Hollows Play Record Release Show At The Subterranean
By Eric Hehr in Arts & Entertainment on May 19, 2012 6:00PM
Hollows performing at The Subterranean. May 17, 2012. Photo by Michael Sullivan.
Imagine The Go Go’s and The Black Lips hanging out in an old dingy tattoo parlor, getting trashed off of Old Grand-Dad and deciding to start a band. Now you have a clear idea of what Chicago based pop outfit, Hollows, sounds like.
While the group is quick to dismiss a heavy influence from classic 60’s girl groups such as The Shangri-Las and The Ronettes, it’s hard to listen to a song like “Hot Sand” and ignore the reverb-soaked vocals à la Phil Spector, the Gibson G101 combo organ tone that fell straight out of a Del Shannon tune, and the playful lyrics that could double as dialogue in a Beach Blanket Bingo script. It’s hard to deny the nostalgic emulation of Hollows' sound and the pulp paperback aesthetic associated with it, but Hollows isn’t just a cute throwback band. Their songwriting is sharp and poignant, without a trace of irony or the sub-textual, post-modern haughtiness that has come to dominate the authenticity of bands flirting with retro sounds.
Hollows celebrates the traditions of rock ‘n roll and classic pop songwriting with honest to God sincerity as opposed to the incongruous, tongue in cheek attitude prevalent in most modern music that allures itself to the throw-back sounds of yesteryear. Hollows are the real deal.
On their recent sophomore album, Vulture, Hollows continues to surf the ocean wave of Technicolor retro-pop giddiness set in motion by 2009’s self-titled debut, Hollows. However, Vulture explores darker territory, and at times leans more towards the moody, pulsating energy of late 70’s post-punk than it does 60’s garage rock. One of the highlights of Vulture is “Golden Chain,” which opens with the type of minimalistic guitar lead that Bernard Sumner would be envious of. The song is relentless from start to finish, epitomizing the ferocious energy that makes up the majority of album.
Hollows performing at The Subterranean. May 17, 2012. Photo by Michael Sullivan.
This past Thursday, Hollows played their record release show at The Subterranean in Chicago, complete with an extended line-up that included two violinists and a duel brass section - dubbed “the Hollows Orchestra” by bassist, Emma Hospelhorn. But even with the ear-candy of the additional arrangements, the highlight of Hollows live set was the vocals, which frequently incorporated the four girls in Hollows all singing at once, complete with three part harmonies and layered back up vocals. The sunny vocal arrangements provided a refreshing contrast to the grittiness of Hollows sound.
And while Hollows got the crowd bopping along to their brisk, catchy tunes, their performance onstage was subdued. Given the fact that it was a hometown record release show for Hollows, one would expect a little bit more dynamism on stage. But instead, Hollows was relatively submissive, playing it straight and keeping their showmanship to a minimum.
What Hollows lacked in showmanship was made up for in a tight, musical performance, which showcased front woman Maria Jenkins playing as much guitar as organ on stage, leaving the organ as an ornamental texture as opposed to a predominant part of the live arrangement. Holding the set together from start to finish was drummer (and only male member of Hollows), Jason Davlantes, who pounded away at his drum kit with unwavering intensity.
The night ended with a brief encore from Hollows, who encouraged everyone to check out their merch table to pick up Vulture. And after seeing Hollows live, I encourage you to do the same.
Hollows sophomore LP, Vulture, is available via Trouble in Mind. More information on Hollows, visit http://hollowschicago.com/
For more photos from the show, visit http://sullymaker.tumblr.com/