Chicago was once the proud and esteemed Hog Butcher of the federalist guild known as America. Though, over the years the slaughterhouses have closed shop, the blood dried up, and the industrial means dwindle to a trickle. Nonetheless, the persistent attitude, assuaging assertion, and golden machine-gun-swagger have grinded along. Through these recent troubled times we have watched our so-called “Political Machine” take the White House, our cultures entrepreneurial aspirations become internationally respected, and our musical prowess grow to become the curators of a 100+ music festivals, including arguably the world’s finest festival, Lollapalooza. Yet, a few of us underground rockers wanted more. Inspired by long days and nights in the venerable Phantom Manor Studio recording Bully in the Hallway’s sophomore release “Crooks and their Castles”, my band mate and close friend Billy Kenefick sought to revitalize the fervent rock mojo of years past. What more could represent such a glorious time then a day of rabble-rousing Rock N’ Roll, the delicious caramel reflection of a roasted swine, the bottom of the barrel burn of firewater, and the cracking swoosh of canned American beer. Billy made it his summer’s mission to pull this off… And pull it off he has. Join us this Saturday, September 24^th for a full day of music and BBQ at Ethyl’s Beer and Wine Dive on the Near West Side at Racine and Congress, a block away from the Racine Blue Line stop. There will be plenty of pork, veggies and vegetarian minded dishes, Templeton Rye whiskey, and cheap beer to kick-off at 1pm. Following at 3pm are six terrific local Indie-Rock/Rock acts… including the Americana explosiveness of Elephant Gun, the tried and true boogie of the Chicago Stone Lightning Band, the wistful indie-pop of The Record Low, the power-punk prowess ofBully in the Hallway, the psychedelic-drive of Secret Colours, and finally… headlined by the rowdy garage rock ofMannequin Men. Rain or shine we will party in a style that would make Anthony Bourdain elated and proud.

Get your PRESALE tickets now for $10, by clicking here… or pay $15 at the door the day of.

Buying $15 a wristband gets you: All you can eat buffet featuring roasted pig, vegetarian items, exclusive drink specials (CHEAP BEER!!!), and a full day/evening of LIVE music! This event is rain or shine, All-Ages and Dog-Friendly!!!

Doors/Food starts at 1pm

Elephant Gun - 3:00pm

Chicago Stone Lightning Band - 4:00pm

The Record Low - 5:00pm

Bully in the Hallway - 6:00pm

Secret Colours - 7:00pm

Mannequin Men - 8:00pm

Rock N\’ Roll Pig Roast MixTape

Paul Blair (aka DJ White Shadow) has quite the impressive resume, especially if you’re into Gaga’s most recent release and gender-queer outcry. Even if you’re not a fan of the Lady and her frank birth rights, DJWS has been producing electronic club hits under his personal label long before the Monster Queen requested to collab. Working out of the Second City, DJWS dropped his latest mixtape, I’m Killing Me, yesterday and it’s available over at his new spash page made by VEOBA in exchange for an email. The mixtape is 5 solid tracks that keep feet moving, heads bobbing, and whatever else party peoples partake in on the dance floor. Check it out!

Chitown’s stellar pop princesses, YAWN, are going to reverberate eardrums at the end of the summer. This is a fact despite how dazed and confused their promo tosses your visuals and melts your cerebrum. The blooming high-school buddies have been cooking up tribal infused, trippy tunes and scattering taste-sized portions of their forthcoming debut, Open Season, around the interweb, and Veoba couldn’t be more aroused. If you haven’t dosed yourself with the LP’s first single “Acid”, go grab it here. Now Josh Patterson (aka The Druid Beat) has crafted a digital pamphlet of the seasonal soundscape YAWN is releasing at the end of August. Check out the mo fo promo below and prepare for celestial greatness.

Chicago’s Union Park maxes at around 18,000 concertgoers, and given Pitchfork’s unmistakable position in the music industry, not every buzzing diehard was able to attend this year’s 6th annual self-titled festival. Even if unfortunate followers couldn’t physically sport their deck fashions on festival grounds, Pitchfork’s live stream provided adequate footage of the hourly happenings with front-of-stage, VIP (not to mention air-conditioned) locales. As if that wasn’t enough, everybody and their mothers tapped away at keyboards to digitally cascade semi-biased reviews and tweets about the weekend; including the concert highs, overrated lows, and those random unmentionables.

Since so many opinions radiated the blogosphere preceding, during and following this year’s melodic gathering, it’s not unusual to feel a bit perplexed with its overall outcome. For example, how do I decide which acts sparkled brightest amongst the overload of concert dayglo and which were obscured or forgotten beneath the rare patches of grassy shade? Was OFWGKTA’s shocking explicates enough to steal the show, or was Ariel Pink’s not-so-shocking early dismissal the actual culprit? It’s a bit disorienting to personally believe that AnCo’s set was gratifying when a handful of bloggers are claiming that I was too stoned and sedated to realize its drawbacks. This isn’t to say yours truly was sober as the sun set on Pitchfork’s opening day, but you better believe my half-baked faculties enjoyed AnCo despite cashed pupils and droopy eyelids.

Let’s face it, everybody has their own opinions about the good, bad and ugly performances witnessed at this Pitchfork, but rather than preach my musical preferences to you kind readers, I’d like to pass along my weekend’s observations. Instead of swindling my way into spotty Wi-Fi tents and bottomless Heinekens, this PitchFest newb decided to lend a helping hand in exchange for free, yet limited, access to Chicago’s hipster holiday. Volunteering not only kindles a small fire in my heart, but it also excuses any assumptions of selfishness and undeserved treatment. I should also point out that I sort of felt rewarded to have been a part of the festival’s dirty work even after sacrificing full coverage Pitchfork’s appreciated and “emerging” music. My volunteer duties commenced with a 5-hour stint in the plexi-glass cage marked “Will Call” and ended harassing attendees for proof of their legitimacy to get shitfaced. Here’s a short wrap-up of my weekend and some random footage courtesy of Dan Duffy.

Pitchfork 2011 Culture Wrap:-Up
# of will callers who mistook their mode of ticket delivery: 15 (Friday only)
% of will callers carrying zero forms of identification: 1.2
Temperature within Will Call booth: at least 90 degrees
Sound quality within Will Call trailer: none
Amount of appreciative ticket holders: 44.8% (approx.)

Number of patriotic thongs worn: 1
Best ironic T-shirt: “I can’t afford to be ironic”
Thickest pair of spectacles: 0.7in
# of flashy VIP/Press/Artist passes dangling around sweaty necks: too many to count
% of concertgoers with non-prescription eyewear: 65 (approx.)

% of nearly dead chicks/dudes on each day: 13.6 (cause TBD)
Hula hoopers: at least 6
Hula hoopers with skills: 0
# of infants wearing muffs to protect newborn lobes from unsafe volumes: 3
# of infants wearing muffs who should have been sleeping at home in cribs: 3
# of lost bags of weed found/shared by yours truly: 1
Approx. beer line wait: 8-20 mins.
Time spent not thinking about the heat: 4 mins

All opinions aside, I’ll l admit that Pitchfork is more than just a hipster fest or flagship tactic; it’s a celebration, of course, showcasing a handful of artists deemed worthy enough to receive at least a 7.0 rating on Pitchfork’s sensible scale. It has been tweeted that Pitchfork is only as good as the people you go with, therefore, I owe my small posse (if you will) a HUGE thank-you for getting me through the weekend.

Do you see the sparkle in his eye? Fabulous.

"Oh em gee, I need to tweet my opinion of this band right meow. Hey, are you getting any reception here?"

Chick is either suffering a heat stroke or too baked to open those lids. Can't tweet in this heat.

Hey quasi Potter, Hogwarts is just North of here and its 90 fucking degrees. Take off the scarf dude.

The first dose of White Denim‘s “Drug”, left listeners high off warped guitars, groovy electronics and angel-dust vocals; a psychedelic track that kept the bowl in a steady rotation and the hippies dancing barefoot amongst sun soaked lawns. Though it’s been a few months since the Austin outfit released their fourth LP on Downtown called D, Bjorn remakes the single before the come down reaches full, disillusioned effect. Check out the remix below and grab it here.

Still suitable for teenaged garage hangouts, Bjorn’s rendition of “Drug” puts a leash on instrumentals and sheds light on the song’s hypnotic lyrical component. We can and will take, talk, ingest, and smoke drugs for the duration of this scorching season even in the midst of untimely overdoses (RIP Winehouse). Just remember kids always have a buddy when you’re taking a trip and don’t forget to hydrate. Cool.

My first dance with Lucy could have translated into a Skins episode from the original UK runs, the type where melting profiles flare under neon lights and at least 1 chick nearly overdoses on good times. Despite being scared shitless that I would hallucinate for the rest of my existence, hearing only wobbling dubstep repeat like a soundtrack to my burning brain, I dove into another trip with my good pal a few weeks later. If Neon Indian taught this responsible user a thing or two it’s that one’s company certainly makes or breaks an acidic adventure.

But in their most recent instrumental “movement”, Palomo dropped his soft vocals (and drug references) and relies only on glo-fi, laid-back harmonies to showcase footage of colorless scenery and gloomy architecture. 2 of 3 video promos have been released while the dreambeat culture awaits NI’s release of Era Extraña on September 13 (via Mom + Pop). Press play to check them out below.

NEON INDIAN – HEART: ATTACK from gorillavsbear.net on Vimeo.

NEON INDIAN – HEART : DECAY from gorillavsbear.net on Vimeo.

Specs and features of musical instruments only rack the brains of concerned players and enthusiasts alike. It’s not normal for mere fans to ponder the ins and outs of a band’s equipment unless you’re a designated groupie, and even when that’s the case, the skill of a musician determines his/her worthiness despite the flashy tools they tow around. But since VEOBlog halfheartedly focuses around content of the melodic variety, Pete Hilton introduces a woody, backwood aspect to the instruments that make music possible.

Though not completely opposed to faux riffs and synthesized chords, Hilton devotes long days and after-hour nights towards customizing instruments in his NY quarters. His life has centered around music since his youth, but after exhausting faulty, manufactured pieces and straying from the path of permanent ink artist, Hilton honed his woodworking abilities to create a personal line of stringed pieces aptly named Hilton Guitars.

Veoba talked to Hilton about his experiences as a melodic craftsman, his lifelong influence and current co-worker, Carl Thompson, as well as the fate of musical instruments given the techno-innovative era we live in. Check out the interview below and jump down for some classy photos of Hilton’s handmade gear.

A lot of your inspiration comes from Carl Thompson. What about his music or instruments appeal to you?

I don’t even know where to start on that one… He came from a family of music and grew up playing music from a whole other time when music was really music. It was more real, more natural. It’s not like it is today…. I think a lot of his stories paint a bigger picture from back then to what it is now. It’s definitely inspiring to be around a person that shares all of that with you. We talk about music and how it’s changed from then till now and unfortunately, the musical instrument is probably going to become extinct in the years to come.

You think so? Like an endangered species?

I mean, in the years to come, thanks to technology. It’s making things easier to make without learning. You don’t really have to have any kind of knowledge or theory. Making music can be done by the push of a button, it’s almost like technology is teaching people not to have any patience. People and kids are growing up now on instant gratification and I’m hoping things will change, but it seems like it’s kind of a landslide with everything.

How is working with Carl?

It’s great. I’ve been there about 7 years now and it’s always interesting. There’s always a ton of work to do. I’ve heard stories, the same stories maybe a million times and it’s great. I met him 10 years ago, started working with him full time a couple years after, and about 4 years ago he told me if I wanted to start making extra money to go on my own and build stuff on the side.

So Hilton Guitars is this side project?

Yeah. All the stuff you see on the site is late hours. I get home from work, take the dog out for a walk and go back to doing my own work. I kinda refuse to rent out a shop space because i really don’t need to yet and i’m not at that point where i have to. I’ve got a full shop back home in Michigan where i go home a couple times a year for a few weeks and that’s where I’ll start building 2 or 3 instruments at a time. I do all the heavy work back home and then bring everything back to New York and basically do all the finish work out of my apartment, it get’s a bit crazy.

Do you model your guitars/basses off any particular brand or style?

There’s a certain aesthetic that I go by, one that i’ve been taught, which are beyond the looks of it. The math of the instrument and balance are the key things that make an instrument. First and foremost, they are made to be played and made to be very comfortable instruments to play. But I don’t model it off anything, it’s my own shape and design. Obviously as far as looks go, I’ve tried not to make it look like anything else in a way where people definitely know it’s one of my mine.

Is there an instrument or project you’re most proud of?

About a year ago, this guy in Russia emailed me wanting to order an instrument. I didn’t think he was serious at first being on the other side of the globe, but we talked back and forth for a couple months and we decided on what he wanted to get. Normally in the custom world people will give guidelines to stay in, but he wanted me to have fun with it and being such a nice guy and really easy to work with it, I’d say it became one of my favorite instruments.

Is he happy with it too?

He is happy with it. It took awhile for him to get it though… He didn’t want me to send due to customs there. He lives in Siberia and said he may or may not get it. With that in mind, a friend of his agreed to help out. He was going to be in LA around thanksgiving at the same time I was going to be there. So we met, did the hand off and 7 months later he got it. I think at a certain point it becomes more than just the instrument, it becomes a story.

Any specific challenges with wood working and building your instruments?

Having a legit shop. I’ve had so many crazy challenges as far as woodworking and figuring out things. To be honest, nothing surprises me anymore. The only thing that’s a challenge is doing stuff out of my apartment. Certain steps create a pretty big mess. So as far as challenges, that would be it as of now. But so far every piece I’ve built, I’ve sold, thanks to Carl and I hope that continues.

Looks like Theophilus London hung up his flat-brim and decided to dress classy in a fedora and complimentary velvet suit for his debut LP Timez Are Weird These Days. The Brooklyn rapper clearly straddles fashion tastes and blends musical genres from current and past decades; mixing 80′s synth pings with melodic loops and smooth, battling vocals. But with an album name sounding similar to something Grandpa would mutter at the dinner table, it’s refreshing to hear London’s single “Why Even Try” get a RAC makeover. Listen below and grab the remix here.

The not-so-fat Fat Tony returns to Veoba blog with his latest video taken from the rapper’s 2010 debut RABDARGAB. Despite its lack of Cheetos, Fritos, and other fatty fat foods that were chewed off in “You Ain’t Fat”, the Texas rapper still spits about his personal ventures and perpetual goal of returning home all high and confused. We still commemorate Tony for staying slim and making strides as the Houston rapper toured the states opening for acts like Snoop Dog, Wu Tang and more. Footage for “Home” was snapped during live performances and release parties that Veoba unfortunately couldn’t attend, but lucky for us the video makes us feel as if we were there for all the hugs and drugs.

With Pitchfork around the corner and hipster enthusiasm reaching an all time high, it only seems necessary to highlight some of the acts Chicago will feast their eyes and ears on this weekend. Philly natives, Sun Airway, will take the blue stage Saturday afternoon and pour out their whimsy bliss-pop, mostly made from drum machines and swelling synths, to a crowd of black framed spectacles. The duo’s use of soft, crisp vocals have many comparing them to Animal Collective (who will make an appearance on the festival’s opening night) but Sun Airway’s melodies and output radiate a sense of neo-warmth nonetheless. Check out “Wild Palms” below and click over to their soundcloud for more free downloads.

Wild Palms by Sun Airway