Ode

We caught their March 18 show at Martyr's where they were the opening act, and it was proof that the order you go on is not necessarily an indication of quality. Their music has been called ork-pop and Balkan roots rock, but neither description adequately sums up their sound, which is full of dark, sweet melodies and tinges of influence from their native Bosnia, largely in the form of odd time signatures, minor keys, and crying accordion.

The instrumentation for most of their songs - acoustic guitar, electric guitar, bass, piano, and drums - is a common combination, but it's all-too-often employed lazily, producing a boring muddle. Ode, however, produces thoughtful arrangements that alternate between distinct, interweaving parts and a thick wash of sound. Singer Davor Palos's resonant baritone spreads over it all, reaching to the back corners of the room.

The songs are tastefully written, full of graceful, often extended musical phrases that form solid and decidedly hummable compositions. A couple songs contained unfortunate exceptions to this otherwise careful songwriting, with the piano and guitars hammering eighth notes in an attempt to get to an idea they musicians clearly found more interesting, but those instances were outliers in otherwise succinct, polished tunes.

The most striking thing about their Martyr's show was their high energy level at all dynamics - particularly impressive given they performed for a room that could generously be described as uncrowded - and the energy was ratcheted up even further when they played a Bosnian folk song. To our ears, we wish they'd go further in this direction. They're a good rock band, but they're better when incorporating more of their Balkan heritage. The draw isn't the novelty of the folk music, though that's a factor; the music, and, more importantly, their performance of it, produces the sort of infectious fun that gets bodies moving.
Alexander Hough - www.chicagoist.com

Singer-songwriter Davor Palos and his bandmates are mining a much darker and moodier vein of ork-pop, drawing inspiration from that master of the murder ballad, Nick Cave, and evoking the gypsy violin antics of the Dirty Three, thanks to Sandra Korbar's haunting string work. Recorded live at Steve Albini's Electrical Audio Studio, these 12 tracks boast a startlingly powerful sound, shifting at the drop of a backbeat from a whispered seduction to a raging fury, and maintaining a delicious creepiness throughout. ("I wake up every morning/Knowing my dreams/Have been warnings," Palos sings in "On My Way to Learn.") (www.odeband.com)
author: BY JIM DEROGATIS POP MUSIC CRITIC - REPRINT
- Chicago Sun times

WINDY CITY TIMES
Music: Springtime in Chicago
by Gregg Shapiro
2004-05-12

Ode's Balkan roots set them apart from the other artists mentioned here. Sandra Korbar's "gypsy violin," paired with Davor Palos's vocals give the songs an exotic, but approachable flavor. Highlights from the band's debut disc On My Way To Learn ( www.odeband.com ) include "Nova," "Done With The Rain," "Albany Ave.", "September," and the instrumental "Coffee, Tea or Enemy."

- Windy City Times

BY JIM DEROGATIS POP MUSIC CRITIC
Chicago Sun Times

Ode, "On My Way to Learn" (www.odeband.com)
3.5 Stars

Singer-songwriter Davor Palos and his bandmates are mining a much darker and moodier vein of ork-pop, drawing inspiration from that master of the murder ballad, Nick Cave, and evoking the gypsy violin antics of the Dirty Three, thanks to Sandra Korbar's haunting string work. Recorded live at Steve Albini's Electrical Audio Studio, these 12 tracks boast a startlingly powerful sound, shifting at the drop of a backbeat from a whispered seduction to a raging fury, and maintaining a delicious creepiness throughout. ("I wake up every morning/Knowing my dreams/Have been warnings," Palos sings in "On My Way to Learn.")

Source: http://www.suntimes.com/output/derogatis/wkp-news-live16.html - Chicago Sun Times

http://www.jimdero.com/News2004/BEST2004.htm

The best and the West
December 26, 2004

BY JIM DeROGATIS POP MUSIC CRITIC


Throughout 2004, the music industry continued to bemoan a sorry state of affairs that it claims is caused by the proliferation of people downloading -- "stealing" is the term many executives prefer -- singles and albums that they used to buy in the stores.
In fact, according to Rolling Stone magazine and the industry trades, sales of recorded music rose about 7 percent during the first half of 2004. And while that number slipped during the third and fourth quarters to average out to a "mere" 2 percent -- an annual increase that many businesses would envy -- that can be blamed on the fact that major labels released fewer albums and placed unrealistic expectations on a handful of superstar acts, among them U2, Eminem, Destiny's Child and (sad but true) Clay Aiken.

From the perspective of the pop desk here at the Sun-Times, the music industry has never been healthier, economically or artistically. No single revolutionary sound or movement galvanized the scene in 2004, but there were countless inspiring trends bubbling under, including the humor and honesty of Kanye West's lyrics making inroads against the endless violent, sexist bragging of many gangsta rappers; the encouraging chart success of inventive bands such as Modest Mouse, Chicago's Wilco and Scotland's Franz Ferdinand (who reminded us that great dance music can be made without synthesizers), and the passionate attack on political apathy mounted by a diverse array of inspired artists, from Green Day to Steve Earle.

As the year progressed, the "Top 10" list that I keep on my computer's desktop grew and grew, as it always does, until I had to winnow down the roster below -- presented in alphabetical order, since my No. 1 pick may change from day to day if not hour to hour. It topped out at 75 albums I can't live without.

What's more, I'm sure there was plenty of great music I missed. And the certainty that those indispensable sounds are out there -- to buy or to download -- is what keeps music fans listening, no matter what the corporate executives say.


46. Ode, On My Way to Learn (www.odeband.com)

- Jim Derogatis (Chicago Sun-Times)

Chicago Equalizer: July re-cap and KEXP Chicago Posse Interview
By Equalizer Chicago | Published: August 6, 2009
by Ali Weiss
photos by Karla Svatos

Local bands Elev8tor, ODE and The Grace Lincoln Project played the monthly KEXP Equalizer Chicago at darkroom on Friday. Headliners Elev8tor played a variety of their downtempo and breakbeat music, added a guest vocalist and threw in a cover of the Beastie Boys’ instrumental “Ricki’s Theme.”

For this re-cap, we decided to go behind the scenes and speak with Stefania Rudd of the KEXP Chicago Posse, the group that supports Equalizer and other KEXP-related events here in the windy city. You can usually find Stefania at the KEXP table during Equalizer, getting names on the mailing list or handing out swag. Here’s what she had to say about KEXP, Chicago and Equalizer, which turned two years old this summer.

Ali: What were some highlights of performances Friday night?
Stefania Rudd: Some of the highlights for me included the singer of The Grace Lincoln Project’s voice. She’s the pretty sweet looking girl then she got on stage and just belted it out. Her voice was amazing like Duffy. I also thought ODE was a pretty solid band, part DeVotchKa and part Beirut. Elev8tor sounded very polished. There were several times I had to look at the stage to remind me that they were playing and it wasn’t music from the DJ booth.

How did u get involved with KEXP and Equalizer?
I started getting involved in October of 2007. John Richards and Cheryl Waters were out here for a week broadcasting live from Engine Studios, due to Chicago winning their city-to-city challenge during a pledge drive. I volunteered to help out one day and that is when I met Tobias Cortese, the main organizer of the KEXP Chicago Posse. That night there was a member appreciation happy hour followed by Equalizer at darkroom. I got to know Cheryl, John, and another DJ, Shannon. I had such a good time and really wanted to play a bigger part in the Chicago-KEXP scene. I told Tobias that I was willing to help out even more, and from that point on I had a role.

Why does a Seattle radio station have an event in Chicago? What’s the connection between the Chicago scene and KEXP?
Outside of Seattle, Chicago has one of the largest listenerships of the station. With it streaming online 24/7 and playing a variety of music from indie, to alt-country, to grunge to world music to electronica, it is easy to find something you will like. And because it’s public radio, anyone can be a member of the station and support it. I think people in Chicago, just like people in other cities that listen to the station, have a connection with not only the music but with the on-air personalities.

Every morning John Richards broadcasts from NYC [where KEXP is on the dial]. Most major cities have a street team/posse. NYC, Austin, and San Francisco do events similar to our Equalizer. KEXP also has a presence at SXSW and other music festivals. In 2008, they were a Pitchfork sponsor. KEXP also is supportive of out Chicago acts. They play Chicago artists on their station. For example, “I Never Thought I Could Feel This Way For A Boy” by The Scotland Yard Gospel Choir is featured on KEXP’s Live At KEXP Volume 4.

What’s your role at Equalizers?
I promote the shows via our KEXP Chicago Posse listserv. We are also getting started up on more social networking sites. At the show I’m at the KEXP table giving out free swag (button, stickers, magnets, postcards, posters) and answering questions about the station. Just general promotion.

We get a good mix of people at the show, those who know it is an Equalizer show and come because they know a good band will be playing, or those who are there for the band and then see that it is an Equalizer show. It’s also great when someone comes up to the table to compliment the station and say they have been a listener for years. You see this light in their eyes — a genuine excitement that KEXP has a presence in their city. You especially see this with people who lived in Seattle at some point.

Any specific things you want to tell us about the bands that played the July event? Had you heard them before?
I had actually not heard any of them before. Arunas Ingaunis (manager/booker of darkroom) is normally the one who books the bands for the show. There are times when I will suggest someone or send him a manager’s contact info, but he’s the main guy in charge of booking. He has been with Equalizer from the start and also works with staff at KEXP. Overall, the bands this month were solid. They all had different styles, but as a show from start to finish it worked. Good music is good music, no matter what the genre.

- http://blog.kexp.org/blog/2009/08/06/chicago-equalizer-july-re-cap-and-kexp-chicago-posse-interview/

ODE @ Elbo Room Thurs. 5/14
Category: Music
When: Thursday, May 14, 2009 11:00 PM
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Where: The Elbo Room
based on 60 reviews
2871 N Lincoln Ave
Chicago, IL 60657
(773) 549-5549 Cost: $8.00
Submitted by:
Jelena Z. See all of Jelena Z.'s events »
What/Why: Apparently this week's lineup at the Elbo Room is HOT. Just ask Paige W.

So, here's my turn to promote my favorite local band, ODE. I heard their music and immediately fell for their unique sound before we became friends, so my encouragement is unbiased. Yeah, they're super cool rockers, but musically they're insane. REALLY.

Their sound:

Melodic ork-pop/Balkan roots rock punctuated with brooding minor keys. THIS is what I'd make out to during a thunderstorm.

Listen:

Facebook: my favorite track, 'Mona': http://apps.facebook.c...

MySpace: http://www.myspace.com... (my picks: 'Fair Weather Plan' and 'Mercy Seat')

They're headlining this Thursday evening so come by, have a few pints with me and enjoy the show. We all know that rock musicians are some of the most severely underpaid artists in the industry usually taking home $25-$50 per musician per show (even my DJ friends make $200 - $600 a show on average). Local music SUPPORT!
- Jelena Zanko