Rock legend Elvis Costello’s show this week might be sold out, but in typical Chicago summer fashion, there’s still so much going on you’ll probably have trouble keeping track. On Monday, local rock outfits Post Child and Strawberry Jacuzzi play a free show at Whistler while on Tuesday there’s a weirdo-rock freak-out fest at Township with locals Toupee and Lil Tits. On Wednesday, Fuck Buttons play at Bottom Lounge and Disclosure makes two appearances—one at the zoo and one at the Mid.
Here are some other great picks for the week from our writers:
“Kelis Rogers has passed through several styles in her career—notably hip-hop with the Neptunes and electro-pop crud with Will.i.am—and though she hasn’t fit neatly into any of them, she makes a virtue out of being a square peg,” writes Peter Margasak about the R&B star. “She tries on another sound with her new album, Food, produced by TV on the Radio’s Dave Sitek—he brings an indie-rock sensibility to bear as he refracts her sultry R&B melodies through horn-drenched minimal funk and Afrobeat-derived grooves. (The album title fits too: Kelis has become a certified saucier, and she hosts her own show on the Cooking Channel.)”
Local psych-rockers Verma play a free Monday at the Bottle. Kevin Warwick says, “Verma has long been a steady hand in the Chicago psych scene, alongside the likes of the Plastic Crimewave Sound and Cave, and the five-piece stays the celestial course on the brand-new Sunrunner. Its shrouding swells of pulsing feedback and processed guitar—run through effects that are run through effects—ride atop Krautrock rhythms, a combo that’s the stuff spells are made of. The generally unintelligible vocals of keyboardist Whitney Johnson—undoubtedly filtered through a prism of gadgets, shifting her tone from a throaty wail to something that sounds like sinister telepathic communication—sound like the chants of a sorceress, melting into the deeper pockets of the band’s psych-drone quicksand.”
Leeds five-piece Eagulls raised a lot of eyebrows by posting an industry-hating letter on their blog last year, but the band is much more than just bad attitudes. Says Kevin Warwick, “their self-titled full-length debut, released on Partisan earlier this year, is an anthemic, brooding rock record chock-full of sharp hooks and drenched in dark, noisy reverb—it’s rousing enough to fill a venue with two balconies (and then some).”