Illinois Entertainer

A-Bomb Chop Shop tries for ghoulish rock a la The Cramps on From The Coffin To The Rave, but low humor and references to “stuck-up girls” make the band sound like cranky high school geeks. The annoyingly smug vocals don’t help either, but at least the twanging guitar on “Impala 78″ and “Bodybag Boogie” is fun. (www.abombchopshop.com)
– TerrenceFlamm

Mixing bass-driven rock with enough guitar bite to complement the elastic thump, About Nothin’ do their take on “alternative.” As one might guess, “Been Out Drinking” celebrates inebriation while “Big Daddy” is a sly caricature. Throughout the album, the lyrics border on the ridiculous, but if you favor the silly and irreverent, then About Nothin’ are right for you. (www.aboutnothin.com)
– Patrick Conlan

God bless the thousands of Chicago songwriters trying to get noticed in the haystack that is this city. Sean Adley, with his debut full-length, Searching For Stars, is off to a better start than most. Adley’s songs are good, but they’re significantly helped by his backing band, which includes Steve Munoz and Angel Ledezma, both of Chicago’s Midstates. This songwriter needs to lay waste to more of his influences, especially Ryan Adams, and find his own voice. (www.shawnadley.com)
– Joseph Simek

The August is a trio of musicians whose homespun playing on its self-titled CD is occasionally undone by plodding arrangements. The more energetic tracks work best, like the catchy “Hole In The Shirt” or the hard rock flavored “Katie.” “Intoxicated” showcases the tight harmonies of vocalist/guitarist Wojtek Krupka and vocalist/guitarist Ryan Gamlin, while guest musician Herb Eimerman augments the toe-tapping “Pair Of Dice” with his mandolin playing. (theaugustmusic@ gmail.com)
– Terrence Flamm

Lo-fi garage rockers A Band Called Blower checks back in with Power Failure, a Web site/CD-R-only release of radio performances the band did over the last year on WHPK and WORT. The tracks are dissonant, raw, and unpredictable, like the band itself. Fans of this sort of thing should dig the tunes here. It’s cool to hear the band live, in all their torn-up splendor. File under “unusual but interesting.” (www. abandcalledblower.com)
– Mike O’Cull

Zach Brock And The Coffee Achievers fuse soothing soft pop, post-rock, and free jazz on Chemistry (Secret Fort). With John McEntire handling the recording and mixing the sound is warm and hazy. On “This Is Just,” Brock’s violin cuts through the tumbling rhythm and Sam Barsh’s tinkling piano. Fat acoustic bass notes resonate against a strident violin and skittering cymbals in the sonically adventurous “Remember Young Ray.” (www.zachbrock.com)
– Patrick Conlan

Showcasing both virtuosity and versatility, Todd Carey retains his singular voice and cohesiveness on his solo debut, Revolving World (Kufala). “Daydream” is a shimmering pop-rocker that recalls the soaring anthems of U2. “Honest” has a hint of bubbly reggae, and “Simple” features a ’70s funk kick melted with a smooth melodicism. (www.tod dcareymusic.com)
– Patrick Conlan

Living Room Sessions is the title of Graham Cousens‘ Spake Kitty debut, and the title implies exactly what’s found on the 10 enclosed tracks. Everything was cut with bare bones equipment and mostly acoustic guitars, but the quality comes across surprisingly well for something of this low-budget nature. Maybe that’s because of the troubadour’s cozy vocals or perhaps it’s his colorful songwriting, either way cuts like “Lucky Stars” and “Anymore” are easygoing and enjoyable. (www.spadekitty.com)
– Andy Argyrakis

In theory, Eva Destruction And Her Big Band, which is really just Eva and her guitarist Gary Indiana, have what should be a great gimmick. They rework punk classics like “Lust For Life” and “Sonic Reducer” using such instruments as banjo and xylophone. In reality, it doesn’t work. Sing Along With Eva suffers because of Eva’s amateur voice and, except for a version of “Die, Die My Darling,” it’s mostly uninteresting arrangements. It’s perfect for the bar scene, but not much else. (www.cabaretpunk.com)
– Joseph Simek

A big guitar sound fuels the music on Crackpot’s Call It What You Want. Guitarist Colm Stephens also serves as a solid back-up vocalist for lead singer/bassist Kevin Stephens as they rip through the classic power pop of “Honey Well” and “Prove You Wrong,” along with drummer Jimmy Timble. “Division” adds a touch of Americana to the mix, while the energetic “Impossible” closes the disc on a high note. (www.crackpotrock.com)
– Terrence Flamm

Classic rockers are not typically known for their political perspectives, but Disguise The Limit aren’t afraid to reveal their passions. “The Janitor’s Song (My Spirit Will Live On),” “News At Nine,” and “Brothers In Arms” are all incisive songs with sharp lyrics, dovetailed with Limit’s powerful guitar attack and prog rock influences. Redemption (Cellar/Declass-ified) proves conservative values and rockin’ out aren’t mutually exclusive. (www.dtlmu sic.com)
– Patrick Conlan

Hazel Eyes, I Will Lead You, by singer-songwriter Josephine Foster, is a collection of 14 earthy, authentic folk songs that feature the singer’s high-pitched, haunting serenades. The songs that are more whimsical and lively find Foster’s voice at its most ingriguing, especially with “Crackerjack Fool,” “Hominy Grits,” and “The Golden Wooden Tone,” which features a buzzing kazoo solo. The melancholy tunes, such as “Stones Throw From Heaven,” come off pretentious and plodding. (www.100songsising.com)
– Jason Scales

Fans of Radiohead should admire the way Fourth Of July tap into vintage Brit shoegazer music on their self-titled, six-song demo. The band cast a spell by weaving androgynous vocals through shimmering guitar arrangements on “Phoenix,” “Watch Your Step,” and “Assume Normal.” The sound can get a bit repetitive, particularly on the longer tracks, so Fourth Of July wisely included the catchy, more rock-oriented “Your Love Is Now.” (www.fourthofjulymusic.net)
– Terrence Flamm

Aside from the collection’s unwieldy name, Setting Fire To The Oceans Softly Part One: Travel Log, there’s nothing awkward about the music on The Glass Music Box’s excellent new EP. A compelling concept work, the four songs capture a dynamic aerial expedition via compositions like “Flight To The Fulfillment Of Our Wonder” and “Napa Airport.” Powered by appropriately soaring vocals and a poignant piano that recalls both Coldplay and numerous prog rock powerhouses, the disc is an uplifting and utterly joyful journey. (www.theglassmusicbox.com)
– Jeff Berkwits

There’s nothing fancy about the six tracks on The Great Perhaps‘ self-titled debut, and that’s also part of the group’s straightahead rock charm. “Rhythm Machine” at times evokes The Who’s “Happy Jack,” with the bubbly beat of “Dumb Luck” sounding at once friendly and fresh. The vocals are a tad rough, and there isn’t a single note that’s honestly innovative, but the band exudes such inviting energy it’s hard not to clap along. (www.the greatperhaps.com)
– Jeff Berkwits

Hexacron conjures a scary future world via imaginative lyrics, but you’d only know it by reading them on the jacket of the band’s self-titled, four-song CD. Otherwise, it’s nearly impossible to discern much of anything amidst the cartoonish Long John Silver on amphetamines vocals and cookie-cutter speed metal arrangements. The ambitious closer, “Saturnine,” suggests better things may come when Hexacron releases a full-length effort later this year. (www.audiostreet.net)
– Terrence Flamm

Singer-songwriter Emily Hurd’s four-song demo is an enticing preview for her full-length CD, Lines. “In Time” and “Fine, Fine Lines” are sensual ballads that feature her husky vocals and fluid piano playing, while “Shadow” gets an engaging acoustic guitar arrangement. Hurd’s gift for quick-rhyming, clever lyrics is also evident on “Sangria,” which has the feel of a Broadway show tune. (www.emilyhurdmu sic.com)
– Terrence Flamm

Joy Missile are a side project comprising veteran local musicians from Seven Day Run and The Time Beings. Their sound is poppy, bluesy, and funky all at once, and they clearly demonstrate a high degree of musical skill. Vocalist Colleen O’Mara handles the musical shifts with ease, and the band supports her just like they should. (www.joymissile.com)
– Mike O’Cull

Although finding harder rocking metal than what Lower Wacker’s Demo-nstrative EP would be a bit of a challenge, what this Chicagoland five-piece have in headbanging chops, they lack in overall creativity and a charismatic lead singer. Track for track, their talent is undeniable, but after the first two their music becomes a bit stale as does Kevin Piedt’s strained and somewhat contrived vocals. (www.lowerwacker.info)
– Dean Ramos

The six tracks on Mass Shivers‘ self-titled CD evoke The Ponys thanks to Brett Sova’s raw vocals and Ben Jolsness’ explosive guitar playing. Drummer Sean Wilke also keeps things on the cutting edge, especially with his tribal pounding on “Swelling.” Even the longer songs — “A Conscious Lapse” and the mind bending “What Is Realistic” — maintain their intensity. (www.massshivers. com)
– Terrence Flamm

To say that one-man-band Moov (aka Todd Gudwein) has created an interesting assortment of songs on his two-disc collection, entitled simply Tracks, would be putting it lightly. Combining such genres as jazz, ambient, drum and bass, and house, it’s generally the jazz-tinged and more electronic-based numbers that standout the most, while the rhythm and blues and Latin-flavored tunes are clearly the most limp. (moovmusic@ yahoo.com)

Chances are any disc that boasts an instrument list including “the opening and closing of dresser drawers, scraping the bottom of clay dishes, and the clanging of kitchen forks in place of a triangle” is in need of some serious help. And even though 9 On Bali’s Kite Hawker On The Beach conjures curiosity for a split second, the plan goes down in flames on an unfortunate homemade rendering. “Everdons” is loaded with annoying tinkerings, the vocals on “At His Cordial Best” aren’t very close to proper pitch, and “O’Reilly” is a bizarre mix of Brazilian influences and contemporary pop. (www.cropcirclecollective.com)
– Andy Argyrakis

Northwest Indiana metal merchants Ode To Fall check into the Chicago market with the four-song The Hellbound Heart and display a sound based in both the classic metal stylings of bands like Iron Maiden and the modern heaviness of acts like Killswitch Engage. Harmonized guitar lines intertwine with pounding double bass drumming and growling Cookie Monster-type vocals to make the listener’s heavy metal experience complete. They are a little generic, but will hopefully grow beyond it. (www.odetofall.com)
– Mike O’Cull

Forsaking the fuzzy, buzzy bass that earmarked his debut demo last year, Recent Photo’s founder (and bassist) Derek Wu has opted for more punctuated string-pulling fretwork and a sparer pop feel. While the overall sound/production is better, the repetitive tempos, static just-barely-in-tune vocals, and lack of musical focus overshadow the improvements. Case in point is the re-worked “Too Odd To Be A Star.” While this year’s model admirably displays Badfinger aspirations, the catchiness never quite takes hold and the hook never convincingly materializes. Neither has he totally forsaken his love of “la-la-la” lyrics that earmarked the original demo. Still a work-in-progress in search of a purpose and in need of refinement. (www.recentphotomusic.com)
– David C. Eldredge

Making giant strides in their artwork and their songwriting, Rude Rooster deliver a dense, hard rockin’ follow-up to their debut. Heavy, crunchy riffs predominate on Step Up (Jamot) with blistering leads and some melodic buzz thrown into the mix. “Into Me,” and “The Edge,” are chock-full of thick riffs and burning rhythms, while “CROI” shows RR have a gentle side too. (www.ruderooster.com)
– Patrick Conlan

Tiny Airplanes (Suburban Home) is an example of an increasingly rare species: a luscious, delightful pop album that steers clear of twee fluffiness or convuluted orchestration. Jenny Choi’s airy voice has the perfect timbre for her heart-rending stories, and the elegantly composed melodies often belie the lyrical content. The shimmering “Count To Ten” and the sadly beautiful “Ruin” are standouts on Sanawon’s debut. (www.sanawon.com)
– Patrick Conlan

Seventy Two Others, a duo comprising Jeremy Keen and Mike Reeb, offer five tracks of Americana on Hard To Find. The ballads “Jessica,” “Only Want You,” and “Falling Low” are well rendered, but Keen and Reeb are more entertaining on the energetic “Shoot.” The melodic title track puts them smack dab in classic Simon & Garfunkle territory. (www.seventytwoothers.com)
– Terrence Flamm

Metal guitarist turned acoustic songwriter Matt Schneider is not your typical unplugged type. His music is intricate, deliberate, and progressive and it is obvious that he is shooting for more than momentary pop song success. His three-song demo is moody and listenable and Schneider is highly skilled as a guitarist and ventures beyond the usual strum-and-sing territory so much acoustic music occupies. (www.mattschneidermusic.com)
– Mike O’Cull

The obvious hook to Isaiah Sharkey is that he’s a prodigious talent at the ripe age of 15. Accompanied by hs family (dubbed The Family Tree) for his solo debut Skyliner (O.I.E.), Sharkey demonstrates his talent playing both jazz classics by Wes Montgomery (”Fingerpickin’, “Roadsong”) and originals written by his father (”My Idol,” “School Daze”). His phrasing and pick-offs are meticulously timed, and his guitar acumen will only increase as he develops his own style. (www. sharkeyfamilytree.com)
– Patrick Conlan

Singer/guitarist Marcus Singletary proves he can handle frontman duties on his six-song Live At The Foxx. Able backing from a drummer and bass player allow this accomplished guitar soloist in the blues tradition to confidently crank out standards such as “Mercury Blues” and “Good Lovin’.” Singletary solidly delivers with original numbers “Can’t Ask For More” and “The Music’s Playin,’” even if they are a tad derivative of his covers with a calculated mix of blues and funk. (No contact information given.)
– Jason Scales

Chicago AfroPunk Network/SBC Productions draws upon its roster of artists for a variety of modern music on Texas Ballroom Massacre. Bushoong melds hard guitars with a funky female vocalist on “Get It Together” while Condenaba opts for straightahead speed metal and powerhouse singing on “War Eternal.” Other highlights include the lo-fi pop of The Strange Attractor’s “Black Hole Bubble Gum” and the pulsating industrial beat of Watusi Death’s “Mental Invasion.” (www.afropunk.com)
– Terrence Flamm

Maybe if world-traveler David S. Theroff assimilated the music from the countries he’s visited, he’d create a more adventurous CD than Mountain Memories. Most of the 12 songs offer philosophical musings set to basic acoustic arrangements, which can get boring. Theroff shows his true talent on “Tribute To Doc,” a nod to bluegrass great Doc Watson, and when he cuts loose on the melodic “All This Free Time.” (www.davidtheroff.com)
– Terrence Flamm

Though the band have an evocative moniker, sadly that’s the best thing about Vamplifier and their new 12-tune CD, Long Silent Longing. While each piece — from the blues-imbued “Snowdrift” to the Led Zeppelin-influenced “God’s Fools” — is passable, nothing really sets the songs apart from myriad other melodies. Fortunately, the trio’s musical aptitude is rock-solid, and with a mite more individuality the ensemble is sure to live up to their wonderfully suggestive name. (www.vamplifier.com)
– Jeff Berkwits

Released under the name The Wabash Kid, No Kiddin’ is a collection of 10 songs from the various projects of multi-instrumentalist Tom Brickler. The material is a cross section of country, roots, and folk (even a bit of electronic on “Why Kant I (reprise)”), and Brickler and his collaborators do them all well. Obviously an accomplished musician, Brickler’s delicate playing and soothing vocals serve him well on tunes such as “Paris” and “Good Old Days.” (www.midwesterlymusic.com)
– Trevor Fisher

A formidable addition to the local metal scene, The Waking play melodic, hard-edged metal on their self-titled, three-song demo. Imploring a fighting attitude, “Stand Up” builds to an explosive culmination of blistering guitars and howling vocals. “Graduation Day” is a slow burning cut with a Helmet-esque breakdown. “Underdog” features syncopated double kick drum and ripsaw riffs. (www.the waking1.com)
– Patrick Conlan