Local CD Reviews

Combining elements of Vaudeville, country, and classic rock in a time when every other new band on the planet either cites the Rolling Stones or Joy Division as influences, Bakelite 78 is distinctive to say the least. Armed with the unique and stylized vocals of guitarist Robert Rial and a one-of-a-kind brass section, track for track this self-titled full-length is charming and infectious. (www.bakelite78.com)
– Dean Ramos

Singer-songwriter (and sometime skateboarder/artist) Bobby Burg follows a consistent formula in building the 11 songs that comprise Superior Mold And Die: slowly building seemingly simplistic lines from instruments and other found loops into a wall of sound that he tops with his keening and oft’ off-key vocals of nursery rhyme-like free-association lyrics. The end result is a diverting, uneasy listening experience – somewhat akin to “Friends” character Phoebe Buffay’s folk singer performances, with all the wry insight but none of the laughter. (www.recordlabelrecordlabel.com)
– David C. Eldredge

Give The Bonnie Situation an A for earnestness for pursuing pure and simple unadorned rock on their three-song demo. While the chops and knowledge are clearly evident, one would like to hear clearer diction and phrasing in both the vocals and the playing, less static and repetitiveness from the drum kit, and a little more emotional exuberance overall. (www.bonniemusic.com)
– David C. Eldredge

Which Side Are You On?, the debut from Chicago newcomers Brother Lowdown, is a bit of an enigma. It opens with anthemic guitar and melancholy vocals that seem to be taken right from Secret Machines’ songbook and then proceeds to alternate between the brooding of The Cure to simple acoustic melodies that recall Goo Goo Dolls. Fortunately this eclectic mix makes for an extremely interesting debut that shows the diverse musical flair of the band and keeps the listener anxiously waiting to hear what’s next. (www.brotherlowdown.com)
– Carter Moss

Calling All Destroyers are a flat-out, full-tilt, raging rock ‘n’ roll band, and their latest EP, Hell Bent For Pleather, delivers the goods in a big way. Their sound is all about driving beats, aggressive vocals, and guitar solos that instinctively make you grab your invisible axe. Nothing too trendy or hip here, but that’s not the point. It feels good to rock, right? That is the point. (www.myspace.com/call ingalldestroyers)
– Mike O’Cull

One’s expectations can’t be too high when opening The Commodes latest, Flying Sausage. After all, the three “Chicago novelty rockers” are riding a giant, flying Oscar Mayer wiener on the album cover. Despite efforts to make us laugh with songs like “300 Pound Internet Girl” and “Electrical Pap Smear,” the artwork is about as entertaining as this joke band gets. (www.geocities.com/loscommodes)
– Joseph Simek

Droning, dissonant, lo-fi post punk avant-garde is the order of the day on Crush Kill Destroy‘s latest release, *Metric Midnight. Their non-pop sort of thing is interesting and appeals to the indie rocker in all of us, although they seem to be better guitar players than your average indie types and even display Sonic Youth-like creativity at times on standouts like “Walter Mondale” and “Offpoint.” (www.nokarma.com)
– Mike O’Cull

The track “Dorothy” alone on Cyan Dream‘s self-titled album sounds like a tape recorder was dropped at a party where everyone brought their own stereo and decided to play different albums simultaneously. While ingenuity is always an admirable quality in music, there’s something to be said about aimless schizophrenia. It’s hard to appreciate what Dream may think is an ingenious uncategorized sound, because the reasoning behind the combining of Michael Jackson’s “Smooth Criminal,” Metallica circa Master Of Puppets, and the Wicked soundtrack aren’t clear on a mix tape, let alone a single song like “Dorothy.” (No contact info given)
– Angie Maldonado

Sinner’s Intuition, the latest CD from veteran Chicago thrashers Enforsaken, is an eight-track journey into grindcore (“The Slain”), Slayer-worthy riffage (“Witness To The Fall”), and guttural vocal delivery on all tracks, from “Halo of Ruin” to “The Course To Oblivion.” Appropriate death metal imagery peppers the lyrics, and scalding – and extended – guitar solos and solid instrumentation show the band’s polished edge. (www.enforsaken.com)
– Jason Scales

Eva Hunter’s full-length effort, Thirsty, is a tricky title, if only for the fact it leaves the door open for commentary. Though appreciative critics might call it a thirst quencher, this particular one believes the record fails to fully satisfy, simply because the singer-songwriter spreads herself too thin. Rather than honing in on one particular style, Hunter dashes between country, orchestrated rock, and jazz without ever truly finding her footing. (www.evahunter.com)
– Andy Argyrakis

Casey Hess‘ easygoing way of crafting acoustic-based music on Long Live Tragedy results in a number of instantly likable tracks. Hess, who plays all the instruments on the CD in addition to singing, isn’t as gifted a lyricist, especially on slower tunes like “The Good Life.” His best work comes on the catchy pop of “Room With A View” and “Fatal Flaw.” (www.missionfromdog.com)
– Terrence Flamm

Human Motion capture the sultry jazz style that helped shape the original post rock movement birthed in Chicago. Songs move through unconventional passages with carefully arranged instrumental interplay. Punchy piano accents and swinging horns punctuate “Things As They Are,” while the soothing groove of “Peace Of Mind” plays out with a natural, relaxed ambience. (www.jeff greenmusic.com)
– Patrick Conlan

Year Of The Rich is only I Love Rich‘s third LP, taking their sweet time since 2001’s The Greatest Rock N Roll Album Of All Time. The riffs and vocals are very much like KISS, but the songs aren’t particularly memorable without knowing the titles and lyrics; who wouldn’t be turned on by songs like “If Loving Me Is Wrong (You Don’t Wanna Be Right)” and “What Every Woman Wants”? “Makeout City” is the standout, with chantable chorus and sweet f’n guitar solo. (www.iloverich.net)
– Penelope Biver

Lee-Prada Ent. Presents Neo-Soul(ed) Up, Jazz(erized) R&B Style, a compilation of locals from all three genres striving to make a splash. While some may be more talented than others, the disc is a relatively even representation of each association performed by mostly competent fresh faces. The most promising talent comes from Truism‘s four tracks, including the neo-soul smacked “Little Somethin’.” (www.rupure.com)
– Andy Argyrakis

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Category: Around Hear, Monthly