Anathallo
Saturday, November 8, 2008
Schubas/ Chicago, IL
Review by Chad Comello, North Central College
The Chicago-based octet Anathallo has been making music for about eight years, but in members’ live show, they sound like lifelong musicians. They have sharpened their skills on the road, touring heavily around the country and the world at large with a 20-instrument set-up in tow. On the eve of its Europe/Japan tour, Anathallo stopped by Schubas in Chicago to promote the release of their new album Canopy Glow.
A stage set for Anathallo is never ordinary. Besides the standard instrumentation, there were two large, well-worn bass drums, a glockenspiel, sand blocks, a trombone, trumpet and some harmonicas to start. Once the band took the stage (to rapturous applause) things got even more interesting. The group gave a commanding ‘hello’ with two songs from their new record: “Italo” was the perfect opener with its quirky layered melody and mixed-meter stomp, followed by the atmospheric “Northern Lights.”
Lead singer Matt Joynt said only those from the Midwest could appreciate it and he was right; somehow the latter song perfectly captures the Aurora Borealis into music. After that, the group jumped back and forth between new tunes and Anathallo standards: the glockenspiel feature “Hanasakajijii (Four: A Great Wind, More Ash)” from 2006’s Floating World made a nice segue into the U2-esque “All the First Pages” and the high-energy jam “Holiday at the Sea.”
The front line then pulled out some hand chimes for “John J. Audubon” and then an extra floor tom for an intricate three-person drum pattern in “Kasa No Hone.” The players ended the night oohing and ahhing in glorious three-part harmonized rounds throughout “Dokkoise House,” stomping and clapping their way to a triumphant finale in front of a very appreciative crowd. Most amazing about Anathallo was their precision. Despite the many meter changes during songs, every member was totally in sync and they seemed incapable of making a mistake.
Also notable was the versatility; most of them played no less than three different instruments and sang back-up vocals frequently. There was a mini orchestra, complete with a horn and rhythm section and all the little instruments that add the zesty flavors normal bands use only in the studio. Add to that Joynt’s witty banter between songs and the band’s high energy during them (despite having had played some of the songs for years) and it made for one impressive show. Europe and Japan are in for a treat.
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