A longtime pillar of the Chicago underground community, Sam Prekop was best known for his work creating the post-rock sound with the Sea and Cake before he began crafting adventurous solo albums as well. Beginning with an eponymous album in 1999, Prekop gradually shifted his sound from breezy post-rock not dissimilar from his main band into explorations of modular synthesis on 2010's Old Punch Card. By the 2020s, he was exclusively making rhythm-driven instrumental electronic music, teaming with longtime Sea and Cake collaborator John McEntire for their first work as a duo on the entirely instrumental 2022 album Sons Of, and releasing solo electronic work of his own like 2020's Comma and 2022's The Sparrow.

Prekop first gained renown at the helm of Shrimp Boat before becoming the leader of the Sea and Cake, whose fusion of styles both in and out of rock was both creative and experimental while remaining highly listenable. Prekop holds considerable stature in the Chicago scene, so it isn't surprising that when he released his self-titled debut solo LP in 1999 (on Thrill Jockey Records, itself a cornerstone in the Chicago music scene), it featured an impressive supporting cast, including Chad Taylor of the Chicago Underground Duo, Josh Abrams of Town and Country, Jim O'Rourke, and the Sea and Cake's Archer Prewitt. The album played like a subtler, more organic version of the Sea and Cake, blending elements of African rhythms with soul, jazz, and pop. The Sea and Cake remained an active band after the record's release, and his follow-up, Who's Your New Professor, didn't arrive until 2005.

Prekop's third long-player, Old Punch Card, took a turn away from his regular fare toward an almost completely electronic palette. The instrumental album was released in 2010 by Thrill Jockey and was followed five years later by The Republic, another collection of electronic instrumentals made with modular synthesizers, drum machines, and other various synthetic elements. Half the pieces on the album were initially composed as a score for a show by video installation artist David Hartt. In 2020, Prekop continued his exploration of rhythm-driven electronic sounds with the glowing, futuristic album Comma.

In June 2022, he issued the 22-minute instrumental track "Saturday Sunday," and one month later joined forces with longtime friend and bandmate John McEntire for the release of an album of electronic instrumentals and modular synthesizer sounds entitled Sons Of. The set consisted of just four extended pieces, one of which first took shape as a live improvisation and grew into its final form in the studio. Shortly after that, Prekop returned with new solo set The Sparrow, also surfacing before 2022 was over. The record found him using his usual modular synth setup as well as some polyphonic keyboard synthesizers for spare songs inspired in part by soundtracks from obscure films of the '70s. ~ Stacia Proefrock & Fred Thomas

Drummer, producer, recording engineer, and multi-instrumentalist John McEntire is one of the central figures of the first Chicago scene to be collectively dubbed post-rock. As a member of the soulful, jazz-tinged pop combo the Sea and Cake and fusion experimentalists Tortoise, McEntire has helped construct some of the most exciting indie rock of the late '90s. Along with producer Jim O'Rourke, he became one of the most consistently in-demand collaborators of the time period, working on recordings for or filling an auxiliary musical role in the Red Krayola, Stereolab, Richard Buckner, Tom Ze, the Ex, Smog, Mary Timony, and many others. McEntire's creative work continued into the 2010s and beyond, as he recorded with countless bands; he teamed up with longtime bandmate Sam Prekop in 2022 for Sons Of, a duo album of instrumental synthesizer excursions.

Born in Portland, Oregon, in 1970, John McEntire's first instrument was the drums. He began his college career as a percussion major at Ohio's Oberlin College in 1987. Increasingly interested in the studio manipulation of musique concrete, McEntire shifted his emphasis to electronics, joining the school's department for Technology in Music and Related Arts. In 1989, he made his initial connection to the underground rock scene of the Midwest, joining singer/guitarist David Grubbs and bassist Bundy K. Brown in Bastro for the recording of Bastro Diablo Guapo. Unsatisfied with his formal studies at Oberlin, the drummer left in 1991, relocating to Chicago to be closer to the growing activity. Newly rechristened as song deconstructionists Gastr del Sol, Grubbs, Brown, and McEntire recorded The Serpentine Similar in 1993. Though he would remain the group's drummer of choice up until its demise in 1997, Gastr del Sol eventually became the more exclusive outlet for Grubbs' collaborations with producer Jim O'Rourke: a prolific improviser with a passion for experimental electronics.

McEntire was busier than ever, helping launch two of his longest-standing projects. In 1993, having taken their duo studio outfit Mosquito to its logical conclusion, drummer Johnny Herndon (Poster Children) and bassist Doug McCombs (Eleventh Dream Day) enlisted the talents of Gastr del Sol alumni McEntire and Brown. Eventually expanding to a quintet with the addition of multi-instrumentalist Dan Bitney, the group adopted the name Tortoise. A self-titled debut was released by Thrill Jockey in 1994. With no discernible leader and a conscious effort to eschew the indulgent showmanship of rock, Tortoise wedded a taut, angular rhythm section and a simmering underbelly of electronics to the band's singular, quirky melodies. With post-rock pioneers Slint dismantled, Tortoise became the music's new, media figureheads. McEntire's work with Trans Am and other Thrill Jockey labelmates only solidified the role. 1993 also saw the emergence of the Sea and Cake, a song-based outfit fronted by singer/guitarist Sam Prekop. McEntire took up position behind both his drum kit and the mixing desk at Idful Music Corporation to record the band's eponymous debut.

In 1996, Tortoise released their sophomore effort, Millions Now Living Will Never Die. The album featured the group's greatest achievement yet: the sprawling studio assemblage "Djed." At 20 minutes, the composition contained enough ideas for an entire album. Though the rest of Millions failed to scale such impressive heights, the results stunned the independent rock world and the album reached the 50,000 sales mark. Having lost Brown a year earlier, the quintet embarked on tours of the U.S., Europe, and Japan with new member David Pajo.

His production services in increasingly high demand, McEntire engineered recordings for Stereolab, Come, Eleventh Dream Day, Rome, Trans Am, and Run On (as well albums for the Sea and Cake) in 1996 and 1997. With a growing sense of self-reliance, he fashioned his own Soma Electronic Music Studios in the Tortoise loft. From this new base of operations and with new guitarist Jeff Parker, the band assembled TNT (1998) using the latest in computer editing technology.

McEntire spent the final years of the decade engineering projects for his bandmates (McCombs' Brokeback & The Black Rock, Sam Prekop's first solo effort, and Tortoise spin-off Isotope 217) and performing with musicians both old (David Grubbs) and new (Smog). He also made his first foray into film music, composing the bulk of the soundtrack for director William Ryan's Reach the Rock in 1999. Tortoise reconvened in 2000 to record Standards (released by Thrill Jockey the following year). In contrast to the studio constructs of its predecessor, the compositions were built from a foundation of real-time group performance. As the years went on, McEntire amassed a substantial résumé of recording credits and guest appearances, showing up on records by Yo La Tengo, Jandek, Jaga Jazzist, Ryley Walker, and many others, along with working as a recording engineer on countless projects that passed through his studio. In 2022, he teamed up with Sea and Cake bandmate Prekop for an album of instrumental electronic pieces titled Sons Of. ~ Nathan Bush