The Roundup turns 1!

September 2024: Molchat Doma, Photay and more

and

Sep 09, 2024

And after a little August vacation, we’re back! Did you know that this newsletter marks one year of The Roundup? We’re as shocked as you are. Here are some highlights from our coverage so far.

September — Q&A with Purelink, Mitski album review

For The Roundup’s inaugural issue, Dora spoke with the ambient techno trio about their debut album and move from Chicago to New York. In the months that followed, the group blew up on Resident Advisor, NTS and many other forums. Read our interview here.

Also in our first-ever newsletter, Dora' reviewed Mitski’s album The Land is Inhospitable and So Are We. A stunning blend of American influences with Mitski’s unparalleled songwriting skills, the album was a repeat listen that made it into her personal vinyl collection. Read the review.

October — Slowdive concert photos

Dora caught Slowdive on tour at Chicago’s Riviera Theatre. She unfortunately missed Drab Majesty, but seeing one of Shoegaze’s greats was well worth the trek. Plus, the band’s lighting made for some sick photos. Check out some of Dora’s shots here.

January — Torres review and TNK Fest Q&A

January marked an unexpectedly eventful newsletter. First, Dora reviewed Torres’ album What an Enormous Room, a spacious and sophisticated homage to hope. Then they spoke with Lincoln Hall and Schuba’s Tavern marketing coordinator Claire Adams about TNK Fest, a multi-day, multi-venue slew of programming to help Chicagoans through the winter. Check out Dora’s coverage.

March — Julia joined the Roundup!

Julia came across the Roundup through a flier at the Wormhole, a coffee shop in Chicago’s Wicker Park. She hopped on wanting to flex her music writing skills from college, and she has truly delivered. For her first newsletter contribution, she covered new releases by Villagerrr and Kitchen Dwellers. Read them here.

June — Martin Atkins Q&A

Dora had a lot of fun speaking with and photographing Martin Atkins, the founder/director of Chicago’s Post-Punk and Industrial Museum as well as a former drummer for Ministry and Public Image Limited. The interview coincidentally came a few days after the passing of Steve Albini, which became a repeat topic of discussion. Read the conversation.

September Releases

Out Now

Molchat Doma, Belaya Pelosa (Sacred Bones), darkwave / post-punk

No one does goth like Eastern Europeans. I know this to be true from the grim fairytales and bizarre visual art that peppered my childhood–my grandmother was a Russian literature professor from Poland. Darkwave’s Molchat Doma illustrate an enduring gift for such desolation, even four years after moving from their native Belarus to Los Angeles. The group layers its third LP with trip-hop and experimental elements, intriguingly complicating its Soviet anti-nostalgia sound. Those of you who have complained that all Molchat Doma songs sound like Joy Division–this album is for you.

Belaya Polosa stands apart from previous Molchat Doma releases at the onset; the first track, “Ty Zhe Ne Znaesh Kto Ya,” opens with a deep-pitched, sweeping synth line and pulsing beat. More energy and texture seem to infuse the song than the band’s previous work, a distinction that carries into the rest of the album. The refreshing evolution brings Molchat Doma closer to darkwave contemporaries like Boy Harsher and Buzz Kull.

The newer and older influences within Molchat Doma’s work ebb and flow throughout Belaya Polosa. “Kolesom” is anchored by a new wave beat and synth lines typical of the group in past releases. The album’s self-titled, third track, however, departs wildly from this formula with a Massive Attack-like synth line, glitchy distortion and a bass-heavy drumbeat. Trip hop is even more present in “Chernye Tsvety,” which blends more forceful drum and bass with glistening samples. The music adds a cool fatalism to lyrics like “You charmed everyone / And how many you have ruined!”

Other genres present themselves in the album, as well; “Son” opens with thunderstorm sounds, while “Beznadezhnyy Waltz” features a high-pitched alien sound–a theremin sample, perhaps? Numerous tracks dip into American western territory with reverb-heavy guitar lines, perhaps the imprint of four years in California.

Belaya Polosa finds unity within stylistic variety through its subject matter. Minor keys dominate the melodies, and every lyric conveys heartbreak. At times the suffering is monotonous, at others it is quite beautiful–“Zimnaya” remnisces about a seasonal romance with the lines “The frost will glimmer on the long avenues, / Pulling the city into winter. / How I miss you in the spring!”

Molchat Doma’s move overseas pays off in Belaya Polosa. With a tactful blend of the band’s old sound with new influences, it offers something for old and new fans alike.

–Dora

SUUNS, The Breaks EP (Joyful Noise), indie electro-psych

Dummy, Free Energy (Trouble in Mind), psychedelic/shoegaze

Pale Jay, Low End Love Songs (Colemine / Karma Chief), neo-soul

Dusty soul meets Afrobeat and Latin influences throughout Pale Jay’s thoughtful 9-track record Low End Love Songs. What is particularly special about the enigmatic musician/producer's new album is its authenticity. There is no story, no expectation; there is only the anticipation of where the music may lead. Velvety strings complement dreamy harmonies with modern nostalgia–it’s the perfect project to guide listeners back into the familiar, comforting ambiance of fall. Pending the release of his new album, I had the opportunity to touch base with Pale Jay to discuss the inspiration behind this unique blend of genres, the mask he uses to conceal his identity, and his vision for Low End Love Songs.

Why do you choose to keep your identity a secret, particularly as a musician?

I am an introverted and private person by nature, and I'm not interested in fame or notoriety. Preferably, the music is the center of attention rather than myself, hence the mask.

What is it about music, specifically jazz and soul, that gets you excited – why is it so special?

Jazz for its spontaneity, and soul for its directness and being unpretentious.

I’ve seen from previous interviews that you’ve drawn jazz and soul influence from artists like Labi Siffre and Carole King. Given that this album ventures into blending Latin flavors with your own, who are some of the artists that have had some of the heaviest influence on Low End Love Songs?

Someone whose songs often flurry through my mind is one of my favorite artists, Jon Lucien, who blended his Caribbean roots with 70s soul and R&B.

How is this album different from your other projects?

I don’t listen to much music nowadays, but I’ve spent a lot of time listening to Brazilian and Colombian music in the past. This heavily influenced how I play instruments, and I think you can hear that in the new songs, where I focused more on playing rather than programming.

How do you feel the record connects with the Pale Jay image to be as a whole?

The main thing I want to hold onto with Pale Jay is not having an agenda. I follow where my intuition takes me–meaning I don't "want" Pale Jay to be anything but my musical and emotional sanctuary.

What makes an album a success to you?

If I did exactly what I wanted to do during the process and didn't have regrets because I was thinking too much about external expectations

Do you have a favorite track on the album?

Probably "Spend More Time With Your Friends", as it reminds me of people who are very dear to me. That makes me happy and emotional.

What do you want listeners to take away from Low End?

Actually, I think each individual's personal interpretation is much more valuable than what I want them to think or feel.

Low End Love Songs is now available via Colemine/Karma Chief Records on all streaming platforms.

–Julia

Lollise, I Hit the Water (Switch Hit), Afro-futurism / Afrobeat

Knitting, Some Kind of Heaven (Mint), grunge / indie rock / shoegaze

Masayoshi Fujita, Migratory (Erased Tapes), ambient

I recently learned that the spinal twists common to yoga (I’m sorry, but you knew a yoga reference was coming) are energizing and calming at the same time. Masayoshi Fujita’s latest album has a similar effect, quieting certain channels of the mind while awakening others. Migratory comprises eleven, mostly instrumental tracks that move at a leisurely pace, weaving a hypnotic tapestry of ambient textures and sounds.

A decidedly ambient project, Fujita’s new release offers kernels for listeners of other genres, especially Afrofuturism; Moor Mother makes an appearance on one of the few tracks with vocals, “Our Mother’s Lights,” with the question, “What if I told you / That we are all traveling / We are just traveling through open space / In the darkness of our mother’s lights.”

Fujita recorded Migratory in the mountains of Japan, in his hometown of Kami-cho. The influence of nature douses the album, in both field recordings and stylized musical instrumentation. “Ocean Flow” ebbs and flows with the sound of ocean waves, and Higurashi–featuring lullaby-like, Japanese lyrics by Hatis Noit–invokes the dizzying hum of cicadas. Fujita’s signature marimba and vibraphone add a distinct flavor to the album throughout, along with an intermittent saxophone played by the artist’s father.

While listening to “Desonata,” a steady-paced woodwind-sounding melody overtop a minimalist xylophone line, I looked over at my roommate’s cat. He was lying at my feet with his front paws tucked, in a position I often liken to a rotisserie chicken. His eyes were closed, chin lifted with the semblance of a smile on his face. He seemed to be meditating on the music, savoring it. “That’s how I feel listening to this, too,” I thought.

–Dora

Out Soon

September 13

Foxing, Foxing (Grand Paradise), experimental rock

DEADLETTER, Hysterical Strength (SO), post-punk

Hello Mary, Emita Ox (Frenchkiss), indie grunge/psych rock

September 20

Photay, Windswept (Mexican Summer), indie electronic

Photay has done the impossible–he has captured the wind. The artist’s newest studio album, Windswept, brings electronic music into the realm of nature with earthly beats, cascading synths, and windblown chimes and bells. The elements come alive in a combination of electronically produced beats and physical textures, creating an experience that is curious and complex.

Windswept is deliberate with its desire to tap into the spirit. The strategic use of windchimes and binaural beats give the album a meditative quality, reminiscent of the serenity found in a yoga studio. While a significant portion of the album’s inherent house groove takes over and demands dancing and dark clubs, long stretches of spiritual instrumentals and off-kilter rhythms separate Windswept from others in its genre. A lot of thought and care has clearly gone into the album to make it come to life. Even the album art and vinyl design sport influence from a cumulus cloud.

Windswept continues to maintain the fluidity of Photay’s previous work with deep-rooted Afrobeat rhythms and mildly sweet vocals. However, it marks an obvious step in individual growth and self-direction for Shorstein. Acoustic percussion drives this project further than before, reinforcing its natural, organic feel. Unafraid of where it came from and unapologetically something new, Windswept is an album that is well worth the hype. The simple directness of the album title makes it all the more charming. Deep and compelling, the LP holds its own as dance music while lifting listeners beyond their walls and into the clouds.

Windswept is available on all platforms on September 20. Chicagoans can catch Photay on tour on October 23 at Sleeping Village.

-Julia

Alex Henry Foster, A Measure Of Shape And Sounds (Hopeful Tragedy), post-rock / shoegaze

Erland Cooper, Carve the Runes Then Be Content With Silence (Mercury KX / Decca), contemporary classical

Stoke Signals, Make Dying Fun (self-released), melodic punk

Tanukichan, Circles (Carpark), shoegaze

Hippo Campus, Flood (Psychic Hotline), indie rock/folk

Flood, is five years' worth of heart and soul, uncensored growth, and loyal vulnerability between four lifelong artists and friends. Singer Jake Luppen, guitarist Nathan Stocker, drummer Whistler Allen, and bassist Zach Sutton pour literally “Everything At Once” into a bittersweet and beautiful trajectory toward adulthood.

Hippo Campus recorded their 13-track album in only 10 days, but the project originated five years ago. After the death of a close friend, the band decided to commit to creating something massive and meaningful. They attended therapy sessions together and wrote over 100 songs, often exploring the darker paths that life had taken them down. The album was nearly finished in 2023 when the band realized they didn’t like it. So, they took to the Texan border to record at Sonic Ranch. They sifted through everything they had created in all of that time, traded expectation for permeability, and turned Flood into something they were proud of.

The result is both insightful and accessible as a pop album. As a whole, it is a delicate work of art that seamlessly ties together modest psychedelia, earthy country, and classic indie pop. Each track stands on its own, reflecting the patterns of life. Lyrics touch on addiction, anxiety, love, loss, and everything in between with care and authenticity. The poignant title track “Flood” asks the question most everyone thinks at one point: “Do I even believe what I’m talking about?”

Flood doesn’t try to be better than you, or even worse than you; the album is existential. Lines like “When I think it’s over might as well face facts / all those days are over and they’re never coming back,” (“Closer”) fade into “Not gonna miss it when it hits just right / gonna make it go slow” (“I Got Time”), constantly compelling listeners to reflect on the inevitable and unpredictable.

Flood is more than just an album - it’s an elegant testament to humanism, resilience, and artistic evolution. Over the span of five years–and an intensive 10 days–Hippo Campus has crafted a deeply personal and universally resonant project that invites individual reflection from its listeners as they join the band in navigating the complexities of life.

Flood is available on all platforms on September 20.

-Julia

September 27

Maxïmo Park, Stream of Life (Lower Third), indie pop/rock

The Bad Ups, Life of Sin (Jumpstart) punk

Xiu Xiu, 13" Frank Beltrame Italian Stiletto with Bison Horn Grips (Polyvinyl), electronic / experimental

Feldspar, Old City New Ruins (Time to Kill), hardcore

Being Dead, EELS (Bayonet), art pop

Chicago Events

Past: The first-ever Evanston Folk Festival

A notably older, whiter crowd took to the Evanston lakefront this past Saturday and Sunday for sets by a wide range of artists. The portapotties ran out of toilet paper and the audience was far too sedentary (another photographer and I agreed that we’d never seen so many camp chairs at the main stage of a festival), but incredible artists and sound technicians made it an event worth the trip out to the suburbs. Dora photographed a number of performances, her favorite of which was Bonnie “Prince” Billy’s set at one of the smaller stages. She’s eager to see the festival become more cohesive and accessible moving forward.

Bonnie “Prince” Billy delivered a mesmerizing set, including a song dedicated to Steve Albini. “Every 10 months he’d text me and say ‘LED lighting sucks,’ no ‘hello’ or anything, and I’d know he was at a show somewhere fucked for the night,” he told the audience. Dora recommends that fans of Billie also check out Charlie Parr.

Sierra Ferrell headlined Night 1 in perhaps the campiest getup of the festival.

Dora will definitely be binging on finger-pick guitarist Yasmin Williams after seeing her this past weekend.

Madi Diaz had excellent stage banter that was unfortunately lost on the predominately Boomer-aged crowd (case in point: referencing her 2020 collaboration with Kesha).

Upcoming

September 12 - Entropic ft. PRØGRAMM⁶¹², Sighmurai and Josh Tong at Smartbar (techno / acid)

September 13 – Rat Chasm Release Party with REPENT and Ira Glas at Anemoia (punk / post-hardcore / noise)

September 14 – Lefto Early Bird, Jana Rush and Jeremiah Meece at Podlasie Club (house / club)

September 15 – Horse Jumper of Love with Teethe and Villagerrr at Lincoln Hall (indie rock)

September 16 – FREE MONDAY: Zach Morp and Friends' Birthday Jam ft Special Effect at the Empty Bottle (electronic / psychedelic)

September 18 – Various Distractions ft. Beau Wanzer and Signal DJ (monthly residency) with Hunting Scene and Tss Bradley at the Empty Bottle (industrial / dance)

September 20 – Meet Me Upstairs: Tommy Kladis at Schuba’s Tavern (house)

September 22 – Boomer Night at the Whistler ft. PCPete, Hot Dawwg and Dora Segall–ME! (classic rock, soul and new wave)

September 27-29 – Coldwaves XII ft. Drab Majesty, A-Split-Second, Clan of Xymox and more at Metro (darkwave)

September 28-29 – Empty Bottle presents WARM LOVE COOL DREAMS ft. the Jesus Lizard, Kelela, Floating Points, Sextile and more at the Salt Shed. (Catch us there both nights!) (multi-genre)