Sat, May 31 - 9:30pm - $8

 Brothers Frankie, Patrick, and Michael O'Malley are The SAFES. Their father, a working musician, record collector and all around music lover filled the house with live sounds, great records (Little Richard, Magic Sam, & Buck Owens...) and an array of musical instruments. This environment ultimately led to the development of this very special band. The SAFES have that unique chemistry that comes when talented siblings form a band (think Kinks, AC/DC, Everly Brothers, Beach Boys). This chemistry fuels The SAFES' records as well as their live shows. Touring coast-to-coast for the past few years, performing in over 100 cities in 35 states, The SAFES have established large, loyal fanbases across the country on the strength of their live show, which is a sweaty explosion of energy and melody. They've also shared the stage with artists such as Andrew Bird, The Smoking Popes, members of Wilco and The Raconteurs, to name a few, as well as having worked with some top producers, such as Brian Deck (Modest Mouse, The Shins), Keith Cleversley (Flaming Lips), Jim Diamond (White Stripes), and Jason Ward (Arcade Fire). The quality of their past releases have also brought them national recognition - "Sight of all Light", “Well, Well, Well”, "Boogie Woogie Rumble" and "Family Jewels" all received favorable press across the country, extensive airplay (as well as having their songs used on ESPN, MTV, Dr Pepper, amongst others), local TV, and live sessions on college and community radio stations across the US. "Record Heat" promises to lift them into the national recognition they deserve as they embark on a full US tour beginning April 28th. So what do we have here? It's The SAFES' brand new LP "Record Heat" and it's dynamite! A fresh blast of pop rock n roll magic at its very best; this album hits the spot again and again. Recorded by Jim Diamond (White Stripes, The Sonics), Jason Ward (Arcade Fire) and Patrick O'Malley (The SAFES), "Record Heat" explodes with a supersonic crunch and stellar sharp songwriting. The SAFES give you 10 hit singles that make one killer record packed with clever lyrics, electric energy, and hooks that hurt. One listen and you'll agree that this album stands out from the crowd and shines bright and proud! The first video, 'Hopes Up, Guard Down', was directed by Mike Hindert of The Bravery and another is being filmed for release in the next few weeks. "...the trio has built a large following with infectious, guitar-driven power pop. THE SAFES makes smart, melodic music.." NPR "Atomic pop." Rolling Stone "Sugary pop-rock that seems like it would fit right into mainstream radio." Time Out New York "Garage-kissed powerpop." San Francisco Chronicle

 These days the Penthouse Sweets are: Andy Hansen (lead vocals/guitar), Lou Hallwas (guitar/vocals), Eric Chial (bass) and Adam Yoffe (drums). Since recording It’s Fine It’s Fine It’s Fine, Loren Guzik (drums) and Eric Quinlan (keys) have departed. Without the keys, it’s a more stripped down group than the band that recorded the album. The addition this summer of Adam Yoffe on drums has given the band a more open and free-wheeling feel. Songs are allowed to breathe more, while maintaining the drive and energy that Penthouse Sweets have always been known for. It’s Fine It’s Fine It’s Fine, the new album by Chicago’s Penthouse Sweets, was written and assembled in the basement of a crumbling house on a tiny Logan Square street called Saint Mary Court. The house’s dilapidated backside is the cover of the album. It’s been the home to founding members Lou Hallwas and Andy Hansen and the band’s base of operations for the past 5 years. It’s got a ragged charm that echoes the music within. Inside It’s Fine It’s Fine It’s Fine, are 10 concise, overdriven pop songs that are smartly written and played hard. The songs are not fussed-over, but crafted with a freshness and honesty that places an immediacy of feeling above all else."The group’s knack for finding small but important derivations on pop formulas tickles the brain and the booty, thus earning it a spot as one of our favorite local bands.” —Time Out Chicago "A little country, a little pop and alot indie. The Penthouse Sweets have a sound that should be familar to anyone that has stepped into the Hideout." —The Onion

 The Phenoms deliver a relentless assault one might imagine would occur if the Stooges battled Guitar Wolf onstage. It's a frenzy that few bands can reach, let alone propel across an entire album. The two guitarists layer barely-tuned, double solos underneath singer John O'Halloran's Danzig-inspired yelp. Reflective lyrics center on down-to-earth laments and self-deprecating pleas for understanding. Sheer garage rock couldn't evolve this far, emo couldn't sack-up and yell this loud. Thanks for the lyric sheet, boys. "The Phenoms," you say? Well, playing fast, trashy belch n’ roll doesn’t really count as a ‘phenomenon’ in the same way as say, crop circles or the Spice Girls do, but let’s give it to ‘em anyway, since it rolls off the tongue nicely, just like a well-timed insult, or a drunken come-on. These Chicago-based bruisers play their own kinda punk-fueled, gasoline guzzlin’ flophouse garage rawk with a whole fatty liver’s worth of angry, backed-up bile. If you dig say, the Misfits AND the Sonics, and don’t mind the occasional hand-wringing sob-session, then check these flailers out. The Phenoms epitomize the city of Chicago. The way you might describe Chicago is the way you might describe the Phenoms' music: tough-as-nails, blue collar, and not to be f*@ked with. The Phenoms play smashmouth punk rock - nothing fancy, no finesse, just pure power, ferocity, and blood and guts fortitude. Their last album, Home Brain Surgery Kit, is a wall-to-wall pummel-fest that'll be way too much for the faint of heart to take. Those not fond of bone-jarring riffs, smoldering leads, mean-dude vocals, and breakneck drumming are advised to steer clear of this runaway train. Fans of old Chicago hardcore, barroom garage-punk a la Zeke/New Bomb Turks, blazing Motorhead thrash, or any combination of the three will groove to the Phenoms' onslaught. The group doesn't offer up many angular surprises or technological innovations. They just put the pedal to the metal and let her rip, but they are the rare band that can actually pull off that type of approach.

 Beneath the sonic gloss of The Red Plastic Buddha’s psychedelic records beats the heart of a surprisingly snarly rock and roll band. This Jekyll and Hyde transformation grows increasingly more pronounced during live performances as their radio friendly psych-pop sound devolves into a precise, post-punk sonic dystopia. This dichotomy is made only more intriguing by just how well the songs adapt to the rougher treatment of the stage. Renowned for their ability to re-imagine the works of others (RPB covers of Love, 13th Floor Elevators and Electric Prunes have drawn wide praise), this talent is even more amazing when a band can pull off the same treatment of their own material. With an impressive cannon of songs to draw from, The Red Plastic Buddha are a solid live act and this performance is not to be missed.