Local CD Reviews

Phil Avalos & The Quiet Lanes reel off 13 guitar-driven pop songs on Don’t Shake Me Up, but only a few are memorable. Singer-songwriter Avalos too often sounds like he’s working within a formula rather than from inspiration, and his lyrics tend to get repetitive. He needs to break free more often, like he does on the energetic “You Heard Me Punk” and “It Beats (Being Lonely).” (www.philavalos.com)
– Terrence Flamm

Chicago fusion guitarist Robert Baglione lets it all hang out on his latest release, Positive Charge. This is jazz fan and musician-oriented music, full of odd, funky grooves, long solos, and chops aplenty. There are also guest spots by heavy hitters like Victor Wooten, Bill Dickens, and Kirk Covington. Baglione has world-class guitar skills and will appeal to those who appreciate music for its own sake. (www.robertbaglione.com)
– Mike O’Cull

While many bands try to complicate rock ‘n’ roll, the brothers Braam know the value of keeping it simple — share stories over solid guitar hooks and you have the basis of a winning formula. Their debut proved a penchant for this, and their follow-up, Madela-ine, is no different. The intriguing part of Braam is the honesty of their lyrics — not content to simply sing about sex, drugs, and rock ‘n’ roll, they bare their spirituality seeking and discontent souls through tracks like “Evangelical Scene,” “Wheaton College,” and “Jesus Saves.” (www.braammusic.com)
– Carter Moss

Terry Breen plays a light-hearted, sincere brand of winsome folk country, displaying his skill with acoustic guitar, piano, bass, and percussion. We get more than a healthy dollop of his humor throughout A Near-life Experience as he sings the praises of “The Flatlands Of Northern Indiana,” his general worth compared to broadcast programming (”I’m Better Than TV”), and the perils of chores (”Housework Will Kill You”). It’s hard to take any of it too seriously, which is fine since this is little more than disposable ear candy. (www.terrybreen.com)
– Patrick Conlan

Performing as CFM, stalwart local rocker Jordan Macarus has unleashed a fresh seven-song demo dubbed CoyoteHeart that’s wide-ranging and genuinely winning. “Nostradamus” is a jazz-influenced, prog rock-style anthem, with “Ancient Radio” providing a tranquil, thoughtful interlude. Despite a somewhat monotonous vocal style, Macarus fashions a captivating musical mélange, interjecting blues and classic rock influences amid a foundation of high-quality, heartland-rock rhythms. (www.planetjordan. com)
– Jeff Berkwits

On their second release following the tragic death of bassist Chris Saathoff, the music of Chin Up Chin Up remains riveting and reflective. The self-titled disc contains nine multifaceted melodies, including the eloquent and elegant “For All The Tanning Salons In Texas” and the acoustic “Falconz And Vulcanz.” There is an underlying air of sadness to the collection (which also includes an evocative video), yet there’s also a haunting hint of hope. It’s a powerful and superbly poignant combination. (www.chinupchinup. com)
– Jeff Berkwits

Although indie dance rock has almost become a cliché these past few years, if there’s any new artist in the genre worth checking out, it has to be Coltrane Motion. On their debut EP, No Well OK Maybe A Little, moody guitars are combined with dancefloor beats and hip-shaking electronics to create some of the most inspired local rock ‘n’ roll heard in quite some time. (www.coltranemotion.com)
– Dean Ramos

Saxophone player D-Erania has made the rounds, from the WGN “Morning News” to the Expo For Today’s Black Woman to the South Shore Cultural Center. And like the assortment of those places, her latest album, Offerings Of Love, takes listeners on a trip through jazz, soul, R&B, and even South American aromas. Cuts like the lounge cool “Y.J.T.,” the old-school influenced “Song For Ari,” and the Earth, Wind & Fire-styled “Knuj” indicate well-rounded proficiency and prowess. (www.d-erania.com)
– Andy Argyrakis

Opener “(You Know) The Reason” from Dark Fog’s Cosmic Tone is an initial pleasing, welcome rush of psychedelic fresh air that whets the listener’s appetite. Alas, the same song (under different titles) appears repeated at least twice. C’mon guys, even the lamest acid casualty recognizes the need to change tempos and do more than merely repeat a few words to make a song. But credit their genius where it is due: brilliant closing cut “Caramel Covering” shows Fog are among the few who understand surf and psychedelia are but two sides of the same rock coin. (kevin@darkfog.net)
– David C. Eldredge

By combining formulaic rock with a punk rock mindset, The Dutchmen imitate the spectrum of hard rock, from Guns N’ Roses to Pegboy (they cover Pegboy’s “You Fight Like A Little Girl”). As a result, not much on the group’s five-song EP sets them apart from their guitar-worshiping peers. Cobretti’s best traits are that it’s short, to the point, and not too brutally derivative. Now, if only The Dutchmen’s local brethren would follow suit. (www.threat-records.com)
– Joseph Simek

The music of Chicago-based Egregor is as difficult to define as their name. Their sound revolves around a concoction of ’70s classic rock and ’90s grunge, with the low-range vocals seeming like merely an afterthought. Each song throws in the unexpected, which at very least sets Egregor ahead of your average predictable rock band. They just may need to realize their identity a bit more, and find vocals quality enough to match the riffs. (www.keytoegregor.com)
– Carter Moss

Most groups showcase their best work first, but the Fake Fictions have inexplicably taken a different tack. “Lasso The Moon,” the leadoff cut on Experimental Cheerleading, is atrocious, with off-key vocals and a boring beat. Fortunately, three of the four subsequent listed songs fare better, spotlighting a fun, infectious pop sound. There’s clearly talent evident, but the band needs to hone their musicianship (not to mention song sequencing) before they can truly be considered the real thing. (www.thefakefictions.com)
– Jeff Berkwits

The members of Great Big Noise do some serious jamming during the Americana songs on You’re Only As Big As The Noise You Make, and all five of these guys can sing. “August 21″ and “2 Cents” have a C&W feel, but Great Big Noise rocks out with “Thank You Very Little.” “Whirlygig Girl” is a fast and funny party song about a woman’s tall tales, while “Photogenic” taps into 1980s style pop. ((847) 977-0468)
– Terrence Flamm

Showcasing the variety of house, techno, jungle, and dub that resident DJs throw down, Fabric is releasing a mix CD through a monthly subscription. Fabric 21 comprises 18 songs collected by Fabric’s DJ Heather. Like most music of this ilk, it’s poorly suited for environments outside the club, but aficionados will probably appreciate the variety of artists, with the propulsive percussion of DJ Rhythm’s “Brazilian Soul” and the deep house of 2 Utes‘ “Bumpin The BQE” representative of the wide range. (www.fabriclon don.com)
– Patrick Conlan

Eclectic Chicago rockers Heavy Duty Felt’s fourth disc is more of a one-man show than ever. Lead vocalist Tony Gudwien plays nearly every instrument on every track. While his songwriting is original and his musical talent is acceptable, his vocals unfortunately leave much to be desired, sounding a bit like Bob Dylan on Prozac. The vocal-less “A Half Step” is a welcome respite, a galactic keyboard tune that entrances the listener. (heavydutyfelt@yahoo.com)
– Carter Moss

Ideas that look good on paper don’t always sound good on CD. The concept is simple: 10 people who have all played guitar for Joan Of Arc got together and drew names out of a hat to be paired up. Those pairs then recorded 10 tracks for a CD called Presents Guitar Solos. The result is a tedious, pretentious, and self-indulgent collection of mostly improvised and unnamed guitar duets that only those who participated in the recording could possibly enjoy. (www.joanfrc.com)
– Jason Scales

JC Jordan’s aptly named Come Inside — one loses track of how many times he “wants to come inside” in the lyrics in this seven-song effort — finds him earnestly and fairly competently singing and playing pretty much everything (save the drums) in this DIY debut. He has a rich, welcoming voice (especially on the double-tracked opener “No Safety”) and would probably be better served if he submerged and surrounded himself with like-minded and equally competent bandmates to fulfill his vision. (www.jcjordanband.com)
– David C. Eldredge

Just as the end of summer always conjures thoughts of back to school, The Kallikak Family’s May 23rd 2007 brings back college memories of dissecting “musique concrete” and endless hours splicing tapes in the, then only just barely polyphonic, “Intro to” electronic music lab. With most of the 13 selections — a mixture of found sounds, captured spontaneous musical moments, and calculated tones and guitar playing — flowing seamlessly one to the other, this is pretty much by-the-books modern minimalism, that’s not too heavy on the drone. It’s not surprising then that “Guitar 2″ sounds heavily lifted direct from Phillip Glass circa North Star. (www.tellallrecords. com)
– David C. Eldredge

Although What Can’t Be Said lacks instant gratification and memorable hooks, it does have solid tracks that showcase the creativity and talent of Low Rent. The 12-track album follows an alternative country rock model, as in “Austin At Sunrise” and “Maybe You’re Right,” but the band mixes in some mellow, somber rock-influenced songs, most notably “No Laughing Matter.” Nathan Chew’s sincere, at times rugged vocals and the occasional harmonica by Erick Friedman makes this album appealing. (www.lowrentmusic.com)
– Jill Haverkamp

Curtiss Lowe & The Reverb Kings is on the right track in presenting rough-necked rockabilly throughout its new offering, Now With Twice The Reverb. Like Reverend Horton Heat or early Stray Cats, the gang rumbles through biting barnburners “Indiscretion,” “Wishful Thinking,” and “Red Eyed Boogie” with dirty guitars, retro nuances, and lots of hi-fi attitude. (lowe@mc.net)
– Andy Argyrakis

Chaos kings Make Believe continue making jarring sonic collages on their latest full-length, Shock Of Being (Flameshovel). With barbed, scrawled guitar lines and Tim Kinsella’s raspy vocals that occasionally blow-up into harrowing howls, MB scrape and claw away at musical conventions that say melody, tight rhythms, and harmonic balance are good things. It only makes sense that noise guru Steve Albini recorded the project. (www.flameshovel.com)
– Patrick Conlan

Chicago hip-hop producer Maker creates his own music on Shooting The Breeze, a collection of 11 instrumental tracks, along with the anti-war song “Broken Promises.” Maker explores a variety of styles, including world and jazz, but he sounds best on the chill numbers like the nocturnal “Train Til’ Nowhere” and the seductive title track. (jeff@galapa gos4.com)
– Terrence Flamm

The 16 tracks on Masque’s Thank You are compelling, multi-instrumental jazz compositions with heavy blues, funk, and pop rock influences. The band’s mission statement is clear: to spread Christian theology through inspirational music. Perhaps it could be more effective by updating its sound and song library, as this album bears a 1999 copyright. (www.meekrecords.com)
– Jason Scales

In the wake of angst-ridden rap rock, pure happy pop is attempting to rear its smiling head, and Chicago-based May Or May Not hope to be at the forefront. Their debut makes a case for being a summer staple, with its straightforward pop hooks, slick harmonies, and simple lyrics. This five-piece outfit may or may not be breaking any new ground, but at least they are having a really fun time doing it. (www.mayormaynot.org)
– Carter Moss

NYC-based but Chicago-born guitar slinger/vocalist Ladell McLin delivers his high-velocity blues/rock style to the world on his debut Stand Out. McLin is an excellent guitarist, capable of churning rhythms and fiery solos, and is a decent singer, as well. He is, however, a bit overly influenced by the music of Jimi Hendrix, and as such, suffers a bit of an identity crisis. Hopefully with time, McLin will find his own sound amongst his influences. (www.ladellmclin.com)
– Mike O’Cull

The Flaming Lips meet The White Stripes meet Led Zeppelin is probably the best way to describe the distinctive sound that permeates Milk At Midnight’s self-released EP, Letter Bombs And Holidays. They go from moody and droning on the opening number (”The Boy That No One Knows”) to playful and light on the ever-so-mysterious bonus track. Other standouts include the Cure cover “10:15 Saturday Night” and the classic rock meets indie rock of “Satellite.” (www.milkat midnight.com)
– Dean Ramos

My Delusion is a self-described power pop band, but the four songs composed by vocalist Suzi Finn and guitarist Terry Polk on its self-titled demo come across as standard hard rock. Finn and Polk are energetic performers, but the melodic “Shadow” is the only song that stands out. Hopefully, My Delusion’s second effort, planned for the near future, will have stronger material. (De lusion2@aol.com)
– Terrence Flamm

A throwback to simple, soulful rock, River’s Burden peddle dark, swampy blues-based rock on House Of Burden. “Can’t See The River” is a taut, catchy number with bristling lead guitar and satisfyingly thick bass. Moody, trenchant musicianship carries the earthy “Lost.” They deliver crisp performances that hopefully will be highlighted on future releases with sharper production and a cleaner mix. (www.talentmatch.com/riversburden)
– Patrick Conlan

She Likes Todd plays high-speed punk on the four-song promo for its upcoming full-length effort, Falling Much Too Fast. “Boosty And Bob” blasts a woman who refuses to ditch her lout of a boyfriend, and the band also sounds pretty pissed off on “Two Faced” and “Blind Hypocrisy.” The melodic “Bad Fortune” finds She Likes Todd working in a more standard pop vein. (www.shelikestodd. com)
– Terrence Flamm

Earlier this year we said Dan Smolla’s Under The Rainbow was solid, but too busy. The same rings true for Smolla’s most recent effort, Sky Of My Mind, as well. Smolla is a truly talented multi-instrumentalist who can piece together some nice jangly pop (”Joe Strummer”), but too many layers of instrumentation and Smolla’s thin voice bog down much of the material. (www.dansmolla.com)
– Trevor Fisher

Chicago’s Atomic Mouse Recordings is releasing Sound In A Vacuum Volume One. This eccentric 23-track compilation features bands, singer-songwriters, hip-hop groups, electronic acts, a drunkabilly duo, and a spoken word ensemble from AMR’s archives and donated tracks. iGod’s “Vascongestion” is a trance journey intended to reflect the phases of physical love. The humorous “Drinking Song #18″ by Naked & Shameless features the pub-scene anthem lyrics, “Fuck last call!” Other distinguished songs are by White Ballaz, Mary, and Hedonists, Maybe. (www.atomicmouserecordings.com)
– Jill Haverkamp

Despite his punk pedigree as former frontman of Not Rebecca, Dave Lysien’s new band, Textbook, forsakes blistering sonic blasts for thoughtful, deliberate ditties. The group’s latest recording, The Great Salt Creek, brims with buoyant indie-pop paeans, most notably “Dear You, Dear” and the engaging “Find My Way Back Home.” A few of the 11 tracks bare hints of the songwriter’s loud-and-fast past, but even those numbers are surprisingly introspective, resulting in a varied and altogether entertaining effort. (www.listentotextbook.com)
– Jeff Berkwits

If you miss the gritty indie sound that used to be everywhere prior to the new wave revival, then you need Deconstructing Jim. Full of thick, chugging guitars, earnest vocals, and sharp melodies, The Further, The Better (Half Empty) is a throwback all the way to the mid ’90s. The fuzzy guitar crunch in “An Offer I Can’t Refuse” and the taut build up in “Fallen Comrade” recall an era before keyboards dominated. (www.deconstructing jim.com)
– Patrick Conlan

After performing more than 400 shows in 60 cities throughout the past two years, members of The Dog & Everything have grown incredibly cohesive and clean. The good news on Sound Off is the group’s tight performing and powerful production by the likes of Sean O’Keefe (Fall Out Boy) and Mike Zirkel (Garbage). But stylistically the group falls into the same crutch as Stroke 9 or Bowling For Soup, making for overly sanitized pop punk on cuts like “Losing You” and “Moment.” (www.thedogandeverything. com)
– Andy Argyrakis

That Kat Eggleston is an extremely accomplished singer-songwriter/guitarist is immediately apparent on her most recent 13-song collection, The Only Word — not the least of which as witnessed by her attracting equally talented side musicians (in particular mandolin player Don Shernberg). With neither burr nor brogue to her plain-spoken Midwest vocals, the Celtic influences come through as especially fresh. Unfortunately, there’s none of the loose vitality of a traditional evening “session”; that and the dark subject matter and bleakness/fear that shape much of the material overwhelms and ends up leveling the total effort as flat as the plains. (www.kateggleston.com)
– David C. Eldredge

On Foundation, Frequency Below certainly don’t shy away from flaunting their versatility as they ambitiously zigzag from rock to reggae and everything in between. Their output sounds most cohesive, though, when they go the playful yet chilled-out route like on “Monday Morning.” Here, lead singer Caroline Yohanan’s harmonious vocals coolly glide atop the trip-hop drum patters and easygoing guitar riffs and basslines. While this quartet is aiming to please as many listeners as possible, narrowing their focus a bit would only be beneficial. (www.frequency below.com)
– Max Herman

Jim The Mule are your typical blues-based bar band with dynamic guitar chops and just enough edginess to keep things mildly interesting. The lead guitar break on “Coal” showcases technical virtuosity that doesn’t sacrifice the momentum of the melody. They show their versatility with some pop (”Common Antecedents”) and jazz-tinged (”At Least I Tried”) numbers as well, infusing their self-titled debut with vitality. (www.jimthemule.com)
– Patrick Conlan

What sort of sound would you expect from a band who describe their music as “a metal-forming press operated by squirrels”? Well whatever you’d expect, that’s about what you get from Chicago-based Lozenge. They put the “experiment” into experimental rock. Their latest full-length release is an eclectic collection of offbeat drumming and grinding guitar riffs mixed together like the soundboard just threw up all over the studio. The few songs that do actually have lyrics can only be deciphered by reading them in the CD jacket. The million dollar question remains — are these guys for real? (www.mylozenge.com)
– Carter Moss

Lyric District may have been keeping somewhat of a low profile, but with their Souliliquies EP, more heads are bound to take notice of their spirited raps coupled with jazzy melodies and rich basslines. On this mini-album, MCs BanAlpha and mr.rha.gers spit both amusing one liners and more intricate wordplay while in-house producer Kenny Keys occasionally picks up the mic himself. And when he does, his husky-voiced street-level raps complete the subterraneous sounds of this promising trio. (www.lyricdis trict.com)
– Max Herman

Anyone into power pop melodies, alt rock guitar solos, and slight leanings toward the first British Invasion are likely to enjoy Musical Outfits‘ latest, Left Here. The foursome teamed up with Chris Steinmetz (Madonna, Kiss) at Chicago Recording Company and churned out meaty musings like “Routine Of The Dancer” and “Running In To You,” plus meaningful balladry throughout “All That You Are.” (www.musicaloutfits.com).
– Andy Argyrakis

The real question about a live album is whether the recording truly captures the essence and personality of the band beyond what they typically produce in the studio. In the case of Chicago classic rockers 7th Heaven’s latest release, the answer is a resounding “yes!” You won’t hear new songs, surprise covers, or much variation from the studio versions of these songs (mostly from their Silver collection), but you will hear tight, energetic live performances. They also provided a DVD with this release, so you can get the full heavenly experience. (www. 7thheavenband.com)
– Carter Moss

Shelley Short is a Portland transplant who is out to prove her voice alone is enough to carry an album. Her latest effort is backed by minimal instrumentation (shades of a banjo, bass, pedal steel, and piano), and there’s no denying her voice is genuine, tender, and sweet. Unfortunately, she lacks that extra something that has propelled other solo female singer-songwriters into the mainstream, like the ethereal quality of Dido or the passion of Jem. She falls just a bit short. (www.shelleyshort.com)
– Carter Moss

Popularity: 4% [?]