Chicago Bears should pounce on Russell Wilson when availableVincent Pariseon May 16, 2020 at 12:00 pm

The Chicago Bears have no quarterback of the future but if they can get Russell Wilson at any point they have to pounce on that.
The Chicago Bears have no history of great play under center. Jay Cutler is the best quarterback to ever play for the squad and he had many warts. The history of the defense has a long list of elite franchise level players that have been great but no true success is every going to be sustained without a franchise quarterback. They need to somehow get themselves a much better quarterback and fast.
You all know about the fact that general manager Ryan Pace selected Mitchell Trubisky with the second overall pick in the 2017 NFL Draft. Yes, Patrick Mahomes and Deshaun Watson were on the board which makes the fact that Trubisky is bad even worse. Well, it is over and done with and now they need to make it right. They can’t go back and change the pick but they can look ahead and address the issue.
Tashi Dorji and Tyler Damon’s marvelous improvised concert at the May Chapel rings out againBill Meyeron May 15, 2020 at 5:11 pm
Has it really been just two months since the Illinois shelter-in-place order went into effect? Sometimes live music seems like a fading memory. But when the original experience is especially vivid, it’s not hard for a record like To Catch a Bird in a Net of Wind to bring it all back. The album captures a duo set that electric guitarist Tashi Dorji and percussionist Tyler Damon played at the May Chapel in Rosehill Cemetery, which was part of Elastic Arts’ 2018 Exposure Series. It opens with the sound of Damon striking hand chimes as he walks down between packed pews, sending metallic tones up to the chapel’s vaulted ceiling. As their metallic reverberations bounce back to meet Damon’s advance, Dorji builds from humming feedback to a constellation of shimmering, electric tones. After Damon takes his seat at the drum kit, the duo enact an improvised sonic contest in which they exchange slashing attacks and tumbling retreats, encircled by a halo of overtones. The album feels a bit like a martial-arts flick where each climax tops the one before, but the champions never fall. v
Chicago drill icon Lil Durk leans into his melancholy on Just Cause Y’all Waited 2Leor Galilon May 15, 2020 at 5:14 pm
Chicago rapper Lil Durk dropped his debut mixtape nearly nine years ago, and he’s since matured into one of drill’s most consistent, influential, and successful artists. His four previous major-label full-lengths have all peaked in the top 50 of the Billboard 200, including August’s Love Songs 4 the Streets 2, which debuted at number four. His flair for melody and his no-bullshit hooks have helped give rise to a new wave of drill artists, including everyone’s new favorite Chicago rap sensation, Taurus Bartlett–better known as Polo G. On Durk’s fifth studio album, Just Cause Y’all Waited 2 (Alamo/Geffen), Bartlett adds lithe vocals to “3 Headed Goat,” augmenting the brawny texture of Durk’s vocals and the subtle vulnerability in his inflection. Just Cause Y’all Waited 2 leans on melancholy instrumentals: regal piano notes inform the sound world of “All Love,” and a dusky, lonesome saxophone sets the tone for “Viral Moment.” Durk understands how to look back without getting sentimental, and he remains guarded while combing through his regrets on “Turn Myself In.” He originally released the track in May 2019, just before he surrendered himself to the Atlanta Police Department–it had issued a warrant for his arrest in connection with a February 2019 shooting, and his attempted murder case remains pending. Lil Durk delivers a powerful performance on “Turn Myself In,” and when his Auto-Tuned voice hits the occasional high note, he offers glimpses of the depth and complexity in his story that stray hard-news headlines can’t convey. v
Okkultokrati alchemize grimy punk and metal into a dark triumph on La Ilden LyseJamie Ludwigon May 15, 2020 at 5:29 pm
Oslo six-piece Okkultokrati cast a net into rock’s grittiest, dankest seas and dredge up an electrifying hybrid sound: they twist influences from heathen black metal and thrash together with hedonistic rock ‘n’ roll and furious crust punk. Much of the band’s music seems designed for underground shows, drag races, and various more questionable activities, but in the 12 years since Okkultokrati’s first demo, their songwriting has grown steadily more complex. By 2016’s Raspberry Dawn they’d expanded into their most Technicolor palette to date, incorporating synth-laden postpunk, psychedelic weirdness, and even hints of glam rock. Four years later, the brand-new La Ilden Lyse (which translates roughly to “Keep the Fire Burning”) charges back into blacks and grays. When I listen to the record on a walk outside (an activity I enjoyed much more frequently before lockdown), I almost expect tracks such as the lush yet ferocious closer, “The Dying Grass Moon,” to make the still-emerging spring leaves shrivel up and drop. But through destruction often comes creation, and La Ilden Lyse seems hell-bent on both–for all their bleakness, these songs have a kinetic energy that could reanimate the dead. v
Saint Louis rapper-singer Smino re-creates the fun of classic hip-hop mixtapes on She Already Decided “Mixtape”Leor Galilon May 15, 2020 at 6:38 pm
When rapper-singer Smino self-released She Already Decided on April 20, he added “Mixtape” in scare quotes to the title on Soundcloud. In doing so, the Saint Louis native provided a sly history lesson for young listeners who’ve only ever referred to full-lengths as “projects.” A decade ago, hip-hop mixtapes provided a way for rappers to skirt record-deal obligations, providing them an unregulated outlet where they could remake the hot tracks of the moment and flex their creative muscles. These releases weren’t strictly legal, but major-label executives largely looked the other way–not least because mixtapes allowed their artists to stoke their popularity between studio albums and remain relevant to a fickle public. This was before hip-hop mixtape sites helped transform the format, turning what used to be grab bags of unmastered recordings and raw freestyles into studio-quality music. Streaming further blurred the distinctions between mixtapes and “formal” releases–these days, collections of Drake Z sides are afforded the same importance as soul-baring albums that took years to put together. She Already Decided hits like a classic mixtape: Smino puts his stamp on contemporary hits, transforming Roddy Ricch’s “The Box” into “Jamie Boxx (Freestyle),” and raps over instrumentals that make no bones about the beloved songs they’re sampling (“Fronto Isley,” for instance, is built on a snippet of the 1975 Isley Brothers hit “For the Love of You”). He approaches each track with understated cool and his unmistakable smoothness, infusing joy into every well-rounded syllable and slip-sliding verse. Smino knows that a great mixtape has to be fun, and She Already Decided gives us a way to make our own cheer while we’re stuck indoors. v
[embedded content]Read MoreThe Soft Pink Truth traffics in revelations on Shall We Go On Sinning So That Grace May Increase?Salem Collo-Julinon May 15, 2020 at 6:41 pm
The Soft Pink Truth’s new album, Shall We Go On Sinning So That Grace May Increase? (Thrill Jockey), is a soundtrack for contemplation, discovery, and the seeking of truth. The solo project of Baltimore musician Drew Daniel, best known for his work in experimental duo Matmos, the Soft Pink Truth started in response to a challenge. After Matmos released 2001’s A Chance to Cut Is a Chance to Cure, which featured glitchy electronic sounds built from samples of medical procedures, British house producer and musician Matthew Herbert dared Daniel to apply his inventive style to house music. In response, Daniel created 2003’s bumping dance album Do You Party? (which Herbert put out on his own Soundslike label). On previous releases, the Soft Pink Truth’s signature has been marrying heady concepts with experimental, sometimes outre compositions under an EDM umbrella; 2014’s Why Do the Heathen Rage? is an especially wonderful collection of black-metal covers that uplifts the source material rather than skewering it. But Sinning takes a different approach. Daniel works with a diverse group of guest artists–including his Matmos partner, M.C. Schmidt (also his partner in life), and saxophonists John Berndt and Andrew Bernstein, who’s in Horse Lords–to create an organic, warm, and often jazzy sound. Daniel began working on the album shortly after the 2016 election, and he titled it using Paul the Apostle’s words in Romans 6:1 to express the rage and disconnect he felt during that time. But though Sinning is informed by anger, it embraces collaboration and mutual aid, using prominent vocal harmonies, tape delay, and other tools to suggest how we can create a world of our own in the face of adversity. Opening track “Shall” features guest singers Colin Self, Angel Deradoorian, and Jana Hunter, and Daniel samples their choirlike vocals to weave them into the rest of the record. The whole thing is a joyful, loud, and sometimes danceable protest against those who may call us sinners. v





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