CHICD: Moon Ruin, Fernando House, and Jessica Risker at The Empty Bottle - 12/4

My goal is to see one show per week. Yes, I might be that annoying friend that just has to tell you about the thing you missed, but I’m also catching every great show in the city of Chicago–with plenty more ahead of me. Welcome to the Chicago Concert Dispatch.

At the time of this show, it is 49 weeks into the year and I have seen 122 shows.

As I watched Jessica Risker perform I felt like I was in a dream world. As she gently strummed her guitar, the subtle atmospheric synths rose and retreated. And her voice–it was crystalline. Sharp, floating, and beautiful. If it were just Jessica, it would have been a classic singer-songwriter set, but the addition of Josh on keys and electronics brought a surreal quality. The projections also added to the dreamy effect; simple white shapes moved across the stage like floating in a world that was either underwater or digital.

<a href="http://jessicarisker.bandcamp.com/album/i-see-you-among-the-stars">I See You Among the Stars by Jessica Risker</a>

When Fernando House started up, they started with their classic Chicago jazz/blues sound. It was immediately clear–these guys have chops. The music started as a slow jam, evolved, and became atmospheric, experimental before it then picked up for a couple rockers. They took a traditional sound and did something completely new with it. They played with cool, subtley emotive, and professional delivery. But, what really made Fernando House stand out were the vocals by Steve Plock. He takes his voice so low, you can almost hear his chest rumble. It hits you in the gut, especially on my favorite cut, “One by One.”

<a href="http://fernandohouse.bandcamp.com/album/go-to-sleep-wake-up-tomorrow">Go To Sleep, Wake Up Tomorrow by Fernando House</a>

Moon Ruin started with three sets of keys. Beeps, boops, and blips soon broke into full music as Jared Bartman’s voice–high and breathy–broke through the instrumentation. If it weren’t for the drums driving it all forward, it would be atmospheric. Keys are traded out for guitars on some songs, making for a nice variety in the music. The sound stayed one that was largely electronic and smooth, but at the same time rhythmic and driving. I really dug the contrast. My favorite song, “See You Go,” was the last in the set. Patt Keen and Mike Noyce sang harmonies with Bartman’s lead vocal, and it was a truly beautiful moment.