this way, knowing Isaak's take on his song is utter heartbreak, with that falsetto of his.

To turn the coin over on its side, and present Wicked Game this way just adds to the luster of wanting, followed by lusting, like a black panther in the jungle at midnight, and all you see is her eyes- not the beast.
And so it is with Boy Harsher, a duo built on dark and seductive beats, built for the nightclubs after midnight, and proven time and time again with heavy touring followed by instinctive record releases.

There's more to them that obviously, but still, the theatrics of it all.
This is their second foray into Chicago this year, having done a residency at the Bottle I believe earlier in the year- and still, some months later, they don't grow old and weary.
They're ready to dance, and their ready with seductive beats upon beats to push you to dance.

It just goes to show with all of their influences and profound ideas and visual concepts which apparently they have in abundance, Jae and Gus have their hearts in the right place, and soon everyone will follow along for the ride for support.
I for one, am along for the ride- whenever, wherever.
Same goes for Chicago's Pixel Grip.
​
A forty five minute ish set, also punctuated with sexy pulsating beats and catchy dark pop hooks.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Tuesday - November 15, 2022

The problem with not being the headliner in a show, and being the opener?
A rather limited set.
45 minutes to be exact.

Such a shame that they couldn't go on a bit longer- say even an hour total tops.
And for a band such as Drab Majesty, who swim circles around ethereal dream pop, and transport you right from their opener "The Other Side"- their sonic weave can rise majestically, on an instant, wishing you could just sit back and stay in such a revelatory state for the entire night.

And they make it look all so easy, taking a deep dive into their catalog, into "Oxytocin', and then the deliciousness of "Dot in the Sky".
And it says lots that the main floor of the Riviera Theatre, and the proceeding levels up to the main bar at the back of the house was rather packed for the opener, knowing full well that through word of mouth, these guys are the real deal.
​
The mysteriousness and allure with Deb Demure on guitar and vocal, and Mona D on synths and vocal says lots about cool detachment, looking sophisticated in there suits, with complementary white wigs and dark shades adding more to their overall aesthetic and approach to performing.

Have seen them multiple times in this manner, and variations of, down to their bright white chest lights, in full display fro their closing song "Not Just a Name".
All of it, in a limited setting such as tonight at the Riviera Theatre, never grows old.
I'll take 45 minutes of Drab Majesty- which is better than not seeing Drab Majesty.

To some degree, they've become a cult phenomenon, with their sense of detachment, and basically letting their music do the talking, and let you do the talking in describing their music around the water cooler.
And to be able to consistently do this on the up and up, building upon the release of "Modern Mirror', which came out back in 2019, says lots in my opinion, considering that no matter the fan base- metal, goth, dark wave, dream pop, whatever- these guys are loved.
Just look at me as an example.
When asked what I've been listening to when the topic comes up- I always bring Drab Majesty up.

Byline Bank Aragon Ballroom Chicago
Sunday 10/23/22

And before Brendan Yates and the gang from TURNSTILE get around to even playing a note, the crowd is amped, chanting along with arms raised to their intro song "I Wanna Dance With Somebody (Who Loves Me)" from Whitney Houston.
This should tell you lots, being first and foremost a "Love Connection Tour", which I assume means to some extent that the band TURNSTILE wants to make this a party for tonight.

A house party that you never forget.
A party where we're all one and the same, and try to get to know your neighbors on the main floor.

Clearly not much has changed since the last time they bolted through town- that being Day Three at Lollapalooza back in the summer.
They still trailblaze- they still know how to provoke a main floor crowd to instantaneously fling about into a menacing mass of swinging limbs with the obvious bar-age of waves of body surfers.

Was told in advance upon entering the pit for tonight's show that we may be "one and done" in the pit, depending on the crowd and security potentially having their hands full.
​
Well shit. Who wouldn't expect something of that sort with TURNSTILE.
This by way of Maryland hardcore band have made a name for themselves with crowd participation over the past few years, ever so mightily building a steady and strong and faithful following, sometimes lately performing without any barriers depending on the venue, and me losing count back in the day of how many fans rush the stage to dive-bomb headfirst back into the crowd.
​
This is all a part of their show, what with songs such as the heavy duty opener "HOLIDAY", into not for the faint hearted "Real Thing", and into "Big Smile".
And guess what?
We were able to stay for the first three songs, even though like I said it was volatile as all get out.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid
​
Wednesday, September 28, 2022

So here we go again - Round two with Amyl and the Sniffers, bringing their volatile live show back to Chicago yet again- a bigger venue- The Vic Theatre, along with a bigger stage presence.
Nothing much else has changed in regards to rip roaring performance, courtesy of Amy Taylor, their lead singer and all around firebrand.

Doesn't matter the size of the venue- doesn't matter the size of the festival and the time they go on- doesn't matter the amount of time allotted when asked to perform- whether it be 20 minutes, or up to a little over an hour, as was the case at The Vic Theatre in Chicago.

Each and every performance I've witnessed firsthand with them, they make it their own, and you walk away with the "What did I just see happen?' Or "How the hell does Amy keep things going at 100 miles per hour, all the way up to and into the end of the show with no let up?"

I don't have answers to these questions yet again.
Neither did I back in mid May, when they came through town on a Saturday night at the Logan Auditorium.

Surprised that that venue is still standing after that performance, with a mosh pit mostly of women holding court front and center.
And here we are at The Vic, on a mid day work week, and we have a main floor, first tier, second tier to the the soundboard packed for tonight's beatdown.
So what has changed?

They have a gigantic backstage banner, in black, with Amyl and the Sniffers front and center, with a lion added in for good measure.
Although kinda old school, the addition of the lion says lots.
The male lion depicted is a beast. The lord of the jungle. The main focal point of the tribe.

As for openers Bob Vylan and Chicago's very own Ganser-
After Bob's ultra torqued performance at The Vic, makes me wish I changed my schedule at Riot Fest a couple weeks back, when Bob perfomed at the Rebel Stage- his performance was that good.

For a two piece- a drummer, and also Bob, with punch your gut samples thrown in, and a frontman in Bob, who could easily come off as a star forward on any professional soccer team, with a physique to match, let alone a guy who certainly knows how to mix it up with no problem moshpit wise, let alone dive in to the main floor and rap a few songs...the makings of another volatile performer who know how to swing for the fences in a brief set.

Same with openers Ganser, who never cease to amaze creativity wise, from their full length "Just Look At That Sky", to their recent announcement of a new EP release- "Nothing You Do Matters".
​
Composed of bassist / vocalist Alicia Gaines, keyboardist / vocalist Nadia Garofalo, guitar firebrand Charlie Landsman, and drummer Brian Cundiff- this is also a band that has chops and confidence and songwriting that grabs your attention, even in their brief set as well.

Absolutely adore this band, and what they bring to the table, whether it be headlining at the Empty Bottle, performing at Riot Fest, or opening for whomever, (Amyl included).
They're the definition of hardworking grass roots, with songwriting chops that bring with it a heightened state of too many themes to mention, which goes to show they have ears to the ground with solid musicianship to see ideas come to fruition.
I know that's lots to say, but time and time again, they pull it off, songwriting wise, and also performance wise.

Ganser are invigorating.
And you should check them out.
Such a show- a one / two / three punch knockout from all three bands.

Bobby Talamine - JBTV Music Television Chicago

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Riviera Theatre Chicago- Sunday 9/25/22

Everything culminating in all things Cold Waves X comes to a mighty fine and celebratory conclusion at the Riviera Theatre in Chicago.
Yes- you heard right.

The Riviera Theatre.

A big leap, a big risk, and like all things Industrial- why not take the chance?
For all intent and purposes to close out Day 4, from my vantage point, talking with CW staff, talking to the CW faithful, what I've seen online- a giant success.

When Cold Waves made the announcement for all things Number 10 back in early March, had to take a second look to make sure it wasn't a typo- The Riv, and not the Metro Chicago.

The Cold Waves home away from home has always been the Metro, as well it should, except for their first year which was the Bottom Lounge, right after Jamie Duffy passed away.

For those not in the know, this is the sole reason that Cold Waves started, through Jason Novak and Kelly Britton- Novak, amongst many others in the industrial community of Chicago.

Hard to imagine it's been over ten years since his passing- a fixture on the Chicago music scene for some twenty years, a multi- tasker, whether it be mixing and engineering at various venues around town, or playing guitar with Acumen Nation, Cyanotic, Chemlab, let alone the mighty Pigface, amongst others.

​So yes- you can see why the industrial music community of Chicago came together for a good cause, and has continued to the present day, in addressing issues of mental illness, let alone suicide and suicide prevention.

Not to completely dwell on this, but it needs to be said front and center the scope of the festival, and what Cold Waves brings to the table to support these important topics, the people involved, and always the chance for being there in reaching out to those in need with nowhere to turn.
​
So coming full circle- without a true mission statement to rely on, and going with my gut- Cold Waves exists in the spirit of community more than anything else.

Again, awareness of what it's about- sure- but after nine successful years, and the completion of number Ten, the culture, the vibe, the coming together in this beautiful city of Chicago, is all about community.

Keeping those thoughts in mind, and addressing all things Day 4- the booking is reflective of the overall aesthetic of Cold Waves, inviting, and also challenging. Challenging in a good way, not just with the obvious headliners, but with the undercard.
The undercard of all four days.

Makes you as a music hound to want to get there early, to not miss bands such as Leathers, New Canyons, Kontravoid, Spike Hellis, Ghostfeeder, Haloblack, let alone previous years with Pixel Grip, Panterah, or even Kanga- these are all bands where I was not even there and present.

Just goes to show the anticipatory feel year in / year out, when the Cold Waves crew make their announcement on the forthcoming Cold Waves Festival event.
You have plenty of time between March and September every year to get your act together and research, and discover new bands on the bill that may well deserve your attention.
​
Having said that- working from the openers and up in all things Day Four-
Must start with HAPAX - an Italian Post- Punk and Darkwave project all the way from Italy.

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

9/25/22

Another spectacle, another sojourn with Joel Zimmerman, aka Deadmau5, on his North American "We Are Friends Tour".

And he's bringing along some special guests, Lamorn and also Nero for support.
Over the past few years, besides his Drive In Outdoor Tour during the pandemic, he's made the Aragon Ballroom in Chicago his home away from home.

The Spanish Conquistidor expansiveness of the venue, the overall vibe, just enhances the overall feel of his productions- some on a grand scale with the gigantic cubes of yore, each time through getting bigger and bigger, with tech sophistication, and audio / PA sophistication to make the entire concrete and stone venue thump along side you.
The PA part hasn't changed- after a few songs to start from the Aragon balcony, I went down to front of house to get decent audience shots.

That PA still blasted through my chest to the back of the main floor, to the point of the entire riser shaking to the beat, like being a 4.5 or higher magnitude earthquake.
Have to be steady with your hands to relieve camera shake- although by now I'm used to this from Joel, and wouldn't expect anything less.

His budget, his commitment to sophisticated production, along with the immense lighting rigs, and separate but unique vertical LED screens and imagery by the back of the stage- nothing is taken for granted.

And the place was packed, even when opener Nero took the stage just before.

In essence, Deadmau5's "We Are Friends Tour" is a chance to branch out a bit, showcasing to the next generation of stars on his label mau5trap,  and as always, enhancing his own personal take on his iconic mixes and songs from over the years.
So for all intent and purposes, this is a gigantic spectacle, a big party of celebratory exploration on all things progressive house, all things EDM.

It's cool that Joel has started off his set without the mouse ears- just a baseball cap, and black t shirt and pants, looking like a cab driver who just popped in after his workday, and now ready to go to his other job, which is to entertain at the controls.
This says lots in my opinion- an everyman, a normal dude, who happens to know electronic wizardry like none other, without all the fanfare.
​
And about six or seven songs in, out come the sophisticated mouse ears, and from  my vantage point, the entire venue went apeshit.

Photography by Bobby Talamine
Writing and Editing by Fiza Javid

Sunday, September 18, 2022 - Douglass Park

My mind is so blown by the experience of day three that my head is rolling, on the floor. Nine Inch Nails. Yeah Yeah Yeahs, Sleater-Kinney, Coolio, Linda Lindas, Night Spice. What a hypnotic festival experience.

The anticipation for NIN was running deep. They were supposed to headline Riot Fest 2021 but were forced to cancel due to Covid-19. It was worth having an incredible Slipknot experience last year, however, we were long overdue for this performance.

Trent was truly effortless in addressing it. "It has been crazy, covid and all, but here we are," but more to that later.

We began our day with the Synthwave sounds of Night Spice. Hailing from Miami, Illinois, it was the groove that Chicago was truly missing, kind of like the last hurrah of summer. Their comic value, dad bods, and of course, their music. Particularly their songs "Plums" and "Damn, that Hot Synth," truly inspired a jolt within the audience. Their music almost sounds like satire, but don't let the comedy fool you. Beyond the showmanship, their musical quality was smooth. Hell, they even sell their own hot sauce. Do you know any other band doing that? 

Next we were off to the Linda Lindas. They are always a blast, and they have so much fun on stage. They opened with "Growing Up" which made everyone want to jump around. Their covers included "Tonite" by the Go-Gos, and "Rebel Girl" by Bikini Kill, but it was their debut song "Vote!" which truly got the message across. They always manage to share an important message while injecting a fun punk vibe to it.

Other notable mentions include: Mom Jeans, Zola Jesus, and Alice Glass, Lunachicks and Polica. 

Writing and Photography by Bobby Talamine
Edited by Fiza Javid

Soldier Field - Chicago, IL - 9/3/22

Rammstein's Mind Blowing Juggernaut of a show hits Soldier Field in Chicago

Rammstein.
Known for their exclusive pyrotechnics.
Rammstein.

Known for their use of sophisticated production techniques- like replicating an intimidating tower of might on the back side of the stage, looking like something out of a Fritz Lang movie, like "Metropolis", circa late 1920's.

Rammstein.

Intimidating as always, with a show of force and might to capture their live audience by the throat, even towards the back of the venue, and command you to listen until the very very end.

This is fierce stuff folks, if you've never witnessed such a spectacle firsthand.
They are push the envelope performers, as they've always been, since I first photographed them back in 1998.

Yes, Till Lindemann and the rest of his cohorts in Rammstein have over the years had moments when they've been brazen, in performance rituals and antics, along with imagery and theatrical reenactments of some pretty morbid events, some of which are still in their production to the present day.

That statement is in no way a slight on them- in fact, it's just the opposite.
To stoke controversy, in my opinion, and have your hand at the ready, with not letting off any tells, a la the game of poker, to provoke, and then unleash the consequential belittlement that you so rightly deserve for questioning anything related to such topics, well, let's just say you're in for a treat.

They love that you're upset, and that you haven't done your homework.
They know the term firsthand "Contempt prior to investigation".
And so they're somewhat insulated from all the bullshit that comes their way, although somewhat aware as well. 
I bring this up because the slights I hear from fellow reviewers, posts online through social media, with friends I know, amaze me as much as if I were in the band.
I'm too tired and too damn busy to throw my thoughts into the mire of bullshit, knowing full well that the best way to speak is though reviews such as this, and let my pictures do the talking. 

But this kind of show- an outdoor similar to a major festival production made of gargantuan proportions makes you stop in your tracks. 

There's so many avenues to convey the beauty of it all, even prior to the performance, when the gates open, and you take it all in from the back of the bowl of the stadium you're in. 

Just watching people's faces time and time again, entering the venue at the 100 level and seeing them soak it all in, let alone the costumes and dress up- all of this never gets old at a Rammstein show.

Had to convey this somewhat in my iPhone pictures- a couple sitting comfortably, and she has a bright red mohawk.

Or the guy wearing a Nacho Libre mask, hanging out with his buds prior to the show.
Let alone the main floor of Soldier Field, and the massive display of a stage to the north, compared to the tiny dots of people slowly filling up the ground floor field before the show.
All of this is amazing, almost equal to the actual performance, with a setlist that covers the gamut, some 21 songs in total, including two encores.

The last encore- those are the pictures from the performance that were allowed.
I could go on in detail of not more coverage, but keeping things simple- I'd rather focus on the beauty of the song "Rammstein" from the second encore, and the use of the sophisticated pyro backpack that Till Lindemann displays in conjunction to the actual song, and the timing of it all.

Photography by Bobby Talamine
Writing and Editing by Fiza Javid

8/28/2022 - SeatGeek Stadium - Bridgeview, IL

Welcome back to the final day of the Sacred Rose Festival. This day proved that through rain or shine, these jam sessions were not going to stop, and rightfully so! This festival truly earned a reputation of being the most free-spirited festival to date. Here are the highlights: