For Pat Grossi of Active Child, the last two years have been nothing short of enriching. Musically, Pat has worked within and appropriated a number of styles into his sound, from his early days singing with that heavenly voice as a choir boy to his more recent forays into laptop-assisted indie-pop made in his bedroom, best exemplified on 2010's acclaimed Curtis Lane EP. His sound is so wide-ranging that he has found himself touring with many notable acts of differing genres, including dubstep producer James Blake, dreamy synth-pop of School of Seven Bells, and the indie-rock bands White Lies and White Rabbits.

Nothing quite prepares you for the leap that Pat has taken with his debut album, You Are All I See, out on August 23rd via Vagrant records. Recently, he has expanded his sonic ambitions and turned the studio into an instrument for a record that sounds cosmically huge and yet intimate all the same.

Last year, Tri Angle introduced the world to BALAM ACAB (aka Alec Koone), and his otherworldly, secretive sound of submerged bass and phantom vocal harmonies, with the release of his universally acclaimed debut EP 'See Birds'. Tri Angle is now very excited to announce the release of BALAM ACAB's debut album, WANDER / WONDER, which will be available worldwide on September 6th, 2011 on CD, LP, and digitally. It was written and produced by Alec Koone and mixed by Alec Koone and Sam Haar (member of Blondes). NPR recently premiered the second single off the album entitled "Apart". You can listen to the NPR stream online or via Tri Angle's Soundcloud. The first single "Oh, Why" is also available for download online.

Rarely is so much meaning conveyed in the space of six letters. And with regard to Xiu Xiu, its applications are infinite: always relevant, always provocative, always surprising, always evolving, always glittering.

It’s fitting, then, that as the band (now comprised of Jamie Stewart, Angela Seo, Bettina Escauriza, Marc Riordan, and returning member Devin Hoff) marks a decade in existence, such a powerful sentiment would serve as the title of its latest album. At its core, Always symbolizes the mutual camaraderie with and deep dedication to each person who has internalized Xiu Xiu’s work, tattooed its name on their skin or soul, and throughout the past ten years made the band a part of their lives.

Dirty Beaches is the sound of waves against a picturesque and putrid shore, the silent rumble of a Chevy as it speeds by in slow motion. Sparse but condensed, relentlessly edging forward: this is music for locomotive travel, for racing your weary motorcycle through neon archways and into dusky tunnels. The man behind Dirty Beaches is Alex Zhang Hungtai; solo performer, sound-smith, and trans-Pacific nomad.

Born in Taiwan, Hungtai has made Toronto, Honolulu, Montreal, and Vancouver his homes. Like Bo Didley or minimalist synth provocateurs Suicide, Dirty Beaches’ compositions are not so much stripped down as refined to their essence. Drum loops entrance, Hungtai’s croon enchants, and the yearning melodies draped overtop belie as much a sense of haunting mystery as they do romanticism and wry humor.

For the moment, Joe Pug has it figured out, career if not life: Just write the songs that have to be written, play them for anybody who will listen, tour as if you had no home. Oh, and give your music away. Which isn't to say he won't be selling his debut full-length offering, Messenger ( Released 2/16/2010 on Lightning Rod). But free is how he came to make it, more or less.

It worked like this, for Joe Pug anyhow: The day before his senior year as a playwright student at the University of North Carolina, he sat down for a cup of coffee and had the clearest thought of his life: I am profoundly unhappy here. Then came the second clearest.

Pug packed up his belongings and pointed his car towards Chicago. Working as a carpenter by day, the 23 year-old Pug spent nights playing the guitar he hadn't picked up since his teenage years. Using ideas originally slated for a play he was writing called "Austin Fish," Pug began creating the sublime lyrical arrangements that would become the Nation of Heat EP.

It's been 4 years since Joe Pug quit his day job as a carpenter, but his remarkable rise in the music world has been driven by the same hard-worn work ethic. His path has been an unusual one, which has often challenged the traditional rulebook of the music industry, but even now as he prepares to release his second album "The Great Despiser", it has always been characterized by one prevailing idea: Find a way.

Kurt Vile has a way of tying time in knots. You can hear it on his new album Smoke Ring For My Halo from the get-go – the pinwheeling guitars and reaching atmospheres of ‘Baby’s Arms’ are as strange as they are familiar: a demonstration of how Kurt can put worn methods and sounds through himself and end up with something that isn’t emotionally or sonically obvious. Instead we’re left with a record that contains traces of the past but doesn’t waste precious time in the now being reverent.

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Some call him a genius, others claim he's certifiably insane, a madman. Truth is, he's both, but more importantly, Lee Perry is a towering figure in reggae -- a producer, mixer, and songwriter who, along with King Tubby, helped shape the sound of dub and made reggae music such a powerful part of the pop music world. Along with producing some of the most influential acts (Bob Marley & the Wailers and the Congos to name but two) in reggae history, Perry's approach to production and dub mixing was breathtakingly innovative and audacious -- no one else sounds like him -- and while many claim that King Tubby invented dub, there are just as many who would argue that no one experimented with it or took it further than did Lee Perry.

Much like her music, the path that led Ane Brun to It All Starts With One was peaceful, unhurried and full of unexpected, subtle surprises. It’s taken her from her small Norwegian hometown of Molde, to Barcelona where she was a street performer, and across the US last year supporting Peter Gabriel and singing on his New Blood album. The adventures culminated with the making of her new album It All Starts with One, a platinum hit in Norway for which she just won their Grammy equivalent, the Spellemann award, for best female artist.

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Click Here to listen to Alejandro Escovedo's 'Man of the World'

“I can take a punch, I can take a swing,” sings Alejandro Escovedo on “Man of the World,” the opening salvo of Big Station, his new album on Fantasy Records. The two phrases well describe his 35 years as a musician and two decades as a solo artist, the sum of which attests to the redemptive power of rock’n’roll and the driving role that it has played in his life and art.

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Ben Sollee wants you to experience all the beauty and banality that life has to offer. It’s a serious request, and his enthusiasm is genuine. Armed with a cello, Sollee is canvassing the country, sometimes by bicycle, imploring folks to rediscover the connections between music, art, film, dance, their community, and personal relationships.

These factors ultimately translate to the mindset and making of Ben’s new project – Inclusions. Beyond bridging genres and demographics with earnest, dynamic songwriting and passionate performances, Ben Sollee seeks to intertwine his music with art and life. The theme of Inclusions is large, humanistic and universal – how relationships influence us all whether intentional or not.

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Show Times:

Dawn of The Dead: 7:00 PM

Shaun of the Dead: 9:00 PM

Food Specials and Drink Specials:
$5 Burgers
$3 Bud Drafts & Rolling Rock Cans

More to come..

A FRIEND CALLED FIRE.. is a high-octane rock trio hailing from The Windy City. With a foundation based upon an infectious rhythmic assault, the band's music is a pairing of heavy grooves based in rock and metal influence fused with hooks and melodies both genuine and purposeful.

The trio, consisting of Jon Allegretto (lead vocals, guitar), Powers (bass, backing vocals) and Johnathan Schiller (drums, backing vocals) are quickly making headway in their native Chicago in addition to many regional markets through touring and relentless marketing and promotion. Lyrically Allegretto's words seek to entice listeners to view their own lives and strive for improvements in the world around them. A Friend Called Fire's music is the catalyst for songs concerning love and hate, grief and ecstasy, the current state and future of the world we live in and beyond. The band's explosive live shows prove that much like their name implies, A Friend Called Fire in many ways creates and destroys with passion and power.

Think Muse hanging out with Strata and Social D., while on the phone with Sevendust, Breaking Benjamin and Clutch who just left a party at System of a Down's house that was just crashed by Mute Math in a rebellious frenzy. Or something.

This is the price for all NON STUDENTS.

For discounted STUDENT tickets Click Here.

DePaul Men’s a Cappella (DMaC) was started in the Spring of 2003 by Josh Grode as a simple quartet of ex-choir boys looking for an outlet to sing. The group soon grew to a membership of 14-16 members per year. DMaC members are studying in the various departments of DePaul, ranging from screenwriting and music to business and political science.

If you've placed a finger on the pulse of electronic music at any point over the last five years, it's safe to say you'll have encountered Apparat in one form or another. Sascha Ring, the Berlin artist who records under that name, has been a restless force in contemporary electronic music for a decade. In that time he's released three acclaimed Apparat albums – the fourth, The Devil's Walk, arrives in the autumn of 2011 – and performed his intense live show in front of thousands at clubs and festivals around the world. Apparat inspires a passionate following, to say the least: in just a few weeks, Sascha's new track "Ash/Black Veil" has notched up 90,000 plays on Soundcloud.

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Allow us to introduce you to the beguiling world of I BREAK HORSES, the nom de plume of Maria Lindén and her musical partner Fredrik Balck. Residing in the Swedish capital of Stockholm, the duo have been meticulously crafting the nine incredible tracks that make up debut album Hearts throughout stolen moments gathered up over the past two years.

The task of capturing the sonic density of Lindén’s compositions was painstaking, while Balck’s lyrics, constantly teasing the senses, are at times insular and cold to the touch. It’s only when interpreted by Maria’s gorgeous vocals that a warmth is added, like the first rays of sun on a winters morning.

Maria, waif-like and unassuming in person, is transformed on record to sound 10 feet tall. And, perhaps where certain contemporaries would hypnotize the listener into their world by sheer volume alone, I Break Horses lock firmly onto the very thing that makes each and every one of us ‘tick’: our pulse. Our Hearts.

Coupled with with Lindén’s vocal, a seductive Scandinavian croon that’s bathed in an ocean of reverb and tremelo, Hearts is quite the sonic experience. It can’t be defined via a few meagre adjectives or genre classifications; you have to live it, live inside it.

Smart, sussed, talented, entrepreneurial, shiningly engaging in the flesh, utterly transfixing on stage and unforgettable in her words and melodies, Emeli Sande is the epitome of the brilliant modern artist. She knows what she wants, she knows how to do it. Being honest -- to yourself, and to your music -- is the only way to craft songs that will matter to yourself, and to everyone else.

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The 13 songs that compose Langhorne Slim & The Law's new "The Way We Move" are road-tested, rollicking and very rock 'n' rolling tunes that the songwriter perfected with his loyal band, and come out of the kind of good times and bad experiences that songwriters of Langhorne's lofty stature can turn into life-affirming rock 'n' roll. You could also call what Langhorne Slim does folk music, but then there's his sly, charming and open-hearted feel for pop music -- those summertime melodies that nudge you into a grin even when the song is about something bad.

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