Tom Verlaine 6/12/06 @ Double Door
Tell us what you think about this artist and come back to review the show!
posted by WEBMASTER @ 12:06 PM
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Friday, June 09, 2006
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Check this article out:
Enigmatic Verlaine still cuts cult figure
By Bob Gendron
Special to the Tribune
With his eyes staring skyward, pale skin, slightly sullen look and slender frame, Tom Verlaine cut a reluctant figure onstage Monday night at Double Door. The guitarist's music was similarly hesitant, the songs occupied in a hazy blue ozone of understated volumes and peculiar time signatures scraped together by his basement-tested backing trio.
Verlaine's first solo stop in Chicago in 18 years came on the heels of his first studio record in 14 years. The gap reflects the songwriter's disdain for record labels and nonchalant attitude toward the need to make albums. Having risen to limited fame in the mid-1970s as a member of New York underground-rock quartet Television, the guitarist never enjoyed the notoriety afforded many of his conservative predecessors. Despite possessing chops and expressiveness superior to all but a handful of his peers, Verlaine still remains a cult figure.
Monday's sparsely attended concert reinforced that status, especially since the show was relocated from Metro to Double Door to accommodate the smaller demand. Yet Verlaine didn't seem bothered about much except the lighting, which he requested remain static and uniform. Better to accompany the murky dreamscapes and muted harmonics that belonged less to rock idioms and more to fusion, bop and experimental jazz worlds.
His arched, half-muttered vocals and clipped deliveries refused to reveal secrets, but his guitar work and precise technique spilled the beans. Though he refrained from extensive jamming, Verlaine twisted, spliced and bent notes at will, intentionally overlapping his cohorts' reggae-tinted rhythms and scampering grooves.
"The Earth is in the Sky" curved, turned and whirled until the almost-happy mood abruptly ceased. The peaceful tolling of a distant grandfather-clock arose within the oblique "The Scientist Writes a Letter," while slinky Asian accents were scrawled throughout "Shingaling."
Anchored by drummer Louie Appel and guitarist Jimmy Ripp, the group compensated for the dearth of up-tempo material and sustaining energy by continually challenging Verlaine to crack into a series of swift riffs and loose-limbed grooves. The subtle but adventurous sparring peaked on a prolonged take of "Words From the Front," Verlaine inducing violin cries from his instrument and popping, snapping and ripping strings in fiery opposition, realizing too late that the protagonist's life was passing before him in the face of another military battle.
http://metromix.chicagotribune.com/search/mmx-ga52a7avv.12jun12,1,6812140.story
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