Veilside’s sophomore effort, This Time . . ., mixes Godsmack riffs with Sevendust grooves. It’s six-songs of modern rock with huge power chords, multi-layered vocal harmonies, and well-thought out guitar leads. Otherwise radio-friendly with a melodic, hard-rock edge, an odd cover of Kansas’ “Dust In The Wind” – with dual lead guitars swapped for the original’s violin arrangement – adds a galloping, Southern-rock flavor. Veilside possesses a true rockstar mentality and This Time is solidly hard-driving with attitude and spirit. (veilsideband.com)
– Kelley Simms

Just because Abstract Giants is billed as a hip-hop act doesn’t mean all its beats are based on DJ samples, loops, or programming. In fact, its self-titled long player is a full-band affair (think The Roots) that makes ample use of bass and drums, but also more unconventional instruments in the genre, like violins, banjos, and even a pedal steel, allowing these eight versatile players to stand out from the overly auto-tuned pack. (abstractgiants.com)
– Andy Argyrakis

The Assembly’s eight-track The Future Has Been Sold is worth getting together for. The veteran alt-rock band’s latest effort is slightly more pop-centric than past efforts without sacrificing the Cure/Psychedelic Furs pedigree. The guitar-driven songs are tight, an average of 3:30 in length, with just enough synth highlights, as on the catchy “Matters” and the bouncy rhythm of “Who Do You Need Now,” the latter made complete with chorus-like backing vocals. (theassemblyband.net)
– Jason Scales

Think of the last time – I mean the only time – you heard “I Gave My Love A Cherry.” Well, with this there is no guitar for Belushi to smash, because Andrew Calhoun sings it a cappella on his 19-track Grapevine. The solo artist has lovingly recorded his devotion to folk standards. His slightly gravelly crooning and acoustic-guitar picking are a warm throwback to days of yore: he sings the original four verses of “O Susanna” and ably tells the tales of “John Henry” and “Fifteen Years On The Erie Canal” in authentic busker fashion. (waterbug.com)
– Jason Scales

The title You’ll Not Take Us Alive is no idle boast. The Fisticuffs‘ 14 tracks bristle with high-energy punk delivered and traditional Irish folk instrumentation. These South Siders unabashedly embody the fighting Irish spirit, in tight instrumentation and lyrical content, proving they can hold their own against genre stalwarts like Dropkick Murphys. Whether it’s railing against discrimination, as on “Paddys Need Not Apply,” or telling an inspirational tale, as on “Young Ned Of The Hill,” it’s always rollicking and full of Celtic pride. (thefisticuffs.com)
– Jason Scales

Singer/songwriter Jennifer Hall revels in genre hopping, and there definitely is a lot to take in on her new full-length, In This. “Green And Blue” and “Oceans” are bona fide torch songs while “When We Were Good” offers a soulful rock approach that recalls Amy Winehouse and Duffy. Luckily, Hall possesses the pipes to pull this off, even when she’s raising the roof on the big production of “Like I Lie To You.” (jenniferhall.bandcamp.com)
– Terrence Flamm

Singer/guitarist Jeremy Keen’s engaging vocals can convey complex emotions as well as soar on Lock & Key, the latest effort from Jeremy Keen & The False Starts. The more energetic songs work best, particularly “Barnburner,” a prime example of Midwestern rock in the tradition of The BoDeans and Fire Town. “Brother” is the best of the slower tracks, thanks to Keen’s authentic portrayal of hard times and guest musician Bryan Meier’s pedal-steel guitar. (www. jeremykeen.com)
– Terrence Flamm

While Tsikago may not be a universally appealing flavor, it’s a true taste of world music. On the 15-song platter, Lamajamal provides original Balkan- and Middle Eastern-influenced melodies along with updated renditions of traditional tunes. Tracks such as “Oud Taxim” and “Jasmin Tea” aren’t overly distinctive, but all feature instruments like the santour and tambur in addition to familiar Western beats. In the end, it’s an accomplished but not terribly interesting or innovative effort. (lamajamal.com)
– Jeff Berkwits

Mission Man, a.k.a. Gary Milholland, conveys positive vibes through quick rhymes and jazz-influenced beats on his latest CD, liberty island. The better tracks, like “Starting Over” and “Living To The Rhythm,” paint a compelling picture of struggling to get by, but their message is diminished by Mission Man’s use of the same laid-back delivery throughout his music. He’ll need to light a fire under his vocals and vary his approach if he wants to succeed. (missionman.net)
– Terrence Flamm

Falling somewhere between folk and blues revival, Overman’s The Future Is Gonna Be Great practically has “WXRT” written all over it, so it’s no wonder the Plainfield-dwelling players have already earned airtime on “Local Anesthetic.” With equal shades of The Decemberists as The Black Keys, the four-piece band are poised to breakout of the burbs and become a key player in the future of carefully crafted indie rock. (overman.info)
– Andy Argyrakis

Punch Cabbie pound their way through the five-song Human Intrusion with macho/aggro vocals, calculated breakdowns, big hooks, crushing drums, and melodic leads and riffs. “Sin Eater” opens with down-tuned, fuzzy, guitar distortion and a big low-end rumble from punchy, thunderous drums. The band’s hardcore roots are displayed on “Bite Back,” including shouted gang vocals, while metalcore elements are present on “Big Oaks.” Punch Cabbie’s screamo/metalcore/post-hardcore cycle gets repetitive, but it’s dangerous with a dirty street sound. I can only imagine the pit rages at their shows. (facebook.com/punchcabbieband)
– Kelley Simms

Psychedelic/blues/rock trio Rosetta West play fuzzy and distorted riffs with heavy basslines on Racoon. It’s a short disc at 33 minutes for 12 tracks, and its recording technique gives it a ’60s-’70s vibe. Similarities to Grand Funk Railroad, The Guess Who (“I Don’t Care”), Simon & Garfunkel (“River Of Days”), BLS Zakk Wylde-ish vocals, and Robin Trower-ish songs “Bridge Of Sighs” and “Jack And Jill” (“The Temple”) are present here. The distinctive, hippy-like crooning of Joe Demagore gives Rosetta West its unique character. His raspy vocals are the perfect complement to the old-school space-rock jams. (myspace.com/rosettawest)
– Kelley Simms

Just when the first few moments of The Escapist lead one to expect a full CD of string-enhanced acoustic/trad folk guitar music, the Jason Seed Stringtet takes a serious and not surprising classical turn, seeing as its members hail from various local symphonies. Clearly, all are proficient players and guitarist/ringleader Jason Seed’s mostly original compositions successfully navigate the shoreline where classical laps teasingly into rock/folk/jazz. In this impressive sampling of the Stringtet’s breadth and scope, one is reminded of fellow traveler string quartet Ethel, yet thankfully Seed’s group is far less obsessed with classical music’s avant garde/experimental edges. (jasonseedmusic.com)
– David C. Eldredge

Symphonic-metal band Shield Of Wings play a mix of black metal and classical arrangements interwoven with metal elements on their self-produced, self-released EP, Solarium. The six songs consist of melody-based, keyboard-driven pieces that complement Grace Meridan’s elegant, operatic vocals and James Gregor’s aggressive growls. The “Beauty And The Beast” singing technique works without overwhelming or sacrificing the music’s heaviness. Nightwish, Epica, Delain, as well as Dimmu Borgir and Therion influences pop up, mostly because of the orchestral tones. Solarium’s dark, yet insightful lyrics go hand-in-hand with the music, mood, and atmosphere that the band create. (www. myspace.com/shieldofwingsrock)
– Kelley Simms

Terata’s Red Means Go, a three-track collection neatly marketed on a rubber bracelet USB device, is upbeat and peppy party rock. “I Made It All Up” and “You Are” each build to a relationship-gone-wrong chorus punctuated by crashing cymbals and power chords. The vocals, delivered Liz Phair-like, are mixed far too loudly, which is less of a problem with “Someday” due to its ballad style. (teratamusic.com)
– Jason Scales

When he keeps it simple (just him and his acoustic) and stays in the lower end of his vocal range on his seven-cut EP, Carol Streamer Troy Leif Thompson serves up his Americana originals most convincingly. Otherwise, Angels In The Attic’s not really pushing any musical boundaries and Thompson’s originals, while serviceable enough vehicles for him this time out, aren’t anything any other artist will jump to cover. (myspace.com/troyleifthompson)
– David C. Eldredge

Promising MC/producer Tizone may have titled his new album The Interpretation, but the tracks aren’t quite so committed to a single view. After an intro cut and opener where he establishes himself back in the game, Tizone switches course into playa/loverman mode for several tunes, and then weaves in and out of personalities for the remainder. It makes for a schizophrenic listen through the 18 songs, and ultimately bears the energetic, wanna-freak-ya side out. (tizoneonline.com)
– Steve Forstneger

Vapor Eyes has mastered the rapid-fire, hard-hitting rhymes fans expect from rap, but on his ambitious new CD, It’s Moving So Fast It’s Standing Still, he also incorporates elements of jazz, ambient, and gospel music. “Terra Incognita” sounds the alarm on global warming while “New Proof Material” delves into street crime. Space-age keyboards and sound bites add to the sense of intrigue on “Hypermart” and “Int3rlood,” while “Caressed By Sin” is smooth and seductive. (vaporeyesdj.com)
– Terrence Flamm

Chuck Maurer’s What Rebel began as a cover band in a west-suburban basement that eventually felt confident to move into originals. Tracks like “Rise Up” and “Time Is Running Out” force commonplace riffs and chord changes through a cardboard amplifier, which competes in the clasutrophobic mix with click-track vocal performances and A/B (sometimes just A/A) rhyme schemes. Clearly this is an act in its infancy – or maybe it’s several weeks premature. (reverbnation.com/WhatRebel)
– Steve Forstneger

With so many aged pop stars performing the Great American Songbook, it’s easy to dismiss Sometimes I’m Happy as yet another effort to rejuvenate hoary harmonies. Yet newcomer Amy Yassinger does something few old hands have accomplished: delivering genuinely fresh interpretations of classic tunes. “Slow Boat To China” and “Bei Mir Bist Du Schon” are standouts, but almost all of the 11 melodies are delightful. This is one artist who proves that what’s old truly can be new again. (amydoesjazz.com)
– Jeff Berkwits

Richard Anthony is much more gifted as a songwriter than he is as a singer throughout Connected Part One, an odd but occasionally endearing synth-pop project where 100-percent of the proceeds go to foster-children’s charities. Clearly he’s a noble guy capable of spinning several socially conscious tales, but a limited a range and hit-or-miss vocal effects suggest he’d be best penning tunes for already established artists. (richardanthonymusic.com)
– Andy Argyrakis

You’re never too young for hip-hop. Chica X, the 11-year-old rapper (real name Xiola Tapia), proves this on five new tracks. She drops simple rhymes over slightly muddy electronic beats and synth, just a few notches in quality above what one might reasonably expect at a family talent show. This is no knock on Chica X: she’s got skills, but sophistication, life experience, and better production value is what she needs most. Keep the name in mind so in a few years you can say you read about her here first. (myspace.com/chicaxrox)
– Jason Scales

While Korn’s new album uses dubstep to give its metal a fresh coat of paint, The Coop aren’t so hands-off when it comes to their proggy, jazzy shades. Internalize ventures from electric blues with drum and bass to Euro club synths and Bonnaroo with uncanny ease, rarely clunking into a mismatch and confidently cutting a path when none appears obvious. That said, tracks like “Space Cakes II” indulge themselves endlessly, usually at momentum’s expense. But it’s generally better to have too many ideas than none. (thecoopmusic.net)
– Steve Forstneger

Eddie Dixon seems to be a kindred spirit of Beck, not necessarily in musical sound but in one-man-band approach to creating music. The multi-instrumentalist ably exhibits his pop music/mad-scientist skills on the nine-song Skirmisher. Although a bit left-of-center in arrangement, the songs have a solid rock backbone made pleasantly quirky with Dixon’s high attention to detail. “Lucky” and “Kidnap Van” showcase this peccadillo with their layers of instrumentation and vocals, which are generally warm if not understated throughout the tracks. (eddiedixon.bandcamp.com)
– Jason Scales

Folksinger/songwriter Mark Dvorak’s fourth release, Time Ain’t Got Nothin’ On Me, features 12 originals, plus three live tracks. Dvorak’s songs about life, time, and age are delicately crafted with a familiar, folksy warmth. His voice conjures the spirit of Buddy Holly while he pours his heart and soul into the music. Various styles are on display here: hints of bluegrass, country & western-tinged songs with banjo and fiddle – good ol’ down-home folk ditties. His reflection on the passing of time is the major theme, though Dvorak shows that you can look back while keeping a watchful, hopeful eye on the future. (markdvorak.com)
– Kelley Simms

Brian Eaton’s Graphic Nature full-length is a one-man rock show. After spending nearly 20 years producing other bands, Eaton stepped out from the desk to write, perform, and record all the instruments and vocals as well as produce, engineer, and mix his debut. Eaton utilizes a vast range of styles with inspiring lyrics about the struggles of the human condition. Graphic Nature displays the tenacity of the Foo Fighters, the diverse proginess of Porcupine Tree, and the sensible pop qualities of The Fray. Eerie Queensrÿche-ish monster tribal drum rhythms, acoustic guitar, and prog synths open “Sobriety,” and a cover of Seal’s “Crazy” is pulled off surprisingly well, ultimately making it his own. Eaton is a multi-talented, multi-instrumentalist with multi-tasking abilities. (brianeaton.com)
– Kelley Simms

When you hit Frank Gondo’s Facebook page, you read that his employer is Gondo, his band. It’s an amusing detail, because were Mr. Gondo not canned from his straight job in this recession, the music could very well be on the backburner. The compression on his recordings inadvertently recalls early Bob Mould, but with cascading drum fills, layered acoustic and electric guitars, and mounting solos, joblessness has led Gondo to explore his inner classic rocker. A thick fuzz on tracks like “Intelligent Design,” however, make him fully modern. (reverbnation.com/gondo)
– Steve Forstneger

Stephen Pearlman, recording under the moniker Haberdashery, could be considered the poor man’s Owl City, though he’s been at it for longer. Pearlman writes and records his own electro/synth pop, and his fifth full-length release Tonight The Angels finds him continuing to channel Erasure as he uses his keyboard to explore themes of love and relationships. While Pearlman does manage to create some sweeping music from his electronics, unfortunately his melodies and choruses aren’t nearly as memorable as his counterparts. (haberdasheryinfo.com)
– Carter Moss

R&B diva Syleena Johnson’s scored a Grammy nomination and collaborations with Kanye West and R. Kelly, but she’s yet to experience superstardom. Chapter V: Underrated (Shanachie) might not possess the magic she needs given multiple routine soul stompers and basic old-school ballads, but a little duet help from famous friends like Faith Evans, Angie Stone, and Tweet should give the local some additional exposure. (myspace.com/syleenajohnson)
– Andy Argyrakis

Last False Hope is one strange mash-up of musical influences and worldviews. On the band’s debut EP, The Shape Of Bluegrass To Come, the music is hardcore/punk-inspired bluegrass, the vocals are straight from the reject bin of death-metal bands, and the lyrics are cynical and unashamedly anti-God (“Giving Up God For Lent,” “Drag Me To Hell,” “Dying And Diseased”). At least the band helps prove an adage – just because we humans can do something, it doesn’t mean we should. (lastfalsehope.tk)
– Carter Moss

With her sweet, soaring croon, Katie Luka exudes a soulful maturity beyond her mere 20 years. Deep, expressive emotion winds through her debut, No Blonde Country. Her languorous interpretation of “God Made Me” allows her to showcase a touching vulnerability while maintaining her strong tone. She makes a slight stumble in her choice to cover The Beatles’ “Let It Be”; her vocal performance is slick and inventive, but she does herself no favors reworking the arrangement and inexplicably including a flashy guitar solo. (katieluka.com)
– Patrick Conlan

Panther Style is in. The band’s 10-track album ¡Emergencia! oozes a cool, hip, urban rock vibe. The four-piece seems inspired by early U2, especially with the snare drum work on “The Instrumental,” or simple verse-chorus-verse structures, like a mid-1990s Sub Pop product, a la The Fastbacks. But the uptempo energy, tight songwriting, and female vocal harmonies are the flash to this style worth emulating. (pantherstylemusic.com)
– Jason Scales

Humor doesn’t get much darker than the morbid tales spun by The Royal Pines on their latest collection of psychedelic/country songs, Come Forth. The energetic “Open Your Face (Drink Alone)” depicts characters who are fun to drink with except for some homicidal tendencies. Frontman Joe Patt’s talky vocals almost evoke Steve Martin, especially on the paranoid punk of “All Wrong,” and the ominous country & western ballad, “The Night Before.” Definitely not for everyone, but often pretty funny. (myspace.com/royalpines)
– Terrence Flamm

Serengeti is the rapper for those who don’t like rap. His bouncy verbal acrobatics hopscotch over the cool grooves and ambient beat puzzles assembled by Advance Base and Yoni Wolf on Family And Friends (Anticon). Geti’s slick syllable surgery slices through the icy, skittering melody and throbbing deep bass in “Ha-Ha.” A glistening melody speckled with shoegazing touches, and M83-style drama is the backdrop for his fast-paced stream-of-conscious rattle in “A.R.P.” This is a more relaxed outing, but his passion and humor still shine through. (anticon.com)
– Patrick Conlan

Sex Unicorn brings all the raw ingredients needed for vintage speed metal to its self-titled EP, including a vocalist who howls and whispers with menace, and a wildly strumming lead guitarist. But the quartet adds a modern edge to its sound on “Riding In Cars With Boys” and serves up an impressively elaborate vocal and keyboards arrangement with “Methlab.” (sexunicorn.com)
– Terrence Flamm

Power trio Simple Simon (a.k.a. The Simons) is back from a 10-year hiatus to deliver its trademark rock ‘n’ roll on Attack. Its nine tracks will leave you out of breath from its crushing drums, shredding axe attack, and brash vocals that bash through repeatedly. This sixth album’s calculated punk vibe mixes with ’70s rock – Thin Lizzy style – for a great combination. It also throws the kitchen sink at you, too: prog-rock influences, stoner rock-isms, layered vocal harmonies, epic-sounding songs, acoustic and lap steel guitar, and some synth bits add to Simple Simon’s diversity. Attack really struts its stuff. Spread the word, “The Simons” are back. (myspace.com/simplesimonchicago)
– Kelley Simms

Armando Perez, operating under the moniker The Single Helix, wields his instrumental wizardry making Odd Czar (Dilligaf) an effervescent blend of trip-hop, crooked folk, and ambient bliss. “190″ is airy and anthemic, reaching for the clouds from the same launching pad as The Postal Service. For some dreamy escapes, follow the advice in “Take A Moment To Yourself” and drift away in the perfectly arranged acoustic guitar, strings, and softly harmonizing vocals, or get lost in the hazy thump-and-bump of “The Fire.” (thesinglehelix.com)
– Patrick Conlan

Fans of Bruce Springsteen-inspired ballads will find a lot to like on Dan Tedesco’s latest effort, Tracks On Fire. The singer/songwriter’s expressive vocals bring an authentic feel to the dramatic piano and guitar arrangements on the title track and songs like “Hold On To Me.” That said, Tedesco might actually be at his best on the more energetic “How Good It Feels” and romantic “Lookin’ For A Girl Like You,” where he adroitly blends melodic pop and country music. (dantedesco.com)
– Terrence Flamm

Promising MC/producer Tizone may have titled his new album The Interpretation, but the tracks aren’t quite so committed to a single view. After an intro cut and opener where he establishes himself back in the game, Tizone switches course into playa/loverman mode for several tunes, and then weaves in and out of personalities for the remainder. It makes for a schizophrenic listen through the 18 songs, and ultimately bears the energetic, wanna-freak-ya side out. (tizoneonline.com)
– Steve Forstneger

Vapor Eyes has mastered the rapid-fire, hard-hitting rhymes fans expect from rap, but on his ambitious new CD, It’s Moving So Fast It’s Standing Still, he also incorporates elements of jazz, ambient, and gospel music. “Terra Incognita” sounds the alarm on global warming while “New Proof Material” delves into street crime. Space-age keyboards and sound bites add to the sense of intrigue on “Hypermart” and “Int3rlood,” while “Caressed By Sin” is smooth and seductive. (vaporeyesdj.com)
– Terrence Flamm

Chuck Maurer’s What Rebel began as a cover band in a west-suburban basement that felt confident to move into originals. Tracks like “Rise Up” and “Time Is Running Out” force derivative riffs and chord changes through a cardboard amplifier, which competes with click-track vocal performances and A/B (sometimes just A/A) rhyme schemes for the single microphone. Clearly this is an act in its infancy – maybe several weeks premature. (reverbnation.com/WhatRebel)
– Steve Forstneger

Downers Grove-based Rollo Time, brainchild of singer/songwriter Jon Raleigh, carry on a tradition of smart Chicago power-pop blueprinted by bands like Material Issue and Green. Rollo Time occasionally tosses in more interesting elements of harder-rocking, obscure Brit-pop bands like The Boo Radleys and Thurman on Victims Of The Crown, their sophomore effort, recorded at Chicago’s Gravity Studios. As true connoisseurs of this genre, the band sound better when they stay away from Raspberries-style sugary pop overdoses. Harder-edged tracks like “Travel The World,” and “On The Ground” show Rollo Time at their power-pop best. (www.rollotime.com)
– David Gedge

Opening with a tape loop of a letter to “daddy” read by one of his Highlife band members, Jason Ajemian’s Riding The Light Into The Birds Eye quickly freefalls into ensemble playing sounding like an orchestra tuning up. It then vaults into an R&B shuffle that mashes into a soulful call response, whereupon “daddy” makes a return appearance before venturing into four more cuts of freeform improvisation. Your guess is as good as mine as to what to make of it all. (jasonajemian.com)
– David C. Eldredge

The Cash Box Kings play old-time blues with an infectious twang. Its roots – sewn into the band’s Blind Pig release, Holler And Stomp – combine the energy and spirit of the 1940s and ’50s Chicago blues and the ’20s and ’30s Mississippi Delta. The songs include covers of Ray Sharpe, Hank Williams Sr., and Muddy Waters, as well as solid originals that crisscross the blues with country music. Carrying on the tradition of Chicago bluesmen such as the Howlin’ Wolf, Jimmy Rogers, and Waters, The Cash Box Kings inject their own youthful exuberance into the scene. (cashboxkings.com)
– Kelley Simms

It’s fitting that singer/songwriter Paul Coady thanks the “pals who have hoisted a drink or two at shows” on the jacket of Driftin’ Years. He recorded the 11 straightforward rock songs with the idea of recreating the atmosphere of a live performance in a club. Coady’s at his best channeling The Stones or Bob Seger on the workingman’s lament, “Nothin’ For Free,” and on the opening track, “Show You How.” (paulcoady.com)
– Terrence Flamm

Having lost 100 pounds on Season Five of “The Biggest Loser,” Frankfort native Dan Evans took his re-found self-esteem and long weight-deferred dream of being a country music star to Nashville, hired/worked with some of the best local music heavyweights he could find, and – no surprises here – came away with a slickly produced, signature Nashville MOR country platter Goin’ All Out. While there’s no denying Evans’ musical talent and not inconsiderable writing gifts on the originals included here, there’s not a lot that distinguishes him from others out of the Music City assembly line. (danevansmusic.com)
– David C. Eldredge

Sam Fazio has quite a résumé: after graduating from DePaul’s School Of Music, touring the country, becoming a regular in Vegas, and finally returning to Chicago in 2009 to become a staple at The Drake Hotel (among other locales), Fazio also found time to record his debut. The Songs We Love, as the title implies, collects classic covers done in Fazio’s smooth, jazzinfused, easy-listening style. Some of the classics lose their appeal when Fazio gets his hands on them, but covers like “Time After Time,” “It Had To Be You,” and “Georgia On My Mind” showcase his extensive vocal talents. (samfaziomusic.com)
– Carter Moss

Jackson Bailey’s five-song debut EP, Theories, is a slice of Americana pop with country music flavor. The band’s collection of songs include singer PJ Anderson’s strong crooning, thoughtful lyrics, and a musical depth that goes far beyond the traditional folk/pop/country genre. Drums and production duties were handled by Steven Gillis (ex-Filter), who helps bring out the acoustic-tinged songs’ bouncy and lively flavor. Emotional crossroads are met on “Too Little, Too Late,” and “Throwing Stones” is a life-goes-on reflective piece. (myspace.com/jacksonbaileymusic)
– Kelley Simms

Back when we reviewed Darkness And Light, The JLDJ sprang up and reported that he’d also released three other albums simultaneously. Of Fight Against Pain and Dearfriendsasyouknowallisenergy, the former falls in his wheelhouse of offbeat indie rock and pop chastened by haunting voice processing and chilling industrial overtones, while the latter boasts semi-acoustic folk-pop with heavily miked vocals. The most interesting set, however, is Noise, which might have a self-effacing title but could actually provide a young filmmaker with a consistent score. Much of the elliptical guitar work would be suited for a science documentary, as JLDJ squeezes a lot of intrigue out of a few, simple themes. (nrrecco [at] fastmail.fm)
– Steve Forstneger

To the obvious comparisons to Leon Redbone, Randy Newman, and Nick Cave, permit this scribe to add Tom Lehrer. They’re all brought to mind by the collection of piano-centric originals Daniel Knox’s smooth baritone delivers on Evryman For Himself, in part owing to his dark if not outright curmudgeonly menacing lyrics. Excellent and judiciously arranged side support (with kudos to the two kazoo solos and was it a saw solo, too?) mitigates a certain sameness of Knox’s chording, making the Dixieland-ish vaudevillian mix an ideal absinthe-lounge booking. (danielknox.com)
– David C. Eldredge

Singer/guitarist Mark Doherty recruited an army of musicians to help record the latest effort from his band, Light Silver Automatic. There’s a variety of approaches on Reelsounds and a few of them result in generic, easy-going rock. But Doherty connects with the edgier “Ghosts” as well as with the quirky fun of “Hello My Fellow Insomniac.” The sparse but engaging “Terrace Drive” shows sometimes you don’t need loads of help to create a good song. (lightsilverautomatic.com)
–Terrence Flamm

Dave Lombardi & The Guilty Souls inject the country-folk idiom on Cherry Wine with twangy, quirky personality. Chunky doses of Americana spliced with some freeform jazzy elements kickstart “Syrupy Night.” The laid-back saunter of “Bad Habit” is spiced with peppery harmonica and Lombard’s delightfully crooked croon, and “Turn Around” is a lilting, pretty pop ballad. Lombardi and his crew pack a lot of detailed sound into these loose arrangements, and there’s a fresh spontaneity to much of the album that provides much of its charm. (myspace.com/davelombardimusic)
– Patrick Conlan

Brightly illuminated with delicate ballads and folk-inspired dream-pop, We Don’t Belong is an achingly gorgeous, accomplished debut album from Sara Masterson. Softly nestled in Luna/Cowboy Junkies territory, “Comes Of Love” rings with waves of chiming guitar and glinting keyboards, echoing the passionate yearning in her angelic voice. “I Write Your Story” floats on gently cresting keyboards sandwiched between glimmering guitars and softly pounding drums. Masterson’s control of those sorts of contrasts makes We Don’t Belong mesmerizing. (saramasterson.com)
– Patrick Conlan

Bobby Midnight & The Big Ordeals energizes its bluesy, classic rock on Knights Of The Octagon with a healthy dollop of NWOBHM, and irreverent joy. “Drop The Guns” has a hard-hitting rhythmic crunch and blazing leads reminiscent of Judas Priest’s heyday. “Stupid Love” hooks with a sugary melody and splashy drumming, and there’s a playful, fun-lovin’ mojo permeating the upbeat party blasters, “Gun- A-Do” and “Split Personality.” (myspace.com/bobbymidnight)
– Patrick Conlan

Born and raised in Chicago, Michael J. Miles is always looking to pioneer territory with his banjo. His fifth release, the instrumental LP Collage, finds him doing just that. Miles employs more instruments than ever, including flugelhorn, vibes, string quartet, and hand percussion. In addition to his seven new original compositions, Miles tackles the works of Dave Brubeck, Little Feat, Robert Johnson, and more. The highlight is “Crossroads,” a beautifully moving cover composed of simple banjo and horn (and one of the few tracks with vocals). (milesmusic.org)
– Carter Moss

Everything from alt-country to folk, jazz, reggae, and Latin flavors pop up across Modern Conversation’s EP About Time, but the foursome paints a bit too broadly. The band is best off in rootsy settings, which is when a plethora of classicsongwriter influences shine through. The band should resist the randomness of incorporating too many other genres. (facebook.com/modernconversation)
– Andy Argyrakis

Bryce Aubrey and Kevin Corcoran are changing the status of their relationship from “high-school buddies” to “bandmates.” Though one lives in New York and the other in Chicago, the two decided to put their collective musical skills together to record under the moniker Oy Vey. The duo’s debut, Botanical Curiosity, is an eclectic electric mix of prog-rock and electropop that has shades of Arcade Fire and Owl City. Memorable tracks like “Astronauta” and “The Verge” prove this pair could evolve to make a real mark on the electronic scene. (oyveyband.com)
– Carter Moss

“Lonesome Sound” cracks the lid on the Paper Arrows‘ latest, In The Morning, with a sunny melody and fluid piano spilling through the shimmering guitars. It’s a positive portend of what follows. Suffused with a laid-back vibe and Joe Goodkin’s vocal style, “Fading Days” instantly recalls The Counting Crows, while “Dry” shuffles along paced by a comfortable, country saunter. Sweeping, piano-driven ballad “Near” brings thoughtful resolution to the album after nine tracks of bubbly, adultoriented pop. (paperarrows.com)
– Patrick Conlan

Although he looks like he’s ready to tear into some serious shredding, and the title implies nothing more than an irreverent plea, Michael Anthony Putignano’s I Need Acoustic is actually wittily ironic; the album is flush with swelling, jangly anthems, emotional ballads of regret and loss, and sparkling, crisp pop tunes – all played on an acoustic guitar. “Kiss Me Before You Go” is a weepy ballad augmented with piano and sweeping melodramatic flourish – imagine the soaring catharsis of Snow Patrol unplugged. (myspace.com/throneofserpents)
– Patrick Conlan

Hard rock/metal band Rhino 39 was formed in 1993 from two former Chicagoland bands: Vicious Circle and Threat. After releasing several demos, their full-length debut is a compilation of their stronger demos. On Quarantine, the band conjure up great melodies, calculated vocal harmonies, and fiery guitar riffs. Similarities to Godsmack and Drowning Pool are noticeable, although not as polished or punctual. Quarantine serves up some raw angst with the right amount of melody to satisfying results. (rhino39.com)
– Kelley Simms

The one-man band known as 610 (comprising a mononymous singer/songwriter named Anthony) is becoming a regular on the coffeehouse circuit and also logged some performance time with Ronald McDonald House Charities. Blending acoustic and electric guitars gives him variety beyond the typical guy with a guitar, though his voice seems more primed for a ’90s grunge band than the role of a pensive troubadour. (610themusic.com)
– Andy Argyrakis

Just as “Mad Men” brings back the ’60s in all its black-and-white, grey-flanneled glory, the mastermind duo Charlie Newman and Jonathon Dexler behind Zootsuitbeatnick conjure the smoky coffeeshops populated by bearded/beret’d/bongoed hipsters of the same era via their mostly brief, sub-twominute spoken-word/free-jazz riffs that draw inspiration from sources as disparate as Beefheart and Rogers & Hammerstein (plus one 18-minute homage to Robert Fripp ) that puts the listener into a revelry similar to that from reading Samuel Beckett. (myspace.com/zootsuitbeatnick)
– David C. Eldredge

You don’t find many musicians revving-up their professional musical careers after 50, but Bill McAlister is that anomaly. With a voice that’s a dead ringer for Waylon Jennings, McAlister strips his country music down to its simple beauty plus a few outlaw-era blemishes along with his band I-57 South on Illinois Opry. McAlister sounds best on uptempo country-rockers “Between Silver and Grey,” “I-57,” and “Ideas In Your Head,” where his band can really get cookin’ behind his Scotty Moore influenced guitar pickin.’ (www.lanerecords.net)
– David Gedge

As the title implies, Dear Chicago Love Nashville is a winsome mix of Windy City angst and country-inspired soul. The August infuses its earnest, emotionally driven country-inflected pop with deep yearning, and sprightly melodies complement Jacky Dustin’s honest, heartfelt vocals. “Love Me Like A Stranger” is a sultry, but rugged invitation for rough lovin’, where “Things I’d Never Say” lingers with quiet remorse and regretful longing. The August strikes just the right chord with its perfectly balanced pop and twang. (theaugust.com)
– Patrick Conlan

Alt/punk riffs and big vocal harmonies bowl their way through Bruiser’s Bully For Flux. Not quite punk, yet not alternative, but most of the time rock – the combination of whatever the trio is certainly works here: booming drums, throbbing bass, dirty guitar riffs, a good mix of singing and screaming. Bruiser unleashes eight tracks of unadulterated power and energy to a brackish guitar twang. It’s simple and honest rock ‘n’ roll, done on its own terms. (myspace.com/bruisermusic)
– Kelley Simms

We all know those acts who become venerable institutions, hammering away with consummate musicianship and a loyal following, but never graduating beyond single-A ball. Cheer-Accident personifies that hard-working resiliency. Its latest, No Ifs, Ands Or Dogs, is a kaleidoscopic whirlwind of crazily skewed, quirky pop (“Death By Pollyanna,” “This Is The New That”), and Zappa-esque free-form dissonance (“Sleep,” “Salad Dies”). (www.cheer-accident.com)
– Patrick Conlan

Failed marriages – as common as they are – don’t have too many pop-music faces. Tammy Wynette sweetly cried while serving dinner, and Bob Dylan artfully held himself together. Gaberdine’s Mark Federighi prefers to come apart on When We Land. His bandmates try to console him with a Tindersticks-meets-National tapestry, but Federighi sings as if his heart has sunk beneath his stomach and can’t distinguish between rage, agony, yearning, or relief. Engrossing, compelling, and a little frightening. (gaberdine.com)
– Steve Forstneger

Tossing Gunnelpumpers‘ Symphonie Improvisé blindly into the player and the initial thought is that this is some sort academic, experimental music improv exercise and lo and behold the liner notes inform that the two piece were recorded live at Northwestern’s WNUR studios! Hard to describe the music that’s a little all over the place with tribal beats (played on a “dried frog-liver shake” no less) lots of bowed contrabass, electric guitar, and requisite electronic effects, but the second of two 20-minute explorations ended with a decidedly proggy raga finale. (facebook.com/Gunnelpumpers)
– David C. Eldredge

If you already collect bands on the Bullet Tooth, Southern Lord, and Deathwish rosters, do you really need to bother with Harm’s Way? Shit yeah, you do! Pick any track off Isolation (Closed Casket Activities) – “Scrambled,” Becoming,” or “Slither” – and you’ll be slammed with ferocious, hardcore barking and punishing, metallic guitars. But it’s not just mind-numbing breakdowns sandwiched between sloppy riffs; these songs are composed with roiling dynamic momentum and thrilling catharsis, and Isolation is well worth adding to your hardcore collection. (myspace.com/harmsxway)
– Patrick Conlan

Austin has become a four-letter word to people who regard South By Southwest as an overblown, hipster breeding ground. With a nameplate like How Far To Austin, you might think the band is mocking the hoops it needs to jump through, but the album Goodnight Madison doesn’t reveal any plans to play any Spin games. Instead, the coed, multi-ethnic septet plays astonishingly bright, if a mite professional rock and R&B. Free from posturing and affectation, the tracks portray maturity and instrumental skill with little agenda other than good, clean fun. (howfartoaustin.com)
– Steve Forstneger

For the past five years, Information Superhighway’s interjected a jazzy blend of progressive rock and ambient pop in the city scene, upping the experimental ante once again come This Is Not The Ending. However, the improvisational, long-winded nature of the EP suggests the foursome might be best to catch in concert, though “Soft And Not Knowing” and “Your Voice – Part II” at least provide a more accessible glimpse of their unconventional talents in the studio. (informationsuperhighway.bandcamp.com)
– Andy Argyrakis

If the “you” who’s the consistent target of KF Jacques‘ every advance, rebuke, and waking thought knows he’s talking to them, things must be pretty uncomfortable. While he holds his stare, Jacques prefers weighty synths peppered by syncopation and the occasional beam of life, and adheres reverently to a midtempo beat to underwrite his introspective flow. Despite the hip-hop influence, this is brokenhearted R&G – the “G” standing for grays. (kfjacques.com)
– Steve Forstneger

Kastasyde positively shreds on its six-song Poisoned, Ripped Off, And Lied To. Although not entirely original, “Despotical” showcases the band’s strength best: meshing crunchy thrash guitar and double-kick drum rumbling with keep-on-your-toes time changes. “Divine Evil,” with anti-religion themes, again uses the dual-vocal approach: guttural, heaving-hitting barks dominate, only to be tempered with Corrosion Of Conformity-style vocals, which actually better complement the band’s instrumentation. (myspace.com/kastasyde2)
– Jason Scales

Veteran psychedelic trio The Luck Of Eden Hall has an eternal obsession for the 1960s, and Butterfly Revolutions Vol. 1. (Vol. 2 will be released soon) could have easily come from that era. There’s plenty of variety amid the 12 mind-expanding tracks, from the energetic “Chrysalide,” with its references to “frolicking in the sky,” to the ornate “Queen Anne’s Lace.” The melodies are consistently inventive, particularly on the high-speed “She Falls Down” and tripped-out “All Her Seasick Parties.” (myspace.com/theluckofedenhall)
– Terrence Flamm

There’s a plaintive beauty to “Anyone,” the kickoff cut on singer/songwriter Carey Ott’s second full-length CD, Human Heart. Yet that’s simply the first of many earnest emotions expressed on the meaty 20-tune platter. While obvious influences include Peter Gabriel and The Beatles, the Midwest rock melodies – sometimes exultant, at other times poignant – are relentlessly fascinating and fresh. (careyott.com)
– Jeff Berkwits

Female-fronted indie-pop rockers Otter Petter twang, bop, and groove their way through their sophomore release, Nice Night For A Knife Fight. Taking the best parts of Blondie and The Bangles, Otter Petter blend infectious rhythms with sweetly layered vocal harmonies. At times, Amy Anderson will remind you of a young Debbie Harry. The nine delightful pop ditties that grace the CD have an ’80s new wave feel, but with a modern indie/alt edge. (otterpetter.com)
– Kelley Simms

After growing up on the South Side, Doug Rich enlisted in the United States Air Force and completed multiple tours of the Middle East. Upon returning home, he turned toward hip-hop as a way to express myriad emotions, which, alongside influences like 2Pac and Scarface throughout this self-titled excursion, yield a cliché-free, politically charged, and refreshingly positive artistic disposition. (myspace.com/dugrich)
– Andy Argyrakis

For anyone on the receiving end of road rage, St. Vitus Dance’s self-released debut CD, I Hate The Way You Drive, hits home. The Chicago alt/grunge-rock trio have fused the best parts of Nirvana and Alice In Chains on its 11 tracks, with vocalist Dave Martenson channeling his best Pat Travers, Phil Lynott, and Robin Trower. The opening bassline of “Something Closer” screams Nirvana. “Carry Me Home” is an explosive ’70s rocker with some bluesy, rapid-fire guitar leads. The Trower-ish “Bridgework” merges distortion and melody valiantly. Combining alt rock and ’70s classic rock with some bluesy licks and a sense of humor serves St. Vitus Dance well. (stvitusdance.com)
– Kelley Simms

“Embracing the darkness within” seems to be Sin MG’s official band motto. By that they mean groove-heavy guitars, arena-rock tunesmithing, and gothic imagery, all centerpieces on single “Vampire,” with its anthem “Let the clouds hide the sun today/hands of a vampire.” B-side “It’s All Over” echoes Stabbing Westward, with a heavier reliance on synth and other electronic embellishments. The two-piece features a melodic singing style that rides convincingly on top of layers of guitar tracks and instrumentation. (sinmg.com)
– Jason Scales

Well ma’am . . . the cryptic metaphors, over-driven bass, and unpolished guitar tone: it looks like you have an indie-rock band. All’s not lost for The Sweeps‘ The Terrible Children LP, however. Judging from the fingerpicking, controlled falsetto, and woven interplay, the band have talents that don’t need to be dumbed down for genre aesthetics. Those, and a kinetic, contagious enthusiasm, are a way out of this common infestation. (facebook.com/TheSweeps)
– Steve Forstneger

Team Band’s Vodka Thieves is a nonstop party that fuses punk and garage rock with comedic lyrics. Singer Greg Drama makes each song sound spontaneous, whether he’s describing drunken carousing, secret agents, or the cut-throat music biz. On “Not In Love,” he tells the married woman he’s having an affair with he needs cab fare home because, “Last week your husband ran over my bike.” The 007 tribute, “Bond,” and epic “Team Band Fight Song” are particularly clever. (jointeamband.com)
– Terrence Flamm

The mainstream songs on Verona Red’s Pound EP explore R&B, funk, and hard rock, while emphasizing harmony vocals and energetic guitar playing. “Kitchen Song” is a nostalgic blast that sports authentic doo-wop singing, and there’s more fun to be had on the Brian Setzer-inspired “Big Mean Boogie.” The band gets a bit bogged down on the heavier “Sweet Rose,” but quickly regains momentum with the melodic funk of “Sunday.” (veronared.bandcamp.com)
– Terrence Flamm

“Side One” of Interruptions, a two-part movement from garage-rock noise-purveyors We Repel Each Other, starts with a cacophony of non-distorted guitars that is joined by the busiest drums this side of death metal – the kind of messy pummeling style in which more = more. The vocal styling values mumbling, mental-patient outbursts. “Side Two” is more languid, but still builds to an antic display of guitar-string abuse. Three-track album Sussurra:Canta:Deride is less rambling and more linear in its song arrangement, but equally unhinged: sort of a Sebadoh-on- acid experience. “High Speed Rubbing” channels the band’s energy the best. (werepeleachother.bandcamp.com)
– Jason Scales

After kicking off his career as a straight-forward singer/songwriter, Kyle Andrews turns toward the dancefloor (channeled from his bedroom studio) throughout Robot Learn Love. Mirroring the likes of Cut Copy or a subdued Shiny Toy Guns, expect plenty of groove-saturated indie rock over lyrics of romantic longing and arrangements that switch from fluffy to futuristic and intimate. (kyleandrews.bandcamp.com)
–Andy Argyrakis

There’s a nice retro feel to Sun Rooms, the latest excursion from vibraphonist Jason Adasiewicz. It’s easy to imagine tunes like “Life” and “Rose Garden” being played in smoky 1960s jazz clubs, and all eight cuts, most of which are original compositions, are engrossing and energizing. Working with bassist Nate McBride and drummer Mike Reed, two other local jazz journeymen, the trio is musically ablaze, performing every number with panache and pizzazz. (jasonadasiewicz.com)
– Jeff Berkwits

The performances are adequate throughout Small Hours, The Rose Colella Trio’s debut, yet sadly they’re not particularly memorable. Crooning such standards as “You Stepped Out Of A Dream” and “Come Fly With Me,” vocalist Colella and her cohorts (guitarist Dan Effland and bassist Joe Policastro) introduce nothing fresh to the 11 familiar songs. She certainly doesn’t mangle the melodies, but with so many skilled chanteuses in the field there are simply better options. (rosecolellatrio.com)
– Jeff Berkwits

Stephen Becker, who performs – with a posse of backup players – as Le Concorde, offers an unexpectedly welcome innocence on his latest recording, the nine-song (plus bonus remix), new wave-inspired House. Each cut is engaging, delivering poppy power on the standout “Who’s Ever Gonna Feel Sorry For Us” and more reflective sentiments, coupled with infectious beats, on compositions like “Sometimes It’s Hard.” All in all, it’s an energetic, entertaining outing. (leconcorde.org)
– Jeff Berkwits

Female-fronted The Congregation delivers a classic/soul/R&B formula with a modern edge on its debut EP, Not For Sleepin’. Gina Bloom’s soulful and soaring vocals are sweetly executed on the seven tracks, bringing to mind Aretha, Tina, and Billie. The band plays tightly and is clearly skilled in its craft. Dirty blues-guitar licks, immense horn sections, jazzy piano interludes, and a righteous rhythm section add to the band’s great dynamics. A catchy, bluesified rendition of the Stooges’ “I Wanna Be Your Dog,” complete with a tasty horn section, is splendidly performed. Not For Sleepin’ is a modern attempt at old-fashioned, traditional blues. (thecongregationband.com)
– Kelley Simms

Exploding Star Orchestra is an ideal name for an avant-garde jazz ensemble, and the group’s new release, Stars Have Shapes, is an aptly volatile recording. The 50-minute CD has only four cuts, with two tracks – “Ascension Ghost Impression #2″ and “Three Blocks Of Light” – collectively accounting for almost 80-percent of the running time. Throughout the project, sections of dissonance masterfully mingle with moments of dynamism, showcasing the talents of all 14 members, capably led by cornetist/composer Rob Mazurek. (myspace.com/explodingstarorchestra)
– Jeff Berkwits

Armed with just as much garage rock as power pop and psychedelia, Go Time’s Hit It could easily be a product of the late 1960s if it wasn’t for the sound quality. Mastered by Mike Hagler (Wilco, Neko Case, The New Pornographers), the instruments pop in all the right places, while there’s plenty of contagious choruses that could’ve easily been in the company of The Zombies one minute and the 13th Floor Elevators the next. (myspace.com/gotimeband1)
– Andy Argyrakis

There are several songs about people coping with life’s challenges on The Love Show, the latest collection of well-crafted Midwestern rock from Dan Hubbard & The Humadors. A husband consoles his wife about their economic woes on the acoustic “We’ll Be Fine,” while the guy in the rocking “Beautiful Bar” finds relief in a few beers. “Don’t Take Me Now” and “All I Want Is You” are prime examples of Hubbard’s gift for creating engaging love songs. (danhubbard.net)
– Terrence Flamm

There’s a great Americana vibe to For Our Friends, the most recent recording from Just Married. Sounding very much like Alison Krauss, singer LiLach Bonanni brings heartfelt sensitivity to tunes like “One More Breath,” with husband Gary adding skillful guitar and percussion. The duo’s roots rock-inspired sound, which, based on their touring schedule seems to also play well in – of all places – Israel, offers nothing really new, but the 10 songs here are practiced and pleasing. (myspace.com/justmarriedtour)
– Jeff Berkwits

People familiar with Jonathan Rundman’s catchy pop songs may be surprised by the exotic instrumentals he creates with violinist Sara Pajunen as part of the Finnish-American folk duo, Kaivama. Their self-titled debut mixes originals like the ornate “Nonstop” and more energetic “Edina Speedtrap” with traditional folk tunes that evoke images of festive dancing. (kaivama.com)
– Terrence Flamm

The two brothers who comprise local indie-rock duo Love In October began making music together in a tiny bedroom in Sweden and, oddly enough, they allow both geographical influences to permeate their music. Half the tracks off the duo’s third EP (confusingly named Love In October II) are straight-forward indie rock, while the other half are Swedish dance-pop. Yet somehow it comes together and actually makes sense. Most of the songs aren’t compelling enough vocally, but the surprisingly advanced instrumental arrangements are convincing enough to keep the listener engaged. (loveinoctober.bandcamp.com)
– Carter Moss

On the first few cuts of its lushly produced Light & Shade, U.K.-based Magazine Gap (fronted by Chicagoan brothers Tim and Jason Keene) project a sound that brings to mind early Dire Straits crossed with The Hold Steady, before careening off into a more jazzbo, lite-FM vibe. Given the tear-in-throat, Mick “Simply Red” Hucknall vocals of front brother and chief songwriter Tim, the first option is the better choice for the future. (magazinegap.com)
– David C. Eldredge

Do a Google search, and it’s surprising how many Iranian-born flamenco guitarists show up in the results. Top among them is Mehran, who recently released Angels Of Persepolis, a 10-tune excursion exploring the dichotomy of ancient Persia and contemporary Iran. A handful of cuts, most notably “Ahriman (Buleria)” and “Yare Dabestani,” highlight the Mideast connection, but most are fairly straightforward flamenco. On the whole it’s a pleasant platter, but it would have been nice to hear more of a cultural fusion. (angelsofpersepolis.com)
– Jeff Berkwits

The Waking Visions Of Joseph, a 10-track CD from Joseph Messing And The Wisemen, is a revelation. Singer/songwriter Messing, a charismatic frontman, has assembled a tight band to conduct a clinic of alt-country/Americana rock. Seeming inspired by the likes of Buddy Holly and Johnny Cash – given a contemporary spin – the boys can rollick, as on “Rollin’ And Tumblin’,” build slow-burn tension a la “Push Push Push” and “Evil Won’t Do,” and tell epic tales of temptation and redemption like “Blakely Farm.” (josephmessing.com)
– Jason Scales

For some two decades, Janice Misurell-Mitchell has been one of Chicago’s pre-eminent new-music artists. Still, the nine tracks on her retrospective, Uncommon Time, are definitely an acquired taste. Most feature the artist performing her own works, with a few, including “Una Voce Perduta: In Memoriam, Ted Shen,” showcasing other players. Though it’s trying to listen to the collection from beginning to end, in bits and pieces it’s tolerable. (jmisurell-mitchell.com)
– Jeff Berkwits

Rapper Na Palm (Craig Steven Palm) specializes in booty-shaking, dance-club hip-hop on the expansive, 23-track Dirty Girls Like Dirty Beats. Non-stop partying, dance-floor shenanigans, and sexual conquests dominate, complete with the story of a girl with a “face like an angel and a body built for sin” on the (exploitive or empowering?) “Go Go Girl.” Na Palm’s braggadocio rap style – at times rapid-fire – blends well with his pulsating, and seemingly endless, electronic mix. (napalmlive.com)
– Jason Scales

Hailing from Stone Park, guitar-guru Randy Raatz decided to showcase his talent and passion for the instrument by finding himself a vocalist, forming his own band (aptly named The Randy Raatz Band), and recording together. The two-song Preying For Time isn’t long enough to fully showcase Raatz’s skills, but both tracks do hold a lot of promise. The music has a Santana-meets-Kings Of Leon feel, and fortunately Greg Anthony’s vocals are strong and authentic enough to keep up with his boss’ soulful electric-playing. (myspace.com/raatzx)
– Carter Moss

Save The Clocktower employs various methods for bringing a distinctive edge to each of the lush techno songs on its second release, Carousel. “Drip” opens with a flourish of synthesizer playing, and is infused with Middle Eastern rhythms. “The One Thing” uses vocal distortion similar to Tom Tom Club’s “The Man With The 4 Way Hips” in a sinister tale of stalking, while the shimmering “Far Apart” mixes ethereal voices and a club beat. (myspace.com/clocktowermusik)
– Terrence Flamm

American pop rock woven with a country twang produces a good aroma on the Voodoo Kings‘ six-track third release, Mileage. Songwriting is key to these Chicagoans, led by founder Michael Kranicke. The band stirs up memories of Pure Prairie League, Tom Petty, Afghan Whigs, and Wallflowers. The poppy jingle of “I Don’t Mind,” the slide guitar in “Talk To Me,” and the lush harmonies of “Compromise” bounce along nicely. The Voodoo Kings saves the best for last with “Strong Will Survive.” Its emotive vocals and inspirational piano complete a satisfyingly diverse album. A true taste of the Americana musical pie. (voodookings.com)
– Kelley Simms

Music-wise, Clara May’s debut CD, Hush, is a bit all over the place – which is perhaps a reflection of its chief singer/songwriters being first and foremost a filmmaker/corporate executive/grad student and religious/equal-rights activist/author, respectively. And while one can appreciate if not admire the band’s championing themes of social justice, self-esteem, equality, et al in its 10 original songs, the often range-strained/barely trained vocals and predictable arrangements/production undermine its well-intentioned efforts. (claramay.com)
– David C. Eldredge

Despite the varying geographic references on its debut, Broadway Subshop (whose first track is “Trip To L.A.”), Alligator Breath is pure Chicago-garage bred. The band’s sound is all over the map as well, ranging from Black Keys-tinged blues rock to alt-country to retro rock to underground acoustic. Some of the melodies hold some promise, but lyrically and musically, Alligator Breath still needs to find its identity, and figure out how to be more compelling. Expanding the ground forged on the first three tracks would get them headed in the right direction. (alligatorbreath.com)
– Carter Moss

Arctic Sleep has established itself as a first-rate droning/atmospheric rock band with the seven-song, 60-minute CD Earth To Earth, the band’s third nature-themed concept album. Droning, slow-burn instrumentals (like a sludgy version of Pelican) are a strength, with vocals used sparingly and effectively, most notably on “Destroying Angel.” The guitar-driven moods change as slowly as the seasons, with “Mold” blending seamlessly into “Winter Creeper.” (arcticsleep.com)
– Jason Scales

Of the two Nicholases who comprise Brontosaurus, one’s vocals bring to mind the timbre of a young Sting – though never would one liken any of the six songs of debut EP Cold Come To Claim to the reggae-beated pop of The Police. Rather, one might best characterize the duo’s offerings as melodramatic goth ballads whose at first profound-sounding lyrics in reality confound the listener as much as their head-scratching mélange of musical influences too myriad to derive much meaning outside of “eerie.” (brontosaurusmusic.bandcamp.com)
– David C. Eldredge

Brad Cole’s warm vocals give his alt-country outing Exile a laidback vibe, fully augmented by a host of backing musicians, pedal-steel guitar included. “The Hardest Part” features a mesmerizing mix of guitars and accordion, a testament to Cole’s history as songwriter. “Monster,” with its thudding bassline, stands apart for its blues-rock approach and foreboding lyrics. (bradcolemusic.com)
– Jason Scales

Metal and jazz aren’t natural bedfellows, but the fluidity and heat can make for interesting textures and contrasts. Conflux do an admirable job of blending the two styles on Spark. Jazzy tempos and shimmering, peppery tenor sax mingle with prog-inspired guitar pyrotechnics and nimble rhythms for some improvisational fireworks. That playful synergy is evident in the smoky, robust melody in the aptly titled “Fire Garden,” and pops in surprising twists and off-beat timing shifts in the hop-scotching “Stomping Grounds.” (confluxmusic.com)
– Patrick Conlan

Taking a break from suburban Downmind, The Cosmic Plethora Of Doom (a.k.a. Christopher Morris) crafts a fragile, lo-fi solo debut on Idle Tree. Exploiting cheap recording techniques, Morris and his instruments sit right on top of the mic in a way that makes most demos sound like Auto-Tune’d Euro club hits. Beneath this skin lies an even more delicate framework, with lyrics alternating from the confessional (“Scrabbled Hearts”) to the plainly obtuse (“Where Socrates Meets Psychosis”) as Morris’ voice routinely flouts pitch accuracy. (myspace.com/thecosmicplethoraofdoom)
– Steve Forstneger

The six-piece band Dastardly combines foot-stompin’ country & western instrumentation and elaborate vocal arrangements on their May You Never . . . EP, only to subvert them with reckless tempo changes and bizarre lyrics. The results aren’t always as funny as the band thinks they are, but the Everly Brothers harmonies on “Creepy” and the biting satire on playing the club scene, “Middleground,” are undeniably fun. The haunting “Morning Blue” is the closest these talented jokers come to doing a normal tune. (myspace.com/dastardlytheband)
– Terrence Flamm

Veteran studio singer Josie Falbo gets help from several local musicians while making the most of her debut on Southport Records. Covering traditional jazz, contemporary R&B, gospel, opera, and show tunes, Falbo’s versatility is particularly evident when comparing her sassy take on George and Ira Gershwin’s “Little Jazz Bird” with her reverent rendition of “Ave Maria.” She also performs her own composition, the jazz-flavored “Love Found Me (Just In Time)” with help from Linda Clifford on backup vocals.
(josiefalbo.net)
– Terrence Flamm

Don’t be dissuaded by the horrible cover art for I Nomoor’s Imaginemind (Façade). His sophomore effort is a cool collection of funky house beats, skittering percussion, and ethnic influences that inspires swinging hips and reflection. Sweet redemption and effervescent optimism are the themes in the slick, gently throbbing “Believe.” Smooth R&B flavors the spoken-word, left-wing social commentary in “Insanity Blues,” and he keeps the social-conscience fires lit with rhythmic flash in “Séance.” (myspace.com/inomoor)
– Patrick Conlan

Definitely a disc for drinking in (as opposed to drinking to), drummer Sean Jelinek’s first CD, Common Tones, is a pleasant though in no way pioneering jazz project. “San Germán” is a highpoint, offering a faintly martial drumbeat underneath appealing brass and keyboards. Each of the 10 instrumental melodies is multifaceted and meaningful, though a few of the more lengthy cuts meander. All the same, it’s a noteworthy debut. (seanjelinek.com)
–Jeff Berkwits

The former leader of Denver’s The Kirkpatrick Project is now centered in Chicago and steering solo throughout Naps & Nightmares. Throughout the 10-track collection, Wes Kirkpatrick takes cues from the singer/songwriting stylings of Martin Sexton crossed with the organic, jammy appeal of John Butler Trio, thankfully trading in that latter act’s preference for a laid-back and endearing porch-pop attitude. (myspace.com/weskirkpatrick)
– Andy Argyrakis

Singer/guitarist Dean Milano’s expressive vocals reflect decades of performing folk music. An author as well as a musician, his tales of loners, truck drivers, and late-night hitchhikers on Something To Think About ring true and often have a dose of humor. “I’m Proud To Be Ignorant” is like shooting fish in a barrel, but Milano crafts sharper satire on “Musical Chairs” and the title track. Throughout the CD, there’s a sense of Milano carrying on a rich tradition. (toys-n-cars.com)
– Terrence Flamm

The six songs of former Kansans/now Chicagoans The Noise FM’s Enclave carom between sounding like a more restrained, much less proggy Muse and less glam, toned-down Killers – which is a good thing to these ears. If only these six originals were a bit more interesting, a tad less repetitive, and had more lyrics like the third cut’s “Of all the mistakes I made/The best was you.” (thenoisefm.com)
– David C. Eldredge

Obisoulstar looks like you wish Stevie Wonder had sounded at any point during the past 30 years, and the title of SoulRockinRolla seems to mean as much. He gets off to a rocky start with the Kravitz-esque title track, but then he’s on a multi-genre bender that doesn’t shy from ambient electronics, reggae, and synthy funk. The nine-minute halfway marker, “Pisces And Scorpio,” does all it can to rein Obisoulstar in, but, after a quick slow jam, he adds a sister-like coda to Outkast’s “B.O.B” (calling it “High Society”) and then spirals off into space. (obisoulstar.com)
– Steve Forstneger

Chicago-based prog-rock quartet Oro want to start your day out with a bang. Their debut, Novus Oro Donum, is jam-packed with powerful guitars and angst-ridden vocals, but is unfortunately missing memorable melodies. The band have wisely borrowed a few pages from the musical stylings of System Of A Down and Rage Against The Machine, but not nearly enough pages, leaving their music lacking the conviction and substance of either. (myspace.com/oromidwest)
– Carter Moss

Rego is Rebecca Rego and her musical compatriots, and on All These Bones And Us (RWIM) they create a concise EP of simple, fragile beauty. These songs are deliberate and plain (in a good way), with a sparse, acoustic framework accented with light, wispy strings. There’s a weary romanticism percolating through the fragile “Northern Star” and the upper register of her voice glides smoothly against her precise plucking in “Believe.” (rebeccarego.com)
– Patrick Conlan

Cast in the tradition of Elvis Presley, Buddy Holly, and The Everly Brothers, The Sheryl And Tom Duet & Friends sound like they could fit right into a “Happy Days” episode throughout Just Dance. Though the sounds swing between rock, blues, and ballads, the male/female harmonies simply aren’t appealing, sounding either a step out of sync or downright awkward. (sherylandtom.com)
– Andy Argyrakis

Uncertain Light (Southport) gathers diverse pieces from composer Kurt Westerberg into a capsule that highlights his versatile and expansive range. Westerberg masterfully arranges the interplay of the tone and timbre of the piano and violin in “Fantasy.” He capitalizes on the resonance and harmonic balance of the DePaul University’s Wind Ensemble, especially the sparkling lilt of the flutes, echoing against rich oboe and rumbling percussion in the “Concerto For Wind Ensemble.” (chicagosound.com)
– Patrick Conlan

Lyrical, if edgy note-phrasing binds the originals and covers on blues-rocker Joe Becker’s Hot As Love. The instrumental, stripped-band recording vacilates from open-nerve rawness (“Nightshift”) to a demo quality that could stand some polish (“Who Do You Think You Are?”), which poses a lot of questions about the intention of this release. If it’s simply to showcase Becker’s fretwork, the job is done. He never shows off yet reaches out of his comfort zone, and still finds he has room to grow. (www.joebeckermusic.com)
– Steve Forstneger

In timbre/tempo, one might liken John Bartl’s vocals on his 12-song DIY CD Finally to Gordon Lightfoot; alas, there is no way anyone would confuse his original compositions with those of the Canadian master, as the lackluster lyrics are a direct reflection of the mundane subject matter. While Bartl clearly has admirable song structure/production aspirations and seems adept with a number of instruments (or their digital equivalents), it all gets a little too samey (indeed on first listen the 12th cut sounded like a reprise of the first) and at times too emo to distance itself from the pack. (myspace.com/johnbartl)
– David C. Eldredge

After fronting underground bands like Southern Exposure, The Blue Zombies, and The Duncan Fish Speakers, singer/songwriter Judson Brown goes solo for Day By Day. With an acoustic guitar in hand and country/blues-infused backing band, he blends straight up rock ‘n’ roll with some Southern charm, though the disc as a whole sounds like a watered-down version of Kenny Wayne Shepherd or Jonny Lang. (www.judsonbrown.com)
– Andy Argyrakis

Crawpuppies aim high on their second CD, World’s Much Bigger, with 14 songs that cover topical issues as well as romantic relationships. Lead vocalist/guitarist Chad Clifford has a classic voice that evokes Ian Hunter, and his well-crafted lyrics consistently hit the mark. His only misstep comes on the over-dramatic “So Mundane.” The musicianship is also top notch, whether it’s the power pop of “Owe It All To You,” the hard rock of the title track, or the acoustic and touching “My Wife.” (www.crawpuppies.com)
– Terrence Flamm

If The Diemakers were hoping to attract some attention with the CD title Assault All Your Senses, they succeeded, though even more alluring than the moniker is the music contained therein. Crossing classic rockers like Cream and The Who with bluesy indie favorites Kings Of Leon and Spoon results in a compellingly gritty collection, wrapped around the whipsmart production of Jim Diamond (The White Stripes, The Sights). (www.thediemakers.com)
– Andy Argyrakis

Mixtapes from unestablished artists have less leeway for fooling around, so Edbrooke’s free offering, Release The Kraken, suitably omits a lot of filler. It still manages to scatter bullets in a number of directions, from the recession-fueled uncertainty of “Break It Down” to the club-rat whoring in “Peanut Butter Fresh!” He doesn’t mask his scrappy flow with Auto-Tune or too much double-tracking, which helps make the biographical nature of his lyrics sound more honest. There are still some kinks to work on for individuality, but not a bad start.
(www.reverbnation.com/edbrookedagee)
– Kevin Keegan

Hard to believe it’s been two years since jazz trumpeter Brad Goode’s last “AH”-submitted CD knocked us out, but we recognized his sound immediately as he did it to us once again with his latest, Tight Like This. Only this time he offers up more of his own originals in addition to some impeccable jazz classic “re-inventions.” In short, Goode’s playing eschews the clichés and is well-matched by his hand-picked “dream” trio, which never takes the easy route when the risky one makes the ensemble/song sound better. (www.bradgoode.com)
– David C. Eldredge

Somebody didn’t take their happy pills. Formed on Halloween (of course!) five years ago, Chicago-born Illusions Fate is everything you’d expect a goth/death-metal act to be. There’s the creepy CD cover, the dark song titles (“The Dying Anthem,” “Blood Greed,” and “Angels Of Slaves” just to name a few), and the blood-curdling screams inter-mixed with the brooding growls on every track. The band does show a few bright spots instrumentally and does prove it learned a little something from ’80s metal, but if you’re going to listen to The Ghost Of Maya, make sure the wife and kids aren’t anywhere nearby. (myspace.com/illusionsfatemusic)
– Carter Moss

Though they never get in the way of the melodies, Mumble don’t quite need the labrynthine overdubs populating Happy Living. A breezy power-pop album at heart, chiming acoustic guitars, spectral background vocals, and twinkling piano melodies all vie for air in an increasingly claustrophobic mix. A clear tendency toward guitar solos says a leaner vision drives the band, but Mumble attempt to indulge all their whims in this classic rock/chamber pop tug of war. (myspace.com/mumblemusic)
– Steve Forstneger

Sam McAllister and Megan Frestedt of the duo Project Film meander into their debut Chicago, which sort of chronicles their move from Minneapolis to our town. The music becomes more focused as the CD progresses, with McAllister playing all the instruments and crafting easy-going duets with vocalist Fresdtedt. “Sound Sleepers” and “Sun” have a delicate beauty while McAllister’s electric guitar gives “Art School” a harder edge. Overall, Project Film succeeds as a more indie-sounding version of She & Him. (myspace.com/projectfilmmusic)
– Terrence Flamm

A singer/songwriter who plays guitar and fiddle, Jessica Rae also has an appealing voice that evokes Sheryl Crow or Laura Nyro. The title track is the strongest of the five songs on Ruby Red, as she combines Wizard Of Oz imagery with a playful country & western arrangement. The beginning of “Hello Chicago,” which features Rae singing and strumming an acoustic guitar, showcases her talent better than when her music becomes more cluttered with various instruments. (jessicaraemusic.com)
– Terrence Flamm

Through the raspy snarl of Arctic Monkeys, Seafarer don’t hide their discontent on Hiding Places. There’s a minimum of instrumental fussing, so vocalist Patrick Grzelewski theoretically has all the space he needs to vent against oceans and such. He’s more fond, however, to use his pipes to croon, which he does with a heavy vibratto on “The Yeti” and “Functional.” Elsewhere, the band evoke Spoon, Arcwelder, and even – on the strangely opulent “Watch It Flood” – Led Zeppelin’s “Ten Years Gone.” (seafarer.bandcamp.com)
– Kevin Keegan

Unlike the S.S. Minnow crew, veteran power poppers Three Hour Tour run a tight ship on Looking For Tomorrow. Darren Cooper’s voice would be choice for a Matthew Sweet impression, though a taut, chugging cover of The Who’s “Heaven & Hell” suggests heavier, more classic aims. Cooper (ex-Big Hello) and his cast of conspirators (Brad Elvis, Adam Schmitt, Paul Chastain) are careful not to mar their professionalism with overbearing perfectionism, but aren’t afraid to let their melodies throw a punch. Champaign-Urbana ain’t off the map, yet. (martianrecordingcorp.com)
– Steve Forstneger

Motorhead seems to be the muse for Thunder Driver on the band’s 11-song Atomic Rock, especially evident on “The Bronski” with its gruff vocals and high-octane tempo. Hard-charging, guitar-driven rock circa the late 1970s abounds. “Night Of The Gypsy” and “Devil Went Down To Alsip” are what AC/DC would’ve sounded like if they hailed from the mean streets of the south suburbs. (myspace.com/thunderdriver)
– Jason Scales

In just six songs, Automata packs an atmospheric soundtrack in its debut EP. Microcosm is a genre-defying pastiche of psychedelic guitar, swirling keyboards, and shuffling rhythms supporting Rachel Sarah Thomas’ soulful crooning. Reggae-inspired beats pulse behind the plinking guitar figures in “The Traitor,” and blue-eyed soul collides with light electronics, as melodies morph together in the kaleidoscopic “Throwback.” The album’s cohesiveness is a testament to the articulate tunesmithing, and the band is generously offering free downloads on its Web site. (thisisautomata.com)
– Patrick Conlan

The one-time member of hip-hop collective All Natural turned solo artist (and sports attorney/author/speaker by day) Cap D goes back to his mid-’90s roots on PolyMath. Though some songs sound dated at times, most of the disc is a free-flowin’ throwback to groups like Arrested Development and The Fugees, crossed with a decidedly Chicago flair that will likely sit well with fans of Twista and Lupe Fiasco. (allnaturalhiphop.com)
– Andy Argyrakis

As slick purveyors of ’80s-style dance-oriented pop/rock, Dot Dot Dot nail all the requisite elements with panache: steady 4/4 beats, smooth synth lines, and big choruses. “Around The World (And Back)” and “Stay” from EP II certainly recall Wham-era synth pop, but “Hold You Tonight” reaches soaring heights with the type of dramatic, swelling orchestration that would make Snow Patrol proud. (dotdotdotonline.com)
– Patrick Conlan

Power trio Even Bigger cranks out a half dozen high-energy songs that tap into The Clash and Ramones on its In Actual D EP. “Hold Up” is a cautionary tale about robbing people with your girlfriend, especially when her itchy trigger finger points toward you, while on “Breathe,” it’s the boyfriend who has homicidal urges. Guitarist/vocalist Matt Myers, bassist/vocalist P. Matthew Hart, and drummer Ray Losch keep the adrenaline pumping, particularly on the raging “Wrong Again.” (reverbnation.com/evenbigger)
– Terrence Flamm

“And you ask yourself a second set of questions/on this snowy mountain,” Gypsyblood idyllically paints at the onset of its debut, Cold In The Guestway (Sargent House). And you think to yourself, if there’s snow on the ground, why are my ears melting? The duo’s penchant for torturous guitar outbursts, and haunting, Jesus & Mary Chain pace is about as picturesque as a landfill. Despite the violent EQ, the band occasionally play for laughs, including what sounds like a mockery of The Rolling Stones doing Delta blues. (gypsyblood.net)
– Steve Forstneger

Carl Hauck writes delicate but engaging acoustic folk brightened with strings, piano, and horns. Windjammer’s brightly produced sound glistens with AOR-friendliness without smothering the songs with excess polish, and Hauck’s voice is given ample headspace to leave a lasting impression. A spark of electric guitar amplifies the piano and acoustic bass in “Coming Away,” and “Coffee On The Rocks” elegantly documents the doldrums of grinding through the plodding monotony of Office Space-style work. (carlhauck.com)
– Patrick Conlan

Hogtown Packing Co. shows a varied repertoire of upbeat, freewheelin’ rock with a healthy helping of bluesy, barroom swagger, and a dash of boogie-woogie soul on their self-titled CD. “Salvation” smacks of ’80s metal with chunky power chords, fiery solo leads, and invigorating rhythmic punch. “Send Me Back” features acoustic guitar strumming layered with silvery licks that blossom into a cathartic climax, and the sun-drenched melody inspiring the wanderlust in “Mexico (TDS)” is perfect for summertime escapism.(www.hogtownpackingco.com)
– Patrick Conlan

Chicken On A Bicycle, the second effort from Hop On Pop, holds up well considering guitarist Todd Leiter-Weintraub confesses to having “indulged every little whim and odd thought” in putting it together. There’s plenty of genre-hopping, from the harrowing acoustic tale of an abusive husband on “C’mon Angel” to the new-wave silliness of “Here.” Leiter-Weintraub gravitates toward the absurd, particularly on the acoustic “Sheila Of The Worms.” (hoponpopmusic.com)
– Terrence Flamm

Attempting to follow in the footsteps of successful acts like Evanescence, Flyleaf, and Hole, Losing Scarlet’s eponymous debut delivers a full serving of female-fronted metal. While it’s a decent try, unfortunately Jodi Kell’s vocals don’t carry the passionate aggression of Courtney Love or the ethereal sweetness of Amy Lee, and the power chords beneath her are solid but not memorable. Softer moments like “Lacerate” and “Foresaken” are what end up most clearly showing both Kell’s and the band’s potential. (myspace.com/losingscarlet)
– Carter Moss

With the blistering pace of his solos, Bill Lubera doesn’t give much time to heed his Global Warning. Of all the threats this 10-track, instrumental-guitar offering points to, only one or two can’t tied to the carbon footprint of Lubera’s overdriven amplifiers. The blinding assault can be a little too choreographed and precise, but maybe that’s necessary when building music you want to endure. (billlubera.com)
– Steve Forstneger

It’s What’s Inside That Rocks goes back 20 years to when guitar virtuosos were not only making records by the bucketful, but selling them that way. Lyden Moon certainly has the chops to run with those old horses, never sitting too long on an idea before whipping out a new trick. There’s little melodic payoff, however, and the few repeated themes are glued to either the core riff or chord changes. Because of that, Moon’s guitar soars but it rarely sings. (lydenmoon.com)
– Steve Forstneger

The first lyric on the opening track to Pet Lover’s 10-song Oblivion boasts, “I used to chew Bubbalicious.” The statement, and peppy tempo of the song “Alicia,” is pure bubblegum rock. The band generally stays true to this style, with guitar-driven songs highlighted by melodic crooning and occasional piano and saxophone. Pet Lover takes one surprising hard-edged turn on “Detriot,” declaring “You can’t make me go back,” and ending with “Fuck you, Detroit.” (petlovermusic.com)
– Jason Scales

As the group’s moniker implies, Random Touch jumps all over the map throughout Reverberating Apparatus. With influences spanning the jazzy Miles Davis and Weather Report to the tripped-out Frank Zappa and the lush art pop of Roxy Music, it’s certainly hard to peg the players, but also equally frustrating to hear all the seemingly divergent influences on top of one another. Though the guys are no doubt proficient players, the improvisation and experimentation would be best suited for the stage rather than repeated CD listens. (randomtouch.com)
– Andy Argyrakis

The Rockin’ Ace’s “Hello Rock ‘N’ Roll” 45 single and the comic strip it springs from are both created by musician/artist Slink Moss. A former member of The Farmers, Moss continues in a similar roots rock/1960s vein on this fun, guitar-driven party tune, as well as on the soulful and more subdued B-side, “Light A Fire With Desire.” (slinkmoss.com/Legends.html)
– Terrence Flamm

Claiming itself to be “not a cover band, but a concept band,” Scalding Lucy at least earns points for originality. The duo (BJ Cox & Lucille Balls) creates an eclectic mix of mash-ups and original songs on its debut, In The Sky With Diamonds, that is very high in creativity but rather low in musicality. Pairing together classics like “Pretty Vacant”/”Stayin’ Alive” or “Get Off My Cloud”/”Wild Thing,” and adding its own spin to them musically, may sound like a cool idea – but it simply does not work. The duo proves the adage once again: just because you can do something, doesn’t mean you should. (myspace.com/scaldinglucy)
– Carter Moss

Maru is the impressive debut album from Silhavey, brimming with sparkling melodies and vocal harmonies; it’s the kind of album that exudes summery exuberance. The opening three-song suite of “Brother Man,” “Parables,” and “Jungle” is awash in shimmering West Coast-inspired hooks, glinting horns, and fluid vocal lines; they’re peppy pop songs just begging for a beach party. Piano and jangly, power-pop guitars mingle freely and underpin the swinging rhythm in “Waiting For Sunshine,” and “Last Words” closes the album on an upbeat note. (www.silhavey.com)
– Patrick Conlan

If one feels compelled to write music in Denver, it’s probably to mack on some girl at the ski lodge or blister the vanilla confines. Swayback do neither, probably because frontman Eric Halborg hails from these parts. The interregional marriage on the Keep It Hive EP sounds surprisingly like the more mature elements of Foo Fighters, conscious of coloring within the lines but never pandering with hard edges. Production by Andy Johns pushes the band’s most marketable aspects, when really they could use some color. (theswayback.com)
– Kevin Keegan

Her debut, four-track EP never hints that Tiffany Thompson seeks anything more than to get up and sing some songs like the ones she loves on the radio. The opener starts with a line about being in a coffeeshop, and the rest of the release sits there with her, never quite overcoming the crowded genre but not giving it a bad name. By the end of “Please,” it’s hard not to root for her, either. (tiffanythompsonmusic.com)
– Steve Forstneger

Barn-burning metallers Whut unleash another melodic, brutal long-player with Laughing With The Sinners (Scumbag). Improving on previous albums, this gravelly mix of thundering rock and hardcore influences hits with catchy uppercuts and bristling intensity. The boys lay down some seriously thick, coursing grooves in “To: Missed Death (Cheers)” and “Set Up For Justice,” and frantic pits are sure to ensue when it rips into “Decriminalize,” a favorite topic of the band (check out the clever domain name). (www.whuthc.com)
– Patrick Conlan

What separates the men from the boys among old school Chicago guitar heroes is a dash of humility. Of course T.D. Clark has the chops on his new CD, Shreddtime Stories, but his web site won’t be the one listing a bloated selection of ancient reviews from Guitar Player and Crawdaddy to impress you. He’s just a regular guy who happens to be a great guitarist with an enviable resume. Instrumental guitar albums are mood music – you have to be in the mood to hear them – but Clark mixes up things nicely with the classical-tinged “Morrocan Bedtime Stories” and a bit of traditional guitar wankering on “When The Lights Dim” and “Drop D Symphony.” (www.tdclark.com)
– David Gedge

Entrenched Chicago resident Kyle Andrews recently migrated to Nashville and the results find Kangaroo adapting an earthy, homespun approach. The self-produced EP is ample on cozy, but unremarkable vocals and tightly wound acoustic guitars, though Andrews’ secret weapon is the electronic accompaniment that adorns the collection’s most contagious tracks, “Kangaroo” and “Sushi (Slow Dancing At The Prom Mix).” (www.kyleandrews.com)
– Andy Argyrakis

Calm Palm Vapor’s bio announces “We like layers of sound,” and that declaration is evident in its gently rocking, groovy space-rock. There’s an elastic energy bounding through the multi-hued “Everyday We Grow” as textures and sounds accumulate, and sci-fi sound effects zoom around swirling guitars and electronic washes in “Run The Tables.” There’s a fizzy sonic density to the songs, but Morning Pacific is never burdened with excess weight. (www.calmpalmvapor.com)
– Patrick Conlan

Evident to the drunk or sober, Crooked Moon strives (and overall succeeds) to be the epitome of a bar-and-grill jam band on the eight-song Say It When You’re Drunk, favoring extended funk-blues guitar solos and harmonica-highlighted intros. The influence of Blues Traveler is undeniable on “Innocent” – nothing original, but damn proficient. Most festival-goers will toast to that. (crookedmoonrocks.com)
– Jason Scales

Its kind of hard to put one’s arms around Fishermans‘ three-song Collective Vertigo EP, since the band’s self-tagged “easy listening pop religious Chicago” is a bit all over the place instrumentally. The strictly schemed lyrics border on banality (e.g. “I taste the scent . . .”) and the untrained female lead vocals off-put at best, such that it all devolves into a cacophonic apocalypse by the third and final cut. (www.fishermans.bandcamp.com)
– David C. Eldredge

Recorded mostly live in one day, Flameshark’s fifth album shows the band’s subtle but sure musical evolution. The band gently glides between alt-country (“A Fossil”), electronic shoegaze (“Deny”), and straight-on indie pop (“Keep On Looking Out For You”). Farm Life is a deceiving LP – while on the ride, there’s nothing to blow you away, but when you get to the end, you realize just how much you enjoyed the journey. (flamesharkmusic.com)
– Carter Moss

With Andrea Donahue’s soaring, emotionally wrought vocals, Holiday House has a solid anchor for its melancholic melodies. “Non Compos Mentis” spikes a hard-charging guitar crunch in the chorus, and Cheryl Tomblin’s keening violin adds an orchestral layer to the interwoven guitar textures in “Twilight,” but the shining star of Weight Of Water is clearly Donahue’s voice, which rings with bell-like clarity throughout the EP. (myspace.com/holidayhouse3)
– Patrick Conlan

At its most furious, The Knackles‘ seven, mostly punk-ish rock songs deliver a solid Green Day crossed with New York Dolls sound, save for a couple of slower boozy ballad moments. Come to think of it, almost all of the eponymously titled demo is either about or references alcohol – which is neither a good nor bad thing for the trio at this point in time, but might cause a problem in the future if they don’t outgrow it. In the meantime, bonus points for the nifty ejector® CD case, guys! (theknackles@gmail.com)
– David C. Eldredge

Inspired by a visit to the rainforest in Malaysia, Jeff Libman merges a world-music sensibility into a singer/songwriter sound mirroring Paul Simon, James Taylor, or Marc Cohn throughout Sarawak. The artist/author/teacher primarily sticks to lead vocals and acoustic guitar, and while his vocals are often so soothing they’re sleepy, the supporting instrumentation (dobro, mandolin, bouzouki, French horn, cello) salvages the album with an intriguing potpourri. (www.jefflibman.com)
– Andy Argyrakis

Mixing styles as disparate as T. Rex and Judas Priest, plus a dash of Slade and Poison, Loveblast jettison out of the gate on the sexually charged “Harder & Faster.” Their self-titled debut boasts some impressive hard-rock chops and harmonies from vocalist Brian Durbin and his chorts. These guys aren’t afraid to rock like it’s L.A., circa 1988. If rock radio like The Blaze was still on the air today anthems like “Headspin” and “Far Too Long,” might find a place next to the Motley Crues and Def Leppards of the world. (myspace.com/loveblastrock)
– David Gedge

It’s not clear where high-wattage amplifiers and towering effects racks fit into the ecological discussion, but Bill Lubera has plenty of fuel to burn on Global Warning. His metal-rooted excursions smack of Steve Vai and Gary Hoey, filled with legato runs, finger tapping, and complex time signatures. Whether moving in tandem with the core riff or speeding on the backs of the double-bass drums, Lubera’s flawless ability justifies his sprawling compositional vision. The insistence upon accuracy and the relentless procession of notes occasionally grows mechanical and cold, which works if the world’s only getting hotter. (www.billlubera.com)
– Steve Forstneger

After the promising, vintage Neil Young-ish title track, JT Nero’s Mountains/Forests‘ songs of balloons, sunny days, and double rainbows take a decidedly saccharine turn. Not that there’s anything wrong with that and it’s well-played and all other good stuff. It just doesn’t break any ground or make any lasting impression. Given that Nero is also (and better) known (and renown) as frontman Jeremy Lindsay of rock ‘n’ soul band JT & The Clouds, this solo path choice is puzzling. (www.jtandtheclouds.com)
– David C. Eldredge

Local indie-pop act Northpilot has finally birthed its first official release, The Bright Brigade EP. The five tracks give a clear taste of what the band is all about – weaving thoughtful lyrics through intricate pop instrumentations. Influences range from Peter Bjorn & John to Coldplay, and each track is clearly distinctive from the next. By the end, Northpilot’s release does what any great EP should do – leave us anxiously awaiting the LP. (northpilot.com)
– Carter Moss

North Side rapper ProbCause shows range, depth, and a knack for catchy lines on the 13-track Spring Cleaning. “Ain’t nothing like Chicago girls” becomes a groovy mantra on “Chicago Girls,” with smooth, rapid-fire raps to back up the boast. R&B, funk, and electronic approaches reveal an artist polishing his wide range of hip-hop skills, proud of his indie status on “Blog Rap”: “I need a blog not a label.” (probcause.com)
– Jason Scales

Damien Jurado lives, though Safe Haven will do as a second-coming just in case. The band’s Ambitious Night EP unpacks such a sonic doppelganger it requires closer inspection for a possible DNA match. Despite the odd dud lyric (“Uncertainty fills your mind with endless thoughts”), the comparison holds with the heavy, but not crushing guitars of “Don’t Do Me” and the chimes adorning “Only Endeavor.” Just the chunky guitar funk of “Sell Me” frustrates the game, which we’ll look forward to restarting when the full-length arrives. (safehavenlive.com)
– Steve Forstneger

Emerging out of Valley Kingdom Ministry International Church in Chicago, the gospel ensemble known as Shekinah Glory Ministry already has five gold-certified albums and DVDs to its credit. A third audio entry, Refreshed By Fire, makes a strong case to be the sixth. The double-disc live experience is filled with more praying, preaching, and plenty of inspiring gospel music. Songs like “Reclaim Your Mountain,” “Raise Up,” and “Giant Slayer” alternate between contemplative ballads and high-energy funk, meshing a variety of vocalists, instruments, and choirs. It’s like going to church without leaving the house! (kingdomrecordsinc.com)
– Carter Moss

Free advertising for the Double Door! Not that the Wicker Park institution doesn’t provide a nightly bedrock for local bands to build upon, but rarely do the venue’s acoustics bend to an outfit’s will as they do on The Steepwater Band’s Live At Double Door. With carefully panned separation between guitar and bass, and room for the vocals to soar – Steepwater sound as if they could be at Texas Jam ‘78 and tearing that shit up. (www.steepwater.com)
– Steve Forstneger

Not to be confused with the Lorrie Kountz-led Surrendur Dorothi of years past, the four guys of Surrender Dorothy play a Southern-flavored version of stomping hard rock. Tracks like “Proud Man” and “Midwest Girls” spotlight Chris Barker’s bravado vocals, as well as his and Joseph Barker’s guitar firepower. There isn’t a lot of variety on this self-titled four-song EP, but the band has the chops to broaden its horizons on a full-length effort. (reverbnation.com/surrenderdorothyorelse)
– Terrence Flamm

Not every band could follow a chaotic garage/punk hybrid like “Bacteriostatic” with the Pezband-like power-pop gem, “Love For A Week.” But Warm Ones, led by vocalist/guitarist Tony Sackett, do just that on their impressive debut release, Sprezzatura. They move on to “Small Spies,” which sounds like Paul McCartney singing a duet with a female indie rocker (The 1900s’ Jeanine O’Toole) and romp through the high-speed “Hot Flash.” In short, a band that never runs out of fun ideas. (www.myspace.com/warmones)
– Terrence Flamm

When you trod such well-worn paths as frat-pop, singer/songwriterism, and pop-punk, you really need to hit the nail on the head when you choose how to differentiate yourself. Scott Wesley still has work to do, but by belting with some infectious enthusiasm on Seconds To Years he gives himself a chance. Some tracks, like “Head For The Hills” and “Open Eyes” could be anyone, though the title track – one of the more intimate cuts – flashes a smile and gets him in the door. (www.sonicbids.com/scottwesley)
– Kevin Keegan

Sid Yiddish And The Clean Boys have a running joke that nobody gets on Safari Freak Show Adventure, recorded entirely via Skype at Swing State in Lake Villa. These Boys test the listener with some maddeningly indulgent poetry slamming on a “Sound Text Punk Opera” that mixes second rate themes a la Zappa and The Germs, over an instrumental bed of LSD-inspired instrumentals. It might please Mind Power-era Bad Brains fans, but it’s so musically and intellectually dense, it’s hard to break through without several weeks of repeated listenings. And who has time for that? Yiddish’s second “bonus” CD is an album of instrumental space noise mixed with unrecognizable covers from Bowie and R.E.M. As John Lydon said in 1978, “leave Sid alone.” (myspace.com/2dollarcockroach)
– David Gedge

King Sparrow’s fusion of bluesy garage-rock and spastic, new-wave punk will undoubtedly draw favorable comparisons to Black Rebel Motorcycle Club, as its self-titled, full-length debut simmers with cranked-up urgency and driving hooks. “Conveyor Belt” and “Constellations” are gritty, boisterous blasts of rock ‘n’ roll, and “The River” rips with raw emotional catharsis. The razor-barbed guitar snarl and Eric Ides Georgevich’s raw vocals inject the album with twitchy energy and cutting emotional depth.
– Patrick Conlan

If Jack Johnson ever recorded with Paul Simon and his world-influenced band, it might sound something like Chicago-based Antony Ablan. The Elephant Painting EP shows off Ablan’s extensive musicianship and songwriting, as he weaves in and out of roots rock, acoustic folk, and Middle-Eastern influenced alt-pop. The six tracks are incredibly diverse, providing an interesting musical experience, but no continuity.
– Carter Moss

The Boolevards recapture the innocence of the early 1960s on More Real Pop with melodic songs like “Little Miss Impossible” and “She’s The One.” The Beach Boys-style harmonies and chiming guitars are rendered perfectly, but at times the band seem locked into derivative, similar-sounding arrangements. A little more variation could go a long way toward helping The Boolevards forge their own identity.
– Terrence Flamm

It’s easy to imagine being back in the 1940s while listening to the most recent disc from the John Burnett Orchestra. Down For Double is a sparkling 12-song set devoted to, as the CD cover notes, “the best bandleaders of swing.” Famed clarinetist Buddy DeFranco joins the ensemble for three studio tracks, contributing most notably to a knockout rendition of “Sing Sing Sing,” with the remaining performances recorded live in 2005 and 2010 at Drury Lane, FitzGerald’s, and Larson Recording Studio. Pour a Manhattan, and enjoy.
– Jeff Berkwits

Don’t let the name or the sound confuse you — new wave revivalists California Wives emerged straight out of the Chicago music scene. The Affair EP finds the pop quartet (all male) drawing heavily from the electronic, new wave, and post-punk stylings of everyone from New Order to Phoenix to Interpol to Owl City. Their synths are bright and shiny, the guitar hooks are simple and effective, the vocals are full-on indie — and somehow it all works together beautifully.
– Carter Moss

Chaperone recorded the five tracks for its latest release, Cripple King, at various locations while on tour, which gives the band’s indie/Americana an appealing, live-performance vibe. On melodic songs like “Fed On Coal” and “Thomas,” Chaperone creates vintage folk with a shot of adrenaline, and the spirited male/female vocal interplay is consistently inventive.
– Terrence Flamm

Loosely played, loosely Americana — it’s against this backdrop that Darling can surprise you. Whether a funk breakdown and crescendo in “Move In, Move On” or the way the wind howls through “Sleeptalking,” Lights That Last Forever boasts miniature distinctions to pull it slightly away from work by Okkervil River or Damien Jurado. The looseness does have a tendency to nag like pants that keep falling down, most prevalently in the bass/drums interplay and imprecise vocal harmonies. Damned if you do, but a little urgency would turn that from sloppy to darling.
– Steve Forstneger

Tongue-in-cheek lyrics vying with hard-rocking riffs? It must be The Divotones, back with their sophomore — and entertainingly sophomoric — CD, Gotta Have A Panty Sandwich. This duo blend great senses of humor and harmony, especially on songs like the title track and “Hollywood Pee-Lattes.” The laughs are often immature and sometimes misogynistic, but the dozen tunes are guaranteed to bring out the 12-year-old in just about every guy.
– Jeff Berkwits

Egon’s Unicat is a high-energy rock band with a whimsical side on an eight-song, self-titled CD. “A Self-Guided Tour Of Appalachia” features scat singing and cowbell juxtaposed with unbridled rocking. Other tracks generally follow suit, using guitar/drums as a base for quirky instrumental and lyrical forays heavy on hooks and pop culture references. “La Noche de los Mil Gatos,” with a Latin beat, punk-rock attitude, and minutes-long cat meowing coda, is certifiable “weird rock.”
– Jason Scales

Falling somewhere between world music, tribal-ambient, and improvisational jazz, The Nth Wave is definitely a distinctive collection. Performed by Gunnelpumpers, the seven instrumentals were recorded during a single impromptu session, with “The Whirling Magnificent” and “Ticks And Asps” standing out as the most intricate tracks. Though none of the tunes are overly innovative, they’re ideal for relaxation and contemplation.
– Jeff Berkwits

When he’s playing with Jet W. Lee, singer/songwriter Jesse W. Johnson indulges his alt-rock interests, but across the solo project Home To Roast, he concentrates on lean acoustic guitars with sparse instrumental backing. His pleading, Neil Young-inspired vocals make cuts like “Strawman” and “Forty Below” demand attention, but after 10 tracks, the similar, soft-spoken thread becomes monotonous. ()
– Andy Argyrakis

Hailing from Rockford, metal/rap hybrid Kaos Katalyst is more hardcore than hip-hop on The Book Of Kaos Vol. 1 The Fallen’s nine-songs. The instrumentation on the title track is the rumbling of heavy machinery, tempered with DJ scratching and urgent screamo vocalization. This brand of metal, which maximizes the use of helicopter-blade double bass and numbing riffage, is as punishing as it comes. Any hip-hop embellishments are welcome breaks in the beating.
– Jason Scales

Mary Lemanski seems like a real sweetheart, so it’s painful to pan Eclectic, her 10-tune debut. While the lyrics are uniformly solid, the vocals are agonizingly off-key, particularly on the aptly named “Such A Mess,” with the accompaniment, which consists primarily of the artist on keyboards, woefully passé. As a songwriter she has potential; hopefully in the future she’ll also allow others to perform rather than trying to handle almost everything on her own.
– Jeff Berkwits

There’s a great, gritty, gravelly tone to Inside Out, the latest outing from Curtiss Lowe & The Reverb Kings. From the Bo Diddley beat of “Not Dead” to the melancholy “Another Grey Area,” the 11-tune platter is brimming with an intoxicating, vintage-style Chicago blues sound. A couple of cuts stray from that formula, and the collection suffers from those digressions, but all in all it’s a satisfying excursion.
– Jeff Berkwits

The Paver blends cryptic, spoken poetry and chaotic music on its self-titled CD, creating the ambience of an avant-garde theater performance. “Worthless” is the closest this bass, violin/synth, and drums group comes to an actual song, while “Softest Fortress” sounds like a sci-fi audio book that comes with its own soundtrack. Fans of adventurous music will find The Paver intriguing, but it’s not likely anyone but the band members will know what’s actually going on.
– Terrence Flamm 

Who knew adding a pinch of punk and a dollop of dub to old-fashioned rock could be such an intriguing musical recipe? On their four-song sampler, Papa Jupiter blend these ingredients into captivating food-for-thought, especially on tunes such as “Keep Running” and “Million Miles.” “Bleeding Brains” is a tad too stylistically schizophrenic, but otherwise the disc is an inviting taste of things to come.
– Jeff Berkwits

Operating in a musical swampland where The Band and Velvet Underground reside, with some modern garage rock sensibility thrown in for good measure, Taxi slum it up on Six O’Clock Sunday Morning. These guys have much better chops than an average Midwest garage band, but they make things attractively wobbly on “Doctor,” a reefer-fueled tale of sexual attraction. “The Night” is swampy excursion into the darklands, where Paul Solans’ psychedelic keyboards add a perfect dose of Nuggets-style nostalgia. Vocalist/guitarist Brian Petzel has one of those nasally rock voices that makes Taxi joyfully unique.
– David Gedge

Gleaning inspirations from The Beatles, The Byrds, and early Pink Floyd gives Frank Tribes‘ Lean Out Your Window a trio of distinct styles. Several songs resonate with sounds from the British Invasion, a few are couched within the upbeat folk strums, while there’s a faint hint of psychedelia to shape a fun melodic flashback to the ’60s and ’70s.
– Andy Argyrakis

With a voice that occasionally recalls Joni Mitchell, like-minded folk troubadour/songwriter Jess Yoakum’s aptly tiled debut, This Quiet Mile, displays the artist’s fairly accomplished yearning-lament songcraft, with her oft’ doubled vocals mostly set against spare, open piano/guitar chordings laced together by cello. That said, the certain sameness of tempo/sound is such that the western twang of “Texas” offers a welcome break.
– David C. Eldredge

Fans of jazz/rock fusion will find a lot to like in Zachary Biggus‘ eight-song Jusqu’â Présent, wherein, aided by able bass and drums sidemen, he displays not inconsiderable prowess on guitar. Even if you keep jazz fusion at a distance, be impressed with his technique, and find the decidedly more rock-like construct of second cut “Fess Up” and solo acoustic guitar turn on closer “Feeling Rain” a welcome respite from the near nonstop “chicka-chicka” jazzbo beat. (myspace.com/zachbiggus)
– David C. Eldredge

On its debut, Every Other Time I Fall, Broken Neon comes across as a bar band playing honky-tonk rock ‘n’ roll for people who spend a lot of time in the bar. All three of the band’s vocalists sing with an authentic drawl, particularly on “‘Til I Met You,” a Southern-rock tribute to the redemptive power of love, and “Sick And Damn Tired,” a down-and-dirty rant against working for The Man in a factory. (myspace.com/brokenneon1)
– Terrence Flamm

Add Chew Heart to the ever burgeoning list of coed guitar/drum duos spare of sound and wan of little girl vocals that seem to be the rage these days. The band’s six-song debut, Messy Snarls, hews to the twee template of enthusiastic indie-pop tunes about life and love in the modern world, that unfortunately wears out its welcome by the time it’s spun its course. (myspace.com/chewheart)
– David C. Eldredge

Hailing from “Parts Undecided” Illinois, C.P.X. is not the kind of band you’d bring home to Mom. In fact, their industrial metal shouldn’t be played if Mom is anywhere in the house. Their perfectly titled Concrete Therapy is chock-full of lyrical, vocal, and musical pain, with songs like “Can’t Stop The Pain”, “Wrapped In Pain,” and “My Addiction,” each of which follows the same formula: deep growling/screaming vocals over simple, ear-punching guitar chords. (myspace.com/cpxband)
– Carter Moss

The veteran local band Demilos recently created the Revolving Doors documentary to commemorate 15 years of performing unique power pop spiked with a sense of humor. Its new, self-titled CD shows the benefits of that experience with well-crafted arrangements and airtight harmonies. Each of the five members sings and plays various instruments, which results in adventurous songs like the high energy “Catch The Cure” and the Beatlesque “Shabby Old Broom.” (www.myspace.com/demilos)
– Terrence Flamm

Pugs Atomz could have just dropped “Toot Toot” on The Electric’s Life Is Moving (OGS) and been proud. But Russian producer DJ Vadim employed the local MC for all of the record, and what a revelation it is. Instead of coasting on Vadim’s rolling, lounge-funk jams, he brings his big-boy forks and knives to the table and cuts dope verse after verse. “So Now You Know” moves like silk slippers on a satin rug, which also sums up the way Atomz combines with R&B seductress Sabira Jade on most tracks. (www.electricsoundcompany.com)
– Steve Forstneger

Based on The Nerve’s 14 tracks, no one should refer to Filligar as “the next big thing” — the band are there already. Three brothers and a fourth musician have been at it since 2002, and their latest self-produced album showcases an orchestrated rock sound that is both retro (a young, American version of The Rolling Stones?) and alt rock (a la Band Of Horses). “Architect” illustrates the mature, complex rock arrangements the band are capable of delivering. (www.filligar.com)
– Jason Scales

Gunner’s Daughter’s New Skeletons EP brims with driving rock, and the kind of earnest vocals, gushing through widescreen choruses, that virtually demand radio play. The sneaky hooks, etched with Eddie Van Halen’s tone, make “Fence Jumper” a potential radio hit. “Better Days” and “Satellites” are ballsy, new-wave stompers, stamped with the sound that made saccharine mall punk so easily digestible (and disposable). There’s even a folksy, acoustic ballad (“This Isn’t Over”), which shows GD knows to cover all the bases. (www.gunnersdaughter.com)
– Patrick Conlan

Freshly scrubbed indie-rock doesn’t come much brighter than that produced by Hemmingbirds. Generous, swelling anthems unravel with ribbons of jubilation and big, boisterous tunes blossom on Death Wave. Reverb-soaked “Perpetrator” tingles with a soaring chorus and chiming guitars; “Resolutions” and “Old Fire” sparkle with the same room-filling ambience and swollen orchestration that made Arcade Fire indie darlings. “Treetops” is yet another standout, wrangling syncopated percussion to a free-flowing, folksy twang. Death Wave is a gorgeous, lush album, bursting with incredible songs. (www.hemmingbirds.com)
– Patrick Conlan

The cover art for Dan Hubbard’s See You Again might give you a Ferris Bueller/art museum moment, as you stare at its lonely spectacle. It’s the record’s story, as Hubbard (who usually records with his bandmates as just The Hubbards) went “solo” this turn because he wanted to release these personal tracks under his own banner. The jam-related acoustic rock within provides a counterpoint to Hubbard’s fractured disposition, wherein he asks big questions of himself even wondering if his life would be better served in destitution in some remote corner of the globe. (www.danhubbard.net)
– Steve Forstneger

Ben Keeler spins his engaging folk tales on Water Water with help from the numerous musicians from his band, The 500 Club. The eight songs have an easy-going vibe that harks back to the singer/songwriter days of the ’70s. “Warm Warm Water,” which features a gospel choir and a slinky Dan Hicks-style arrangement, is a definite highlight, along with the country & western-flavored “Gold.” (www.benkeeler.com)
– Terrence Flamm

Few artists can legitimately claim to be terrifying — Locrian is one of them. Sculpting bleak, harrowing soundscapes from claustrophobic, minimalist drones, haunting, chanted vocals, and spectral percussion, Locrian explores the depths of the tragically sublime. Tribal drums pound in the background as earth-rattling thuds and jet-engine drones rip through “At Night’s End,” and similar, faint echoes of harmonic buzz form the backdrop for blood-soaked screams and tortured moans in the foreboding “Obsidian Facades.” (www.myspace.com/thelocrian)
– Patrick Conlan

Art-rock duo The Loneliest Monk gets the most out of the interplay of cello and drums, and then some, on a 10-song, self-titled CD. Cellist Michelle Morales and drummer Miles Benjamin bolster the two instruments with brightly layered Rhodes keyboard tracks and dramatically delivered vocals from both performers. “You Don’t Have To Try” is both playful and menacing, a line artfully navigated on most songs. (www.wearetheloneliestmonk.com)
– Jason Scales

Debutant trio Moritat explores the more progressive side of alt-rock on its EP, One Minute Fade. Borrowing a page from Arcade Fire’s book, the band doesn’t rely on catchy melodies, simple song structures, or a singular voice. Instead each track is uniquely constructed and goes wherever it feels. The six songs wander from the pop-tinged “A Thousand Times” to the sweetly dark piano-led “Blue Eyes” through the beautifully haunting instrumental “Jeff Buckley 1997″ — to new musical corners on each track. (www.moritatmusic.com)
– Carter Moss

Get ready for a beer shower if you plan to see Ready The Destroyer live, since the North Siders fill their sets with blue-collar, fist-raising anthems. Falling somewhere between Social Distortion and Bosstones (though “The Comet The Compass” has a more sinister edge), it’s tough to imagine Division And Distance in any other setting than bellying-up after work. The band would be wise, however, to edit themselves (nearly four-minutes per track) and experiment with exhausted vocal melodies. (www.readythedestroyer.com)
– Steve Forstneger

Pristinely recorded and a sterling-sounding representation of the singer/songwriter archetype, Mike Reeb’s Breaking demonstrates how serious he is about his craft. It’s a sincerity, however, that he also spilled on the lyric sheet. If it’s not puppy-dog gushing like I’m a boy/you’re a girl or comparing himself to a weeping willow, the straight face with which he delivers “It’s Been A Real Hard Year” — brother and wife die, loses his job, can’t care for his kid — will have you swearing it’s a dark joke. It’s not. (www.mikereeb.com)
– Steve Forstneger

Throughout the nine-track (300) Days, the Tadashi (surname of frontman/multi-instrumentalist Jeff Tadashi) turns in a driving piano pop collection. While the foursome’s lighter side evokes The Fray or The Postal Service, there are plenty of charging rhythms and instances of melodic bombast to find favor with fans who prefer a grittier dose of modern rock. (www.myspace.com/tadashimusic)
– Andy Argyrakis

Musically, The Ugly’s 13-track Psycho Thrash Suicide is dirty thrash punk, a derivative of Dirty Rotten Imbeciles, with a reliance on prominent thudding basslines to carry each track’s one-dimensional rhythm. Aesthetically, The Ugly features a serial-killer-with-mommy-issues theme (“Kill The Bitch” and “Dear Mom” are a psychoanalyst’s dream). Either way, it’s a horror scene of instrumentation and lyrics. (www.myspace.com/theuglyfugitives)
– Jason Scales

Weber Band’s already opened for a slew of national touring acts, including Zac Brown Band, Blind Melon, The Samples, Freddy Jones Band, and Michael Glabicki. Throughout the Sidewalks EP, the quartet most readily recalls the soul/funk/jam potpourri of Glabicki’s Rusted Root, but the beats have an unfortunate tendency to squash and squirm rather than groove or simmer, coming across like a hopeful jam band yet to find its stride. (www.weberband.com)
– Andy Argyrakis

Logan Square’s Love Raid carry on a tradition of Chicago bands who have an affinity for Brit-Pop of all eras, ranging from Village Green-era Kinks (“Superstar Serenade”) to Pulp (“Present Tense”), and Parklife-era Blur (“We’re The Ones,” “Past The Waves”), and more than a dollop of David Bowie. Like some of their Anglo heroes, Love Raid becomes a little self-indulgent at moments with an overdose of Moog-ish space rock, but everything else about this self-titled debut is spot-on. (www.loveraid.us)
– David Gedge

Pun-loving electro/hip-hop duo Boomjuice follows the Crunk In Public EP with Mixing In Action — nine sample-happy tracks that end up in the neighborhood of Handsome Boy Modeling School. Presented in mixtape format and drawing on beats from Pete Rock and Art Of Noise to local crew Prepschool, it’s like any good mix: the rapping and editing is on equal footing with the source tapes, and shows the pair trying on all manner of shoes but none too large. (www.boomjuice.net)
– Steve Forstneger

Just as its name hearkens to the reference-book authority of the ’60s, the music on The Britannicas‘ eponymous disc likewise reaches back to that post-Hootenanny era when folk started blending with rock and pop with groups like the We Five and New Christy Minstrels, and achieving electric apogee with The Byrds by mid-decade. With three experienced multi-instrumentalist singer/songwriters (from three continents, no less) and all the aforementioned — along with a dash of Brit invasion here and a splash of Beach Boys there — pedigree, The Britannicas’ debut would be slam-dunk brilliant save for lyrical sore thumbs (“Should have been taking it cool/all the alcohol making me drool”) that pop up at the darnedest times. (www.myspace.com/thebritannicas)
– David C. Eldredge

There’s nothing disappointing about Caw Caw’s Bummer Palace (Trust Tapes). Ragged, boisterous tunes crackle with surging melodies and exuberant catharsis. “Toothless” storms out of the gates as propulsive, post-punk crunch exchanges pops with incisive guitar squall and roiling bass. “Basement Apparitions” hums with a pulsating, shoegazing swirl before snapping alertly with scissor-snapping riffs, and benefits from bittersweet lyrics that snarl with wit and charm. (myspace.com/cawcawmusic)
– Patrick Conlan

Bands have sketched myriad schemes to add muscle to pop punk, and Danger Is My Middle Name has chosen the misogyny route for the Giant Killer EP. Dismissing dates as “fucking crazy” and vaguely threatening “I swear you’ll be seeing stars” goes against the declared effort to make this a more “mature” and “fun” offering. A guitar-heavy, compressed mix makes cardboard of the drums — perhaps something DIMMN should look into the next time it bulks up. (www.dimmn.com)
– Kevin Keegan

With a prolonged stint in Them Damn Kids on his resume, Chris Darby’s initial solo effort, Road Songs, is a concise, four-song EP of varied acoustic folk. There’s a hint of Celtic melody in “Thursday’s Child,” and American bluegrass peeks through the dusty, windswept “Night To Night.” The instrumentation lends a soft, cottony weight to these songs — a warbling bass rumbles with patient authority as harmonica and a gracefully plucked guitar line skips in lilting counterpoint in “Road Song.” (www.chrisdarby.com)
– Patrick Conlan

At turns delicate, communal, lo-fi, and organic, Dreamend’s So I Ate Myself Bite By Bite (Graveface) stays engagingly off balance. The band accentuates a preponderance of banjo and percussively strummed acoustic guitars with analog synth gurgles, gang vocals, and sheets of noise that creates an image of tech-savvy woodland dwellers. While the bulk of the 41 minutes pump a seesaw that balances on a Califone/Akron-Family axis, it’s the blistering, 10-minute closer (“An Admission”) that burns the preceding tracks alive. (dreamend.tumblr.com)
– Steve Forstneger

There’s no rest for the wicked during the hour-plus running time of Ezurate’s Eve Of Desecration (Rotting Corpse). With a blistering, black-metal assault, Ezurate tears through Destruction armed with hyper-charged blast beats and ripping guitars. When Ezurate varies the tempo and structure of the tracks, such as in “Overthrown Deity” and the standout “The Black Cross Of Berziers,” it conjures harrowing black magic. Otherwise, the sheer density and relentless pacing has a numbing effect by album’s end. (www.myspace.com/ezurate)
– Patrick Conlan

Really chill jazz with a silky undercurrent dominates Outside The Box, an eight-track CD from John Goldman’s Quadrangle. Goldman, on sax and flute, has assembled a top-shelf lineup of musicians on guitar, bass, trombone, and percussion. Airy vocalization from Leslie Beukelman (and scat on “Color Therapy”) adds depth to each track, with a Latin bent on some. The talent crystallizes most notably on “Hesse Steps” with its playful horn, guitar, and vocal interplay. (www.jgjazz.com)
– Jason Scales

Long-time area vets, The Greenwoods‘ debut, Solid State, conjures comparisons to The Who — especially in the interplay/sound of the drums and bass. While the vocals are as serviceable as Daltrey’s this late in his career, neither the aspirational power chordings of the guitar leads nor strictly schemed rhymes of the lyrics would ever be mistaken for those of Townshend. (www.greenwoodsmusic.com)
– David C. Eldredge

Opening and closing to the sound of a scratchy piece of vinyl, Honest Engines‘ (not so long ago known as Levels) three-song EP, Captain’s Log, finds the trio hearkening to Space Oddity-era Bowie on its eponymous opening ballad. It continues on a similarly spacy plane with “Asteroid” before it finally lands back on the captain theme of being adrift on a sinking ship on “Void.” There are lots of ambitious, textural aspirations on display that belie the three-musician format. But as honest as these engines may be, one’s left not being completely sure what all the spinning is about. (www.tandemshoprecords.com)
– David C. Eldredge

The Jin And Tonic Band sounds like a mash-up of country favorites Lady Antebellum and Sugarland with Tex Mex men Los Lonely Boys, though it kills the polish of commercial country radio in favor of gritty grooves. With lead singer duties split between two girls and a guy, there’s plenty of variety on Said Yes Once, though lyrically the group suffers from standard country clichés that detract from the otherwise adventurous musical backdrop. (www.jinandtonicband.com)
– Andy Argyrakis

Setting aside a Dixieland-ish/vintage swing foray and only one instance with any real rock feel, the otherwise mostly progressive/neo-experimental compositions sextet Kelroy delivers on Bloodshot Hungry Paranoid are difficult to fully wrap one’s arms/ears/head around. While the strings of guest players bring welcome occasions of textural warmth and the keys (especially) and brass of Kelroy-ian Vince Panepinto are exceptionally engaging, the jeremiad vocals serve only to otherwise disengage, leaving the listener’s thoughts to wander away. (www.kelroymusic.com)
– David C. Eldredge

Maybe it’s because it sounds more relaxed doing it, but Level Ground’s bedroom creep rings much more true than its street hustle. It introduces “Hop Tonight” with “This is just another silly love song,” but that’s what MCs Herb and Seagram do best, peeling back the awkward seriousness that sinks most hip-hop slow jams. It’s when LG gets another kind of hard on The Target that the beats and rhymes come lacking, almost is if the duo knew how perfunctory those sounded while it was recording them. (levelgroundworld.blogspot.com)
– Kevin Keegan

Classic rock and grunge collide on Model Stranger’s Dreams & Bones for a sound that’s just as reminiscent of Tom Petty & The Heartbreakers as it is Pearl Jam. The dusty jam “Turn Of The Century” is a primary example of that seamless blending, while “Eyes Half Open” is a rollicking retro throwback and “Carousel” sounds like it could’ve come straight out of the ’90s, though it avoids the dated feel thanks to an alt-country undertow. (www.modelstranger.com)
– Andy Argyrakis

It’s not always possible to tell what’s going on during the 12 off-kilter songs that make up The Nod’s debut CD, Easy, Maverick, but this trio of Wisconsinites is a lot of fun. Vocalist/guitarist Brett Newski’s absurd lyrics are set to catchy bar-band arrangements on songs like “She’s A Wreck,” in which a guy is stalked by a loose woman who wants to have sex with all his friends, but not him. (www.thenodmusic.com)
– Terrence Flamm

Alexander James Powers sets his observations on life and spirituality to easy-going acoustic arrangements on his eight-song Sounds Of The Amateur. The lyrics tend toward obvious sentiments, particularly on the cloying love song, “Like The Chicago Cubs,” but Powers keeps things entertaining with his inventive strumming. “Lisa,” a song about finding fulfillment in helping others, distinguishes itself as the CD’s best track. (www.myspace.com/alexanderjamespowers)
– Terrence Flamm

With opener “Terrorball” flashing the influence of both Local H and industrial rock, Room 101 leaves little doubt about its geographic origins. But The Gadfly EP has more to offer than shirtsleeve influences: namely, heaping mounds of paranoia. Whether zeroing on “CCTV” or running voice-altered clips from Network, the band surrounds its machine-addled anthems with enough big-brotherisms to send you running for your Noam Chomsky reader. (www.room101music.org)
– Steve Forstneger

On Portrait Of Jack Johnson, veteran Chicago jazz bassist/guitarist Karl E. H. Seigfried creates original instrumentals that deftly explore traditional and avant garde jazz. The 11 tracks are divided between “The Boxing Bassist Suite” — a tribute to boxers who were also musicians — and “Portraits In Jazz,” a tip of the hat to the great jazz artists he’s played with over the years. Seigfried is joined by Greg Ward on alto saxophone and Frank Rosaly on drums. (myspace.com/karlehseigfried)
– Terrence Flamm

T & The Wonder has a breezy groove running through its self-titled CD, starting with the Latin-flavored “Eight-Six.” “Let’s Go” celebrates the joys of summer, while the clever “Tote Bag” uses a tropical arrangement to describe a guy saddled with an instant roommate. The acoustic “Goodbye For Now” sports harmonies straight out of an early-’60s folk song. The indie band’s eagerness to try just about anything results in a few disjointed tracks, but overall, its success rate is impressive. (tandthewonder.wordpress.com)
– Terrence Flamm

Two Ton Anvil’s self-titled album on Dark Star is another worthy addition to the Windy City’s pantheon of crushing hard rock, with tight vocal harmonies and thick, headbanging riffs. Feel the power of a the blistering riff attack rip through your bones as TTA take you on raw, molten ride in the title track and the standout cut, “The Wicked.” Full credit to vocalists/guitarists Chris Chubb and Brian Ericson for the razor-sharp production and engineering — this album explodes out of the speakers with polish and precision. (www.myspace.com/twotonanvil)
– Patrick Conlan

Dubasaurus boast that they all read music (they’re real musicians), which goes against the historical grain of rope-smoking reggae born in Jamaica. Fortunately these guys understand that reggae riddims are sometimes loose and lazy (“Murderation”), like a sweltering Sunday afternoon in Trenchtown. Their self-titled outing is heavy with socio-politico hip-hop (“Revolution No Knows Compromise, Part II,” “Political Science”), mixed with 2-Tone horns and Parliament/Funkadelic choruses and sounds best when they explore their roots and dancehall side. (www.myspace.com/dubasaurus)
– David Gedge

Built like an augmented rock band but playing like seasoned jazz pros, Alysheba enjoy stealing one side’s ideas and then hiding out on the other. What unsubtly nudges the four-song, 36-minute Rattlesnake Studio Sessions into pop territory is vocalist Andrew Distel, no standardized crooner, but an elastic raconteur who gives these open-ended Tindersticks-esque rides an air of uncertainty. Half the fun is attempting to map out the Rattlesnake arrangements according to pattern, only to watch as your pen skips waywardly off the page. (www.myspace.com/alyshebamusic)
– Steve Forstneger

It didn’t take Chicago-based quartet Audrio long to construct a unique approach to their music, creating a delicate mixture of simple pop sensibilities, folk, and alt-country. Their latest release, All Of Us Animals, is a finely tuned piece of work, with each track containing thoughtful lyrics, clear honest vocals, and distinct but deliberate instrumentation. This is definitely a mixture worth tasting. (www.myspace.com/audriomusic)
– Carter Moss

Plenty of acts are recreating ’80s new wave with hustling guitars, slick keyboards, and yearning vocals, but few do it with greater stylistic charm than Big Science. There’s a hard, urban edge to “Flags” that hints at the bombastic side of U2, and “Burn All Night” is a grand, melodramatic ballad that would have been perfect for sound-tracking the tear-jerking climax in a John Hughes film. Skyscraper Sound (on Columbia College’s AEMMP) shows how effective Big Science is at culling these emotions with spot-on musical ideas. (www.bigscienceband.com)
– Patrick Conlan

The disc full of electro-pop originals duo Boutros serve up on Flat Tires Make Friends sound akin to a much more synthy Hall & Oates singing in the style of Elton John topped off with a smattering bit of Killers and a smidgen of Steely Dan on the sides. Over all, it’s a recipe for a pleasantly engaging listening experience that this DIY production mostly delivers on, despite the otherwise distracting, wordy lyrics. (www.boutrosisaverb.com)
– David C. Eldredge

Even if you don’t care for modern prog, you have to respect Graham Czach’s herculean solo effort, Lucid. Self-produced and released (and also featuring the ambitious Czach on many instruments), he’s built an edificial album drawing on the fantastical realms of Pink Floyd, Yes, the third side of the third Extreme album, Saigon Kick, and The Mars Volta. Multi-suite pop songs abound, as do florid Beatles-based melodies in a tale that loosely binds lost love and environmentalism. Symptomatic of such indulgent albums, however, Czach can’t avoid bland, big-question lyricism, nor did he contemplate – among his array of tools and guest musicians – occasionally using another lead vocalist when parts were beyond his reach. It’s still an opus of which to be very, very proud. (www.grahamczach.com)
– Kevin Keegan

With three vocalists and a trio of horn players among its eight members, Doko Benjo is able to explore various elements of urban contemporary music within the extended arrangements on I Say Disaster. “Spanish Sea” has a Latin flavor composed of acoustic guitar and horns, while the funky “Big Aspirations” satirizes the entertainment business. The more jazz-oriented “Down The Road” lets vocalist Amy Totsch-Staunton take center stage. (www.dokobenjo.com)
– Terrence Flamm

With a lead singer that’s loosely reminiscent of Radiohead’s Thom Yorke and a quirky indie-pop songwriting style like fellow Midwesterner Sufjan Stevens, Champaign’s Elsinore is tapping into a formula that’s destined to be successful. But what makes Yes Yes Yes (Parasol) work isn’t merely the muses this group mirrors, but its glorious harmonies, passionate riffs, and self-examining lyrics that display maturity and limitless potential. (www.myspace.com/elsinoremusic)
– Andy Argyrakis

Unabashedly proclaiming its feminist ideology, The Embraceables loads whip-smart attitude, theatrical flair, and communal acceptance into Stories (Graymalkin). This collective, inclusive approach allows cool, lilting folk pieces (“Take Off, Explosion”) to sit comfortably alongside sassy, sultry numbers (“Girlfriend”). Sweeping dramatic impulses permeate the tenor of the album, and it often plays like the soundtrack to performance art set, but there are enough crisp pop melodies (“Alone,” “What The Hell?!”) to prevent the album from becoming a dour intellectual affair. (www.theembraceables.com)
– Patrick Conlan

Just north of the border, Wisconsonites the Fresh Cut Collective face the unenviable task of not only separating themselves from other live hip-hop acts like Abstract Giants and Youngblood Brass Band, but also conscious rappers like those in neighboring Minnesota’s Rhymesayers. For the most part, their self-titled debut plows ahead unawares, pushing hand-raising jams with foghorn-like organ blasts and venturing slightly into disco punk. Adebisi Agoro is an able combination spitter and hypeman, but his bandmates fall on the stiff end of the tight meter, needing more swing and bounce to battle more seasoned R&B outfits. (www.freshcutcollective.com)
– Steve Forstneger

Frosting is a band assembled by veteran musician Mark “Spiv” Grzelak to record his first effort as a frontman. The guitarist for Michael McDermott and other bands, Grzelak has been planning to release Fresh Frosting for years. “Comfortable Enough” offers common-sense advice on succeeding in life, and Grzelak joins vocalist Laura Lopardo for an acoustic take on Lindsey Buckingham’s “Go Insane.” Other tracks, like the energetic “Top Of The World,” help bring Grzelak’s longtime plan to fruition. (www.frostingusa.com)
– Terrence Flamm

It’s a salty salute from Furious Frank on The Hobocamp Mud Show, which dives right into ad hoc sea shanties of the Modest Mouse variety. Before it and the invocations of gypsy folk wear out, however, they deftly dive into a T. Rex-kicked-off ska groove and a menacing Nick Cave impression on “The Dividing Line.” The ramshackle playing lists between cozy affectation and artistic impediment; either way, these guys should have The Thin Man on speed-dial for some tankard-crashing local boozefests. (www.furiousfrank.net)
– Steve Forstneger

Handling a vast array of instruments (including accordion, mbira, and pump organ, as well as a diverse percussion collection), Darren Garvey uses an exotic palette of sounds and textures on Under A Common Ceiling (Quell). The layered tones and collisions of sounds infuse the album with a satisfying richness. Quirky, upbeat pop (“As We Die,” “Misleading”) show Garvey’s deft arranging skills and his knack for writing gently energetic numbers. (www.darrengarvey.com)
– Patrick Conlan

There’s a scene in Ghost World where Steve Buscemi ventures to see an acoustic bluesman at a sports bar, and he brushes off a girl hitting on him because she’s more into the headliner, Blues Hammer. Head Honchos are like Blues Hammer: as subtle as an uppercut and making Stevie Ray Vaughan sound like Skip James. The band’s self-titled debut cannons chunky guitar riffs and cymbal crashes, and turns train songs into party anthems. Buscemi’s Seymour would have cringed at how frontman Rocco Calipari Sr. enunciates The Meters’ “Fire On The Bayou,” but then again Seymour didn’t like to have fun and Head Honchos certainly do. (www.headhonchosband.com)
– Kevin Keegan

On their self-titled debut, Inn Cinema attempts to be as hard-edged yet melodic as possible – and it almost succeeds. The power chords and driving rhythms do assault the ear drums, but the vocals are far more soothing, falling somewhere between Nickelback and Rise Against. The rock never stops through the seven tracks, but has trouble ratcheting middling up to memorable. (www.inncinemamusic.com)
– Carter Moss

The Michigan native turned Chicago transplant Jan James grew up on a steady diet of the blues and eventually shared the stage with legends like Koko Taylor, B.B. King, James Brown, and even Bon Jovi. Though elements of that core ring through on Ring Around The Moon, much of the material sounds like watered down blue-eyed soul with the intent to crossover towards pop and occasionally country radio, which is fair enough, but misses the edge of her upbringing. (www.janjames.com)
– Andy Argyrakis

Bill MacKay’s Darts And Arrows is an instrumental project that explores the songwriter’s penchant for varying styles of noisy jazz-psychedelia, like Roger McGuinn going cold-turkey (“Road To Seaway”) and moody country-twang of David Knopfler (“The Whisper”) and the dissonant reverb flavors of Bill Frisell or John Squire (“Do Not Follow”). His third record is thus an acquired taste requiring multiple listens. It’s certainly not background music, which makes it a little sweeter when you get there. (www.billmackay.com)
– David Gedge

Showcasing 10 potent big-band numbers, Solitude marks the third time veteran alto sax impresario Phil Woods has teamed up with the DePaul University Jazz Ensemble. It’s a gratifying though by no means groundbreaking effort, with the coeds adding energetic oomph to such songs as “Nothing But Soul” and “Ol’ Dude.” While not the most innovative recording in the artist’s extensive catalog, with help from the college kids it’s certainly among the liveliest. (www.jazzedmedia.com)
– Jeff Berkwits

Where some faith-based acts shroud their lyrics in metaphor to broaden their appeal, DeKalb’s Fue instead blanket their brooding alt-pop in mystery. The lyrics on the three-song Hallelujah EP make no game of their provenance, though the songcraft from this familial quintet relies on a carefully assembled tension that represents the grey areas of modern faith-based living. The challenge becomes maintaining this pacing over a full album. (www.myspace.com/fueband)
– Steve Forstneger

Usually, a band’s choice of covers explains a lot about where they come from, but in the case of Afflicted Brigade it points where they should go. Soulful and sexy, their take on Al Green’s “Belle” adds muscle without a hint of camp. It also makes the homogenized, Soundgarden-ish grunge in their other material seem like a poor use of their time. (www.myspace.com/afflictedbrigade)
– Steve Forstneger

When Bassel moved to Chicago from Ohio, he immediately entered an environment full of acoustic bands utilizing post-rock textures. His sophomore record, Submerged, opts for safety over risk, and ultimately it pays off. Whether mimicking a ticking clock on “All-Nighter” or exploring space on the Spinanes-ish “Light,” the deliberate pacing reveals thoughtful construction. (www.myspace.com/bassel)
– Steve Forstneger

Beneath Me is at its best when featuring crunchy guitar riffage on its 10-song debut, Wish I Wouldn’t Care. “World I Know” nails it the best (and in a Disturbed kind of way), but lighter metal subgenres aren’t beneath the five-piece either. “Million Miles Away” is all ballad, and polished arena-rock melodies temper the double-bass drums and power chords throughout. (www.beneathme.com)
– Jason Scales

While the release on vinyl of their latest recording, Blue Sky, Raging Sun, might imply that Berry are mired in the past, the music is in fact a mix of classic and contemporary sounds. There’s a psychedelic, late-era Fab Four feel to the kick-off cut, “Out,” with works like “Lonely, Tired” and “Immigrant Hands” providing a significantly more eclectic, modern vibe. Although no single song stands out, all 12 tunes are respectable. (www.berrymeme.com)
– Jeff Berkwits

Prog and post rock are not generally known for their brevity, but Centaurus keeps the music lean and concise on Pulse. There’s a tightly honed crispness in the writing and militant precision in the performances. Fluid, prog-inspired leads flow over taut rhythms in “Untwisting The Chains That Tie,” and a mystical, ethereal ambience infuses the swirling title track. A thick, rumbling foundation in “Seamless Horizon” braces the chiseled guitar attack. Centaurus refrains from flamboyant displays of its technical virtuosity in favor of playing sharply focused instrumentals. (www.myspace.com/centaurusofficial)
– Patrick Conlan

Prolific singer/songwriter Phil Circle returns with two fresh CDs: a 12-tune all-original package and a seven-track EP featuring cover versions of familiar rock anthems. All That I Am finds the musician in a comparatively introspective mood, with highlights including “Waves” and the blues-infused “Halfway Down.” The aptly titled Da Coverz is similarly sensitive, especially the acoustic takes on “In Your Eyes” and “Imagine.” Not every song sparkles, but both collections are consistently expressive and enjoyable. (www.philcircle.com)
– Jeff Berkwits

In naming their label One Shot Records, Da Homebodies underscore their dire, urban circumstances. Using inner-city disadvantages as neither crutch nor soapbox, Vall Miller and Arch Rival confront the contradictions and complications they face daily and spare no one: themselves, their parents’ generation, gold diggers (one of whom faces a brutal comeuppance), and cornerboys. The lo-fi production fails to put the edges on the RZA-style samples and beats, but, with a little luck, they could carve out their own corner of all-too-conscious rap. (www.reverbnation.com/dahomebodies)
– Steve Forstneger

The members of Aaron Fox & The Reliables have been, as the saying goes, “around the block” a few times, so it’s no surprise that the 10 songs on Late Too Soon are solid. Yet the pop-meets-roots rock melodies seem formulaic, with most of the tunes, other than perhaps the obligatory ballad “Falling Fast,” sounding awfully similar. Still, the music is decent and, as the band name implies, thoroughly dependable. (www.aaronfoxband.com)
– Jeff Berkwits

Thanks to I Fight Dragons, the videogame-inspired 8-bit music movement could conceivably turn mainstream. Cool Is Just A Number provides a great bit-pop/pop-rock fusion, smoothly blending Nintendo beeps and bleeps with old-fashioned rock ‘n’ roll attitude and instrumentation. “The Faster The Treadmill” is probably the best example, but all seven songs on the EP are refreshing. (www.ifightdragons.com)
– Jeff Berkwits

The Jacobson Organ serves up basic hard rock with an occasional nod to grunge or the blues on its fourth CD, Feed. There’s a live performance vibe to these midtempo, guitar-based songs, from the feedback that opens “Get Me Some” to the amusing musicians’ banter on “Jack’s Pet Snake.” Emmet Austin’s raw vocals add to the trio’s no-frills appeal. (www.yotjo.com)
– Terrence Flamm

The pixilated cover photo and lowercase typeset of what should be an all-caps bandname don’t begin to describe the offbeat appeal of The JLDJ’s Darkness And Light. A 25-track tour de force sung like Leonard Cohen in his bathroom mirror (sometimes a good thing), it’s easy to get locked into the sonic template without ever knowing where it’ll go next. Granted, this alternating monotony/tension can be exhausting (especially when presented unconventionally), but Darkness is a welcome jolt in an endless feed of soundalike bands. (nrrecco@fastmail.fm)
– Steve Forstneger

Indie-rock supergroup Like Pioneers combines members of Bound Stems, Narrator, Chin Up Chin Up, and Vacations to form the hearty long player Piecemeal. The results take bits and pieces of each band with a spontaneous feel that finds “English Garden” galloping with dreamy pop guitars over sunny harmonies, “Polkadot” simmering with Hammond B3 grooves, and “Crab Candy” building with baroque pop pleasantries, followed by chaotic bursts of instrumental energy. (www.likepioneers.com)
– Andy Argyrakis

Nathaniel Matthew creates compelling music on his Songs Written On Recycled Cotton Pulp for the most part by using only an acoustic guitar and his voice. His inventive strumming includes slide guitar on “Baby Blue (I Jus Do)” as well as the delicate notes of “Outside Of Eden.” Matthew’s a vocal chameleon who comes across as authentic whether he’s working in blues, folk, or easy listening. (www.nathanielmatthew.com)
– Terrence Flamm

The Maybenauts hit all the right notes on the Big Bang EP, from the irresistible, high-speed pop of “Girlfight” and “My Head Is A Bomb,” to the more intricate “Blue Line.” “Not Aware,” a heartfelt look at unrequited love, features an ambitious vocal arrangement by lead singer/keyboardist Leilani Frey, bassist Ellie Maybe, and guitarist Vee Sonnets. Drummer Emily Austin keeps the beat on this fun, well-crafted effort. (www.maybenauts.com)
– Terrence Flamm

From the vintage equipment used to record the music to the primal rock sound, Signs & Signifiers from JD McPherson is a delightful blast from the past. It’s easy to imagine the stripped-down strains of tunes like “North Side Gal” and “Dimes For Nickels” crackling from an AM radio circa 1957. Despite the nostalgic tone, almost all of the 12 tracks are original, proving one can revel in the past and still come away with something fresh. (www.hi-stylerecords.com)
– Jeff Berkwits

Alternative country and classic rock intersect at a curious crossroads throughout Nomad Planets‘ You’re Never Lost Until You Panic. The rootsy collection recalls Son Volt at its most accessible crossed with Tom Petty at his down and dirtiest, as impressive instrumental proficiency permeates original dust kickers like “Happiness” and “Whenever The Wind Blows,” plus an ingenious alt-country rendition of Pink Floyd’s “Wish You Were Here.” (www.myspace.com/nomadplanets)
– Andy Argyrakis

The five-song, eponymous debut from 1 Machine is a rollicking, high-intensity effort thematically about love and liberty. “Freedom Flies,” using layered acoustic and electric guitars and reverberated vocals, has an undeniable U2 sound. Most tracks are full-tilt, in an accessible, pop rock way, with “Forever Friend” the most orchestrated due to its extended saxophone highlights. (www.myspace.com/onemachinemusic)
– Jason Scales

A casual listen to Paskey’s What Goes Up digital album (and fifth release overall) creates the impression that David Paskey takes the same approach on every track. Further exploration reveals variations, from the new wave fun of “She Hates Rock ‘N’ Roll” to the funkier “Brobucks.” It’s Paskey’s persistent use of hushed, layered vocals that makes his music feel repetitive. “It’s Over Man, Let Her Go” is edgier, but Paskey should try more singing styles to keep things fresh. (www.listentopaskey.com)
– Terrence Flamm

A rainbow-colored pastiche of styles combine in a freewheeling, schizophrenic manner making Pox’s Borgnine an oddly intriguing listen. A jazzy arrangement spiced with introspective lyrics make the languid “Hamfist” a stark contrast against the metallic prog-fusion of “Wilford” and the acoustic, country-inflected “99 Cents To Die.” “Iridium” and “Why Trains Crash” tumble through kaleidoscopic mist, shimmering like light sparkling in fractured glass. Borgnine is surrealistic, and stumbling at times, but eventually rewards the open-minded listener interested in experimental rock. (www.myspace.com/poxfin)
– Patrick Conlan

Long distance relationships can work. Goldfish And His Friends, a six-song EP, is the impressive result of collaboration between two cross-country musicians recording under the moniker Princess Dinosaur. Alternative-rock orchestrations, not unlike Band Of Horses, cause shoegazing reverie on “Steamy Dreamz.” Earnest vocal melodies and layers of instrumentation provide a rich backdrop on all tracks, taking an especially psychedelic, Flaming Lips-like trip on “Electricity.” (www.myspace.com/princessdinosaur)
– Jason Scales

How can you not love a lyric that rhymes “Ferris wheel glow” with “Mies van der Rohe”? That’s one of the many clever turns of phrase within the title track to West Of The Lake, the first solo effort from Brent Puls. All five cuts are delightful, and although the artist has over the years toiled in hip-hop and glam, it seems with this folk-pop effort he’s melodically and emotionally found his voice. (www.brentpuls.com)
– Jeff Berkwits

Primarily instrumental, Push use a lack of vocals to deliver one of the more promising local releases in the past year. A Naive Push To Escapism doesn’t roll off the tongue as a title, but the propulsive, post-rock mix of vibes and intuitive percussion feels effortless. When “frontman” Jon Scarpelli does open his mouth, the elegiac and Blue Nile-esque “The Crawl” becomes the anti-crescendo, and turns the album inside-out. (www.myspace.com/naivepush)
– Steve Forstneger

Vocalist/guitarist Justin Gillam plays the role of a rural storyteller and philosopher on Rigor Vitae’s self-titled debut. His craggy voice borders on spoken word, while the band plays appealing country & western arrangements featuring pedal steel and cello. “Up Here” is one of the better toe-tappers on the CD, while on the bluesy “Hauler,” a guy longs to escape the frustrations of his job by becoming a garbage truck driver. (www.myspace/rigorvitae)
– Terrence Flamm

The Mason Jennings-penned title track unfortunately reveals These Open Roads‘ flaws. Haroula Rose, aided by Saddle Creek stalwart Andy LeMaster, Azure Ray’s Orenda Fink, and localboy Sad Brad Smith, spends her debut ironing and re-ironing lonesome, folksy melodies, but can’t get them to sit as sharply as Jennings’. LeMaster’s winsome production feels wasted in that regard: all dressed up and nowhere to go. (www.haroularose.com)
– Steve Forstneger

Though he blends gospel, country, and R&B, Ben Sage is not your traditional Americana folk artist. Over a sprawling 17 tracks, Sage mingles woodsy love songs (“Dialin’ For My Darlin’”) and religious praises (“With God”) with quirky, country-inflected folk (“You Make Me Feel Like John Wayne”) and poppy acoustic anthems (“Sun Power Me”). There’s a light-hearted irreverence that borders on parody at times, but there’s also genuinely skilled musicianship and colorful stories sprinkled throughout Plenty Of Gold. (www.lovebensage.com)
– Patrick Conlan

Two-thirds of the way through Archaeologist, singer/songwriter/accordionist/guitarist Ami Saraiya drops her upper-register cabaret flapper/Mata Hari/gypsy cabaret guise for lower-register, straightforward rock growler “Memphis Train,” abruptly turns 180 degrees into a somnambulant “Lullaby Song,” and then careens into (Native American?) “Intaha Ho Gayee” before finally sliding back into cabaret vamp for the CD’s two closers. A bit all over the place and hard to put one’s finger on, but the piano in the final cut is in definite need of tuning. (www.amisaraiya.com)
– David C. Eldredge

Billing itself these days as “insurgent pop” may conjure up images of Lucinda Williams during her radio days, but the female-fronted Scale Model actually evokes the darker side of the ’80s crossed with the more modern tones of MGMT on the Set Me Free E.P. The title track is sure to sit well with fans of the above thanks to its icy guitars and meaty basslines, while “Kindness” unveils a sensitive side to the band that’s just as alluring. (www.myspace.com/scalemodel)
– Andy Argyrakis

Scouts Honor’s Buried (Thinker Thought) is a rip-roaring album of sludgy blues and angular post-punk. Incendiary, inspiring lyrics burn through the fist-pumping assault of “Arise,” and punctuate the gritty riffs and jittery tension of “Men Of Money.” A swelling, cathartic release bursts free when Jared Grabb lets his lungs loose on “Sweating Through Our Days,” and you’ll get lost in the mesmerizing drone as Scouts Honor repeat a single riff on an unlisted track for nearly 30 minutes to close the album. (www.scouts-honor.net)
– Patrick Conlan

Comparing Seafarer to Arctic Monkeys or Jonathan Fire Eater doesn’t seem out of line, especially because their perfectly good-boy indie rock has a tendency to fly off the handle. Despite being one of its shorter tracks, “The Yeti” forms Hiding Places‘ centerpiece: an outstretched, languid conversation that forgets to take its meds and reacts accordingly. The tactic pays off on “The Archipelago,” a release lever that drains into and eventually marries “Functional.” (www.myspace.com/seafarerchicago)
– Steve Forstneger

Shark Matter portray their sound as “tongue-bitingly restrained and self-indulgent.” Well, they’re half right. Among the seven tunes on Chum Bucket, “Times For The Changelings” is a passable jam, but the remaining numbers are all more exercises in hedonism than harmony. As for the first part of their description, there’s definitely controlled frenzy within their blues-punk performance: what’s missing is maturity. (www.sharkmatter.net)
– Jeff Berkwits

Terry Carroll is clearly a big Beatles fan, even going so far as naming his Silverbeat project with the Fab Four’s previous moniker The Silver Beats in mind. Unfortunately, the tracks throughout Outside The Casbah lean closer to a British Invasion cover band still trying to work out the kinks, with the leader’s voice coming across like a weathered Peter Noone from Herman’s Hermits, as opposed to his primary idols. (www.youbloom2009.com/web/silverbeat)
– Andy Argyrakis

Sitticus is a capable blues/jam rock band that shows its chops on a 10-song self-titled CD. “Haven’t Done A Thing To You” is classic blues — no frills. “Railroad Tracks” adds funk to the formula, and “We’ll Feel It All Soon” slows down the tempo a tad for a Black Crowes sound. “We Retread” is the least derivative, and therefore most original-sounding track, with pulsating guitar effects and introspective lyrics. (www.sitticusband.com)
– Jason Scales

Most people listening to The Solo Experience’s demo would guess it was recorded by two drunks in a basement. Actually, these eight-plus minutes of distorted guitar, bad singing, and phenomenally unfunny bits are the work of long-time musicians Eric Kmiec and Doug Karo. Karo has written for “Jimmy Kimmel Live” and “The Tonight Show With Conan O’Brien.” According to their press release, The Solo Experience was, “pooped out in an afternoon.” Why? Why? A thousand times, why? (rockofficerecords@yahoo.com)
– Terrence Flamm

South-Siders Soul Pollution are fighting to keep epic rock alive and well. The band’s three-track EP finds them channeling Queensryche (track 1), Tool (track 2), and Soundgarden/Alter Bridge (track 3). Of course, Soul Pollution has a long way to go musically to reach the level of these bands, but they at least have strong, soaring melodic vocals, driving rhythms, and above-average hooks, which isn’t a bad place to start. (www.myspace.com/soulpollution)
– Carter Moss

There’s a Marc Bolan-like quaver that dominates The Syllable Section’s Linear Views, though that’s where the comparisons to T. Rex end. Using junk-shop electronics and twee instrumentation to elucidate nagging eccentricities, Matthew Marquardt and Brian Green present pop music in their own vision and often in ways that seem for their ears only. Melodies form only as conveyances to get from one point in a song to the next, passing like ad hoc freeways over the shimmering scenery below. (www.myspace.com/thesyllablesection)
– Steve Forstneger

As Chicago alt-rockers TV Set further their career, their influences reach farther back. On their latest disc, Farewell (their final release?), the band have their feet firmly planted in Joy Division’s catalog. The dark, synth-laden hooks and barely melodic fuzzy vocals create a sound that lands on the musical spectrum somewhere between retro and relevant. No strong singles emerge, but the disc actually makes a lot of sense if listened to with Shuffle off. (www.myspace.com/tvsetchicago)
– Carter Moss

Hailing from Chicago by way of Nashville, Welcome To Ashley’s second effort, Beyond The Pale, shows the power-pop quartet’s musical maturity continuing to evolve. The band moves seamlessly between British garage rock (Arctic Monkeys), midwestern power-pop (The Replacements), and ’80s alt-pop (The Smiths). WTA still has a long journey ahead, but so far, their music is a trip worth taking. (www.myspace.com/welcometoashley)
– Carter Moss

There is nothing really standard about the debut offering from Young Jesus. A live, organic sound in the indie/emo tradition pervades the six-song Late Night Standards EP with “October” the most fully-engaging track. The band effectively takes its time building the emotion on “Where We’ll All Go To Dance” with jangling guitars and chiming cymbals, but also knows how to pick up the pace on “Every Smoker Needs A Mini Bar.” (www.myspace.com/youngjesusband)
– Jason Scales

You don’t have to be a jazz aficionado to appreciate the bubbly fluidity of cascading notes that percolate through the sultry, hopeful vibe of “Until Tomorrow Comes.” That’s the exuberant skill of Pharez Whitted, trumpeter extraordinaire. He casually saunters between elegant and energetic on Transient Journey, conjuring a serene placidity in the smoky groove of the title track and a feverish, honest yearning in “Sunset On The Gaza.” (www.pharezwhitted.com)
– Patrick Conlan

It takes unwavering discipline to dive into something as distinct as early Sunny Day Real Estate and not come out sounding remotely emo. On End Of An Era, Carta Marina emerge without a unique identity, though their integrity remains intact. The band prod and probe, following each step forward with two off to the side for perspective and reassessment. Organic use of harmonica and pedal steel creates wider spaces in already enveloping gaps, and it’s when they explore those that they’re at their best. (www.cartamarina.bandcamp.com)
– Kevin Keegan

Christian Collin’s third self-released CD, Live Blues At Billy’s, delivers precisely what the title promises, capturing able axeman Collin’s 2009 set (with his usual side band Molasses stripped down to bass-drum duo this time out) in performance at this venerable Wisconsin venue. While no new ground is broken (which admittedly is kind of hard when mining R&B and blues these days) there’s no denying Collin’s fingers know their way up and down a guitar neck and his voice is more than up to the challenge posed by the menu of both covers and originals. Apparently, Collin enjoys steady gigs at Billy’s and this recording is testament to the following this one-time Detroit native-turned-Chicagoan has generated throughout the northern Midwest as well. (www.christiancollin.com)
– David C. Eldredge

Taking bits of Crowded House’s Neil Finn and Squeeze’s Glenn Tilbrook, John Condron & The Benefit show no shortage of melodic sensibilities throughout their fourth long player, Eleventh Hour Grace. Though the lyrics don’t possess either of those influences’ wit and sophistication, the group provide considerable depth, namely with the cheeky “Tea Party Stomp” and “Minutes To Hours.” (www.johncondron.com)
– Andy Argyrakis

With trashy riffs and a nihilistic, sleazy rock clattering behind them, it’s not without self-awareness that The Dirty Rooks proclaim “I will not be here again!” on Sugar Mama. Devouring the weary redemption-seeking of Exile-era Stones and embracing the hollow morality of Guns N’ Roses’ “It’s So Easy,” the band might travel well-worn territory but do so dragging their boots in the gutter. When the ideas begin to dry up (they stoop to crib a popular BTO riff), the Rooks’ remarkable studio energy siphons enough stolen gas to see the album out. (www.thedirtyrooks.com)
– Steve Forstneger

On Asylum, their fifth full-length release, Chicago nu-metal poster boys Disturbed are still rocking their tried-and-true formula: Dave Draiman’s signature husky-yet-melodic growls over a layer of thick crunchy guitar hooks. The band sing about their usual themes (angst and atheistic spirituality), and they include yet another hard-rock cover of an ’80s classic (“I Still Haven’t Found What I’m Looking For”) as a bonus track. At least Disturbed are not fading back over time – but they’re not really moving forward, either. (www.disturbed1.com)
– Carter Moss

A Chicago transplant in L.A., Open Mike Eagle is hoping to emerge from underground hip-hop to make some national noise. His debut LP, Unapologetic Art Rap, uses 15 tracks to showcase the MC’s artsy rap stylings. While his flow is silky smooth and his lyrics are above-average intelligence, his beats are over-simplified and some tracks sound more like spoken word than actual rap. Mike proves he can hold a mic, but now he needs to prove he can produce memorable music. (www.mikeeagle.net)
– Carter Moss

Curtis Evans makes the mistake of opening Life With The Buffalo with the painfully slow title track. Things pick up nicely from there, as Evans reveals himself to be an appealing, gravel-voiced singer/songwriter who spins tales in a John Prine sort of vein. There are a few more slow tunes along the way, but Evans impresses on the melodic and energetic tracks. (www.myspace.com/curtisevans)
– Terrence Flamm

Humboldt Lagoon’s self-titled debut impresses with its range – from rock to jazz to psychedelic pop – and songwriting sophistication. Largely the effort of writer and performer Erik LaVergne, the mix of styles isn’t haphazard, but rather well-executed. “Holy City” and “Playa Langosta” are especially good tracks among the 11: the former for its harder-edged guitar work and vocals, and the latter for its delicate and atmospheric instrumental approach. (www.humboldtlagoon.com)
– Jason Scales

Erik Hall, who performs under In Tall Buildings, can be a little too quiet on his self-titled debut, and it’s hard not to lose patience with the nine-minute dirge, “Flemishing.” Mostly though, In Tall Buildings succeeds with layered vocals, intricate guitar strumming, and strong melodies. The catchy indie pop of “Walking Man” and “The Way To The Monster’s Lair” are by far the best songs here. (www.intallbuildings.com)
– Terrence Flamm

The Interiors have always had an abundance of snappy power and pop, but on Teeth, there’s a new dynamic. Sumptuous rhythmic interplay that incorporates Afrobeat and jazzy syncopation braces bubbling bass and breezy melodies. Bright, jangly guitars and hushed vocals percolate through the workingman ode “Sam’s Holiday” and Chase Duncan’s smoky, Southern drawl complements the snarling guitar fuzz in “I Will Wait For You.” (www.myspace.com/theinteriors)
– Patrick Conlan

Christian Larsen’s cool, cinematic electronic compositions have grown in both complexity and melodic immediacy over the course of four albums, and his latest batch on Departure sparkles with shimmering intensity and lyrical grace. Although this effort is more subdued – lacking the charged guitar crunch and dramatic impulses that punctuated previous albums – “Fragile Fire” and “Glass Ocean” still sing with lush, sweeping textures and the beautifully cultured details. (www.christianlarsenmusic.com)
– Patrick Conlan

Don’t let the crap band name dissuade you from checking out Man The Mighty’s latest EP, Beneath The Skin. Playing soaring, hard-charging anthems that pack plenty of kick and radio-friendly sheen, MTM is positioned for commercial success. Featuring thick, crunchy riffs, driving rhythms, and a passionate vocal performance courtesy of Derrick Smith, “Sick” and “Over You” should find favor with fans of Tool or A Perfect Circle, and the sinister, moody undercurrent flowing through the album provides depth and complexity to “Tear Me Down.” (www.myspace.com/manthemighty)
– Patrick Conlan

Based on his bio, Mission Man sounds like a real mensch. Unfortunately, being a great guy doesn’t translate to creating great music. The 15 rap tunes on 31 Hours Til What? are simply dull. Now and again a passable number surfaces, such as “What Hip Hop Means To Me,” but based on the interminably monotonic performance for most listeners the answer to the recording’s quizzical title will seem like “The End Of This CD.” (www.missionman.net)
– Jeff Berkwits

More Mudhoney than Mooney Suzuki, Soft Targets push their sloppy garage rock like they stole it and don’t give a fuck. Above The Arctic Circle wears its early-’90s stylistic contrivances like a faded T-shirt, indifferent to how ratty it looks or how much of its smell sneaks in. The band’s take-it-or-leave-it approach keeps it from waffling on the modernize-it fence, and the absence of Jesus Christ poses reminds us that there were bits of the Seattle movement worth returning to. (www.roostercrow.com)
– Steve Forstneger

There’s no risk to see if Suns can stack up to the players’ previous gig as Downtown Records act Wax On Radio, simply because the group is giving away its double EP The Howl And The Many/Close Calls In The U.S. Space Program on Myspace. Across either listening experience, the group makes a successful transition, sounding like a stripped-down Arcade Fire where a diverse instrument pool (mandolin, harmonium, glockenspiel, clarinet) collides with cacophony. (www.myspace.com/sunsband)
– Andy Argyrakis

The rigidity with which Three Finger Pour stick to classic rock/pop tropes demands that this trio reconsider their bandname, though the EP title Time Spent is pretty accurate. The band lovingly recreate radio rock as they remember it, whether invoking The Drifters in the power-poppy “If You Want To” or nodding to late-’70s Springsteen on a couple tracks. Complying with a strict A/B/A/B rhyme scheme takes precedence over what’s actually being sung, but so does having fun over vain ambition. (www.jameskwayman.com)
– Steve Forstneger

The Willing have been obsessed with creating harmony vocals since coming together back in the 1970s. The band reunite for Unfinished Business, with five of the six members taking turns at the mic. The obvious role model for easy-going songs like the autobiographical “Ultima Thule” is Crosby, Stills, & Nash, but The Willing rock a little harder on “Mary Anne’s On Fire” and “Only Love Can Change The World.” (www.thewillingband.com)
– Terrence Flamm

Roxy Swain (above) is the name of a band as well as its dynamic lead vocalist. On The Spell Of Youth, a full-length follow-up to the New Love Designers EP, Swain belts out power-pop tunes crafted by guitarists Tom Valenzano and Matt Walters. “Second To None” and “Z Dimension” evoke The Bangles, while “Linda” sounds like a 1960s hit single. “Son Or Daughter,” which features male lead vocals, is a funny ode to some sort of chemically spawned creature. (www.spadekitty.com)
– Terrence Flamm

Not just another ordinary folk album, Warren Buckler’s self-released debut, Like That Of The Coral, is a luminous, experimental record, infused with a tender heart and wide-eyed appeal. The club-friendly beats that blossom behind the frail acoustic guitar and layered coed vocals may sound crooked and incongruous, but when the Casio-style percussion marries the lulling call-and-response vocals in “Look Again, It’s Magnificent,” the song swells into something magical. (www.warrenbucklermusic.com)
– Patrick Conlan

Initially, Joe Phillips’ vocals on All The Fallen Parts‘ 10 originals bring to mind the alt-folk/country sound of, say, recent Mark Knopfler or the Krauss/Plant pairing, save that the Ceiling Stars ensemble and additional players he’s assembled – not to mention taking advantage of every tool a studio offers – bring a far more lush, deeper richness of sound. It’s a consistent offering whether the material drifts toward shoe-gazing rock ether, makes a bossa-nova nod, or just plain pushes at the boundaries of solid lo-fi pop balladry. While perhaps not breaking any new ground, it’s an extremely accomplished recording and satisfying listening experience nonetheless. (www.ceilingsongs.com)
– David C. Eldredge

With corpses playing instruments on the cover of It Comes To This, Deadmanswake appears to have a sense of humor, even if the songs therein are fiercely cut from a similar shock-rock cloth as Alice Cooper. In more current terms, the female-fronted foursome evokes Evanescence or Paramore (if both of those acts had more ferocious licks), though by the end of the 10 main tracks, the gore-tipped guitar grinders all roll together. (www.deadmanswake.com)
– Andy Argyrakis

Fans of easy-going rock can’t go wrong with Open The Door, the latest effort from Down The Line. All four members of this quartet sing, and their harmonies on melodic songs like “To See The Ocean” are inventive as well as gorgeous. The title track is a fun toe-tapper a la Jim Croce, while “The Great Debate” uses a delicate arrangement for a song about two people who can’t seem to agree on anything. (www.myspace.com/downtheline)
– Terrence Flamm

Geronimo is a throwback of sorts to the early days of “alternative” radio, cranking out heavy, sharply melodic rockers slathered with cranked-up amp fuzz and head-bobbing rhythms. Its debut album’s title, Fuzzy Dreams, perfectly describes “Thunderbattles”: had it appeared on “120 Minutes,” it would have become an instant college-radio classic. Revealing Geronimo’s knack for moody, epic songwriting, “Table Legs” is a swirling, psychedelic maelstrom of thick riffs and majestic destruction that approaches Bardo Pond territory. (www.myspace.com/thegeronimoband)
– Patrick Conlan

Somewhere between where James Taylor left off and Richard Marx began, Goodbyehome’s Troubles can come off as schmaltzy more often than not, despite the fact that you can tell these guys don’t have an insincere bone in their bodies. It’s difficult to dislike the music they’ve made here because you can tell they meant each and every note of it, but truthfully, it can be something of a chore to make it through many of their songs. (www.goodbyehomemusic.com)
– Dean Ramos

There’s no right way to start a band, but thanks to The Joans it might be time to establish some guidelines. We Are The Joans serves as a fictional biography of actress Joan Crawford, performed in the same novelty-rock idiom that brought you “The Monster Mash.” For those of you still reading, that includes a eulogy/travelogue (“Joan Crawford Goes To Hell”) delivered by what sounds like Exene Cervenka and Uncle Fester. Kudos for slotting the title track last in the song sequence, in case any questions remained as to their identity. (www.thejoansband.com)
– Steve Forstneger

Though presented as an album, Luster’s Run From Dogs bears the feel of several EPs artificially conjoined. The downstaters open with soaring, Killers-raiding-Springsteen arena anthems until “High Class Beat” ushers in a brief dalliance with lightweight Maroon 5 soul, followed by Airborne Toxic Event darkness, swooning ballads, and indistinct pop rock. While refusing to be hemmed in stylistically has its advantages, a young band might be better served by consolidating strengths before indulging whims. (www.lusterofficial.com)
– Steve Forstneger

Lynch suggest what Candlebox might’ve sounded like before someone turned them into a grunge band. Coming from the non-jackass/Tesla school of pop metal, Window Of Your Soul leaves hundreds of musical stones unturned, but sounds rather comfortable in its shoes. Well-rehearsed and relaxed, the band skip genre affectations (blinding solos, laughable lyricism) and let the songwriting behind a standout like “Wash Me” survive as is. Particularly reassuring is vocalist Danny Lynch, who has chances to overpower at every turn but lets them pass – which shows more personality than any howling vibrato ever did. (www.lynch-rocks.com)
– Steve Forstneger

Peter Cimbalo has spent enough of his recent past with Ike Reilly and in places like FitzGerald’s to remember that he can do this, too. So for Lake County All Star, he revives the dormant Pie Eyed Pete for 10 tracks of semi-irritated but ultimately good-timin’ roots rock. The trick with such a recording is to sell energy without obscuring the witticisms behind a drapery of familiar chord changes, appropriately, each time Cimbalo gets screwed over he makes sure you remember it. Welcome back. (www.pieeyedpete.com)
– Steve Forstneger

Reminiscent of Carole King, Rego’s From The Royal Arcade is a thoughtful, moving album evocative of the best the AM dial had to offer back in the ’70s without coming off the least bit cheesy or artificial. Not a filler track in the bunch, everything from the first note of “Astronauts” to the disc closer “Frozen Cars” is sure to please nearly every bit as much as “So Far Away” or “It’s Too Late” from Tapestry did back in 1971. (www.rebeccarego.com)
– Dean Ramos

Sgt. Wesman’s Logan Square Friends Band doesn’t satirize The Beatles on its latest release, Sticky Whiskers, but there is a definite 1960s vibe that runs through most of the CD. Led by Wesley Torres, this collective creates tripped-out psychedelic rock on songs like “Going Nowhere,” but opts for a classic new-wave approach on the catchy fun of “In The Kitchen.” Torres’ studio posse succeeds at a variety of genres, but a cleaner production would have made this effort even more impressive. (www.sgtwesman.net)
– Terrence Flamm

It’s interesting to note how the same drumbeat propels the consecutively sequenced martial/early U2-like “Marble Mask” and the sprightly pop Zombies/La’s-like “Weathervane” on the five-song sampler from Soft Speaker. And save for the legato (and not so convincing) ballad “Into The Fog,” the band has mastered having both feet solidly planted in late ’60s/’70s pop and ’80s indie rock that – drum quibbles aside – with the addition of strategic stratospheric electronic embellishments can at times be extremely infectious listening. But what the band’s 1930s Austro-Germanic bio references are all about is a head scratcher. (www.softspeaker.com)
– David C. Eldredge

The number of ’90s-inspired bands increases proportionately to each grunge-era reunion, but Standby Radio’s attempt at early Pearl Jam throughout “Company Man” sounds downright dated. Other tracks on When Signals Cross that recall Weezer’s less time-specific melodic pop make more of an impact, but for the most part, the project’s grunge/garage revitalization is too derivative to sound inspired. (www.standbyradioband.com)
– Andy Argyrakis

Blooming in Nashville, coed duo Steel Magnolia might be country music’s Roxette. New Orleans girl Meghan Linsey’s Southern vocal stylings are the perfect fit for Illinois-born Joshua Jones’ country guitar hooks and blue-collar voice. The duo’s five-track, self-titled EP succinctly captures the breadth of their sound, from the slow reflectiveness of “I Need You” to the stompin’ fun of “Keep On Lovin’ You” and “Fast As You.” (www.bigmachinerecords.com/steelmagnolia)
– Carter Moss

Surprisingly measured and restrained, Far Away Places does a disservice to Petra van Nuis & Andy Brown’s individual talents. Sounding more like students than artists, the 13 tracks provide ample room for their trad vocals-and-guitar jazz arrangements to explore, but van Nuis seems so concerned with hitting the right notes that we’re only allowed glimpses of her lurking sass. Pulling songs from the masters (Porter, Jobim, Ellington), Brown – despite his rhythmic and melodic responsibilities – actually sounds less concerned with the sheet music and drops intuitive lines throughout. (www.petrasings.com)
– Steve Forstneger

On his fourth release, Chicago-based composer Dan Wallace decided to explore incorporating the extensive guitar solos from his live performances into the recording process. The result isn’t all that compelling, but combined with the string arrangements that back many of his songs, it’s at least interesting. Wallace’s pop/rock continues to flow in the vein of Eels and The Shins, and while his lyrical depth continues to expand, his melodies haven’t quite caught up yet. (www.danwallacemusic.com)
– Carter Moss

Algernon’s intentions of blending hippie grooves with kraut rock, art punk, and avant-garde jazz are certainly admirable, but the results throughout the entirely instrumental Ghost Surveillance are scattered at best. Instead of honing on a sound or two and going for broke, the duo dips its toes into a curiosity and then briskly transitions to the next without providing any resolution. (www.myspace.com/algernonmusic)
– Andy Argyrakis

Multi-faceted singer/songwriter Andrea Amos plays keyboards, drums, and violin on Tunnel Vision, backed by a full band. Her voice is well suited to breezy jazz tunes like “Off Limits,” but she also explores light rock and funk as well. The heartfelt torch song “Move On” is particularly impressive, while the soulful rock of “Won’t Change” wisely warns against staying in a doomed relationship. (www.myspace.com/andreaamos)
– Terrence Flamm

Founder of famed local landmark the Velvet Lounge, sax virtuoso Fred Anderson passed away last June. Black Horn Long Gone serves in part as his legacy. Recorded in 1993 but released only a few months prior to his death, the CD is a labor of love filled with eight improvisational jams. While cuts like “Our Theme” and “Three On Two” are highlights, free-jazz fans are sure to savor every note. (www.chicagosound.com)
– Jeff Berkwits

Belying the aggressive title and artwork, Attack Time actually plays polite, adult-oriented, pop-folk that’s gracefully easy-going. The acoustic guitar snaps out crisp melodies and the nimble percussion adds colorful accent to the folksy charm of “Complete.” The supple harmony of “Magic Moments” is soft and comforting, like a favorite lounge chair; and if you’ve never heard a morin khuur, check out “First Watch” to experience its mesmerizing tone. (www.myspace.com/attacktime)
– Patrick Conlan

By far, “In Vain” is probably the best track on Dan DeRamos‘ Fragile. While other tracks resemble post-grunge, alt-rock, and’80s pop, despite excellent guitars and a few Pete Yorn-ish moments, this 10-track collection is a tad dull. Noticeably more authentic and sincere than most of your standard adult-contemporary fare, it could still benefit from a few more personalized touches as opposed to replicating much of what has come before. (www.myspace.com/danderamos)
– Dean Ramos

If a band that’s virtually unknown can still be considered legendary, Fuckface is that band. Experimental and confrontational, Fuckface created one searing album of raw, unbridled chaos, riddled with thundering rhythms and scraping guitars, that has never been released – until now. “Blood River” and “L.A. Song” crackle with the deafening pounding of three drummers who didn’t use cymbals or snares, and a snarling guitar straining to cut through the mix. (www.latestflame.com)
– Patrick Conlan

Who knew Jared Grabb had a softer side? Formerly of Chicago hard-rock acts Scouts Honor and The Forecast, he has traded in his ferocious guitar riffs and angst-filled vocals for banjo, mandolin, and a laid-back vibe. Where Do You Hide Your Love Songs is full of thoughtful lyrics and melodies, and reveals more of the depth of his talent, but in the end, it doesn’t really go anywhere Wilco or Gaslight Anthem hasn’t already gone before. (www.jaredgrabb.com)
– Carter Moss

Perhaps best known as drummer for The Girls and Jonny Polonsky, Jason Batchko is, in actuality, a multi-talented and instrumentalist artist whose DIY effort under the moniker Integrated Cookbook serves up a quirkily compelling set of original songs that are, at times, whimsical (“Lunchwagon”), romantic (“Love Last Night”), classically railroadin’ bluesy (“Midnight Train”), low-life lamenting (“Old Detroit”), and even raging (“Millionaire’s Son”) – without ever musically repeating itself. With a solid, Dylanesque Midwest twang, Batchko’s voice is well-suited to his eclectic material and solid arrangements, making his first solo effort a most unexpectedly satisfying listening feast and, one hopes, a recipe to success. (www.myspace.com/integratedcookbook)
– David C. Eldredge

Just when it seems that Jet W. Lee has locked into a hard-hitting combination of punk and heavy metal on its Who Shall Remain Shameless CD, the trio unveils the complex “Starry State Of Mind,” which features harmonica and ringing guitars. The lighter “When Beauty Met The Blues” adds another shade to Jet W. Lee’s unpredictable but engaging music. (www.jetwlee.com)
– Terrence Flamm

Renoir To Hemingway: A Retrospective covers the first decade of Coventry Jones‘ career with 19 tracks, most of them previously unreleased. Hailing from Milwaukee, Jones’ folksy singer/songwriter vibe is more James Taylor than Jack Johnson, and while most of his songs settle comfortably into the old-school country vein, the electric guitar-driven “Dark Horse Named Faith” and “Planet Jimi” show Jones letting his rock out – something he’ll hopefully do more often in his next decade. (www.coventryjones.com)
– Carter Moss

Fronted by Tshurhard Chivas and Havanah Moxie, Kinky Notti puts all the wide-ranging sounds of Chicago through a hip-hop filter on its Succomb debut to deliver some of the sassiest, most seductive and sensuous urban-inflected alternative pop music since, oh, say, Prince at his dirty-minded love-sexiest best. Minor quibble aside – just wanted to hear more variations in tempo – “Kink Not” may be the best flavor out of Chicago since “House.” (www.kinkynotti.com)
– David C. Eldredge

Having survived a horrific accident that totaled their van and scuttled their first ever East Coast tour, power trio Mass Shivers return a year later with Contoured Heat. True to past recorded form (rather than classic metal-edged arena-rock history would lead one to expect from such a configuration), the guys make good use of pedals, sustain, and other studio effects to carve a sound that’s more fusion/prog-like over its 10-cut reach. Thankfully, the Shivers avoid the blatant excess and self-indulgent pitfalls inherent in such genre flirtations; but while their ambitious, out-of-the-box musical aspirations are interesting, it doesn’t necessarily prevent an equally inherent redundancy of sound and structure. (www.massshivers.com)
– David C. Eldredge

Counting former members of Teen Idols and Plain White T’s, it’s no surprise that Scissors‘ You Can Make It Dangerous is a pop-punk record that any fan of the genre could enjoy. That said, trite songs and clichés creep up often, such as on “Say It Again,” “Us And Our Old Lady,” and “Suddenly.” Regardless, this is a solid effort from a band with a distinguished pedigree. (www.thescissors.com)
– Dean Ramos

What happens when a quartet of decent rockers outgrow their garage? Side Of Beef answer with Choice Cuts. “Summertime Sunday” and “Live My Life” are satisfactory slabs of Grade-A funk-infused power, with the three other selections supplying more straightforward, Midwestern rock grooves. Their self-described “meaty” sound remains a mite rare, but it shouldn’t be long before their at-the-moment middling melodies become well done. (www.myspace.com/sideofbeefband)
– Jeff Berkwits

Calling yourself an American rebel over a canned blues-rock riff isn’t the most stirring way to begin an EP, though Sugar Pusher (Lauren Ritchie and Matthew Kerr) eventually settle on a truer identity. With the Live At The Suga Shack EP, the duo occasionally strive for some four-on-the-floor attitude, but ultimately Ritchie’s feel for light funk gives the outing an adult-contemporary flair. If Kerr can tone down his guitar fills and solos and play for the song, it might prove a fruitful direction. (www.sugarpusher.net)
– Steve Forstneger

Tommy & Ptolemy’s comedic trip-hop collection, High School Senior Moment, brings Cheech & Chong’s 1970s gem “Sister Mary Elephant (SHUDD-UP!)” to mind, save instead of stoner humor, this duo aim squarely at the socio/politico satiric jugular, as their re-take on the similar era-ed Last Poets’ “The Revolution Will Not Be Televised” makes abundantly clear. While the title cut’s notion is clever, its – along with the rest of the material’s – irony and gadget/knob turnings are so obviously self-evident as to have very long shelf life. (www.myspace.com/tommyptolemy)
– David C. Eldredge

DeKalb’s 29 Needles not only sound like a jigsaw puzzle, but a number of them that have been haphazardly dumped into one box. The dominant tones on their self-titled EP are Pantera and Korn, and when they concentrate on the pulverizing assault of the former they brook no arguments. But a tone-deaf co-vocalist, boilerplate “I’m screwed up/you screwed me up” diatribes, and canned synth effects ensnarl what should be a simple formula. (wwww.myspace.com/twentynineneedlesmusic)
– Steve Forstneger

The male/female harmony mix that drives Unicycle Loves You’s Mirror, Mirror (Highwheel) is likely to earn instant comparisons to the like-minded New Pornographers. The group also demonstrates everything from an affinity for the straight-up rockin’ ’60s to the psychedelic era that followed and plenty of modern indie-rock influence, ensuring a cross-cultural swath of smartly sculpted songs. (www.myspace.com/unicycle)
–Andy Argyrakis

We Drive Yeah infuses its hard-hitting debut, Cult Classic, with ambitious arrangements and inventive harmonies. At times, the sound is a little too commercial, but it’s hard to complain about fast-paced gems like “Fruit Of Her Heart,” especially when lead vocalist/guitarist Chris Lamb is channeling The Cure’s Robert Smith. The band is even more impressive on the subtle “Lifebound” and “Class Action Hero,” which bring to mind the early days of English punk. (www.wedriveyeah.com)
– Terrence Flamm

Aevumin (a band with an instantly recognizable moniker but with pronunciation challenges) plays tight and peppy post-punk rock on a seven-track, self-titled CD. Some, like “Cliché,” value frantic power-chords, riffing and lyrics. But the band shines when jamming to groovier, more deliberate midtempo rhythms like on “Lonely Walks Away.” Another keeper, “Ignore Me,” declares: “Does anybody hear me?/You can’t ignore me!” True enough. (www.myspace.com/aevumin)
– Jason Scales

Justin Cancelliere sounds like he installed himself into his hard drive, which would only compound the desperation and desolation consuming him. Recording as Be Nice, he solders cold, impersonal electronic blips and beats to his broken heart on Both And Spiraling More, in a style akin to The Postal Service and Mobius Band. Though his constant romantic letdowns leave him looking gullible and intolerably wimpy, the frequently overloaded arrangements vividly elucidate his frazzled emotions. (www.myspace.com/ benicebenice)
– Steve Forstneger

You remember that dude in high school who fell in love a little too easily? He found three like him and formed The Bradburys. The Don’t Pump The Swingset EP may advertise its standardized power pop in “Vandaphonic Sound,” but this five-song set is all about girls A) they’re too afraid to talk to, B) wouldn’t talk to them anyway, or C) just want to be friends. Now if only some of that shy nuance could make it into the music. (www. myspace.com/brad burys)
– Steve Forstneger

Thoughtful, electronic-fused rock is the dominant sound on Counterfeit I’s full-length debut, Circuitry. This Wheaton-based act, led by Derek Allen, can certainly grind out the angsty, rugged rock heard on “The Age Of Machines,” but isn’t afraid to get a little ghostly with synths and other electronic elements on highlights like “Perfume Trigger.” It’s at these moments where CI gets experimental without losing focus. (www.myspace.com/counterfeiti)
– Max Herman

Immersed in Midwestern power pop and unencumbered by commercial trends, Dulcet Road follows the straight path on its self-titled EP. Casting a weary, weathered stare, tracks like “Wichita (Another Day)” and “Ghost Town” match jangly, Old 97’s grit with the straightahead, melodic pulse of International Pop Overthrow veterans. It’s rare that a band that sounds like it’s together just for the joy of playing can manage this level of professionalism. (www.dulcetroad.com)
– Steve Forstneger

Flatfoot 56 plays Celtic punk as good if not better than any other band, with all due respect to Dropkick Murphys, and the 13-track Black Thorns from the South Siders proves it. Traditional instruments like bagpipes are used (as on “Stampede”) not for gimmick, but for effective backing support for the full-throttle jams. The mandolin shredding blends perfectly with the power chords on “Hot Head,” and the requisite ballad “Shiny Eyes” shows the band’s versatility. (www.flatfoot56.com)
– Jason Scales

Although many of the songs on High Gloss Black’s six-song demo benefit from the husky and sexy vocals of its female lead singer (see “Barriers”), a couple of these metal tracks would undeniably benefit from a more testosterone-fueled vocalist as well, such as “Bury Me” and the disc closer, “The One.” Better production values could also improve this American Motherload offshoot’s sound and certainly add to the “gloss.” (www.myspace.com/highglossblack)
– Dean Ramos

Recalling the menacing sonic horror of early Swans, Locrian’s brooding soundscapes mine the bleakest recesses of the imagination. A distant, barely audible voice scrapes to be heard among the heavily processed drones in “Inverted Ruins,” while that same helpless voice is buried in the foreboding tidal waves of noise in the perfectly titled “Procession Of Ancestral Brutalism.” This is definitely for a select audience, but the patient and astute listener will be rewarded with a beautifully depressing work of art. (www.myspace. com/thelocrian)
– Patrick Conlan

Eschewing the usual hipster trappings of skinny-jeaned psychedelia or nostalgic new wave, Mike Maimone & The Mutts seems to be going for a Tom Waits-ish vibe on Pretty Pictures, especially with the way he plays the piano. While track-for-track one of the best and most original self-released EPs this particular critic has heard in quite some time, “Uncivilized” stands out, a song that would undoubtedly feel at home in only the smokiest of dimly lit nightclubs. (www.myspace.com/mikemai mone)
– Dean Ramos

Mathien might just have what it takes to be the next great pop outfit to come out of Chicago. Formed at SIU with his friends, Chris Mathien pours his intelligent lyrics, catchy hooks, and charismatic personality into every track. Influences range from Maroon 5 to 3OH3 to Jason Mraz, and the sound ranges from funk to soul to reggae to pop to rock. Each style is handled with surprising skill and depth for such a young band, resulting in 14 tracks of non-skip-worthy musical enjoyment. (www.mathienlive.com)
– Carter Moss

Shelley Miller’s third solo CD, When It’s All Gone, You Come Back, once again showcases her not inconsiderable musical chops undoubtedly honed as a veteran acoustic guitar/songwriting teacher at Old Town School Of Folk Music. Like her last effort (reviewed here in ‘07), she makes good use of her studio, producer, and sidepeople, though this time with some more decidedly electric and country turns, that bring a welcome variety of tempo/timbre to the material and continue to set her apart – though not necessarily too far in the forefront – from the rest of the trad/folk cadre. (www.shelleymiller.net)
– David C. Eldredge

On Learn To Dance, Roselle-based quartet The Mojoskillet plays the type of Americana suited for the untroubled set. Lead vocalist and guitarist Jim Bartholo-mew sings lightly about love while the upbeat, folk-leaning arrangements keep the mood festive. These are the type of tracks made for a summer street fest with a crowd that’s in no hurry. (www.reverbnation.com/themojoskillet)
– Max Herman

The Moses Gun unleashes a revved-up version of grunge on its self-titled EP. The trio mixes in other elements as well, especially on “Broken Neck,” which includes avant garde jazz amid its multiple tempo changes. “Ashley” is a spirited instrumental while “Perfect Wea-ther” serves as the band’s hard-edged version of romance. A bonus CD shows The Moses Gun adding acoustic textures to its sound. (www.myspace .com/themosesgun)
– Terrence Flamm

Journeyman sin-ger/songwriter Jackson Rohm shows how well he’s honed his skills on his sixth CD, Acoustic Sessions. Rohm’s engaging tales occasionally recall Jim Croce, especially on the slinky “All Never Mattered,” and he’s also adept at country & western. “Four On The Floor” is a touching tribute to a fellow musician who passed away, while on the more rock-oriented “Chris-tine,” Rohm aims to be more than friends with a longtime crush. (www.jackson rohm.com)
– Terrence Flamm

How many bands can you name that have been recording new music for 35 years? How many bluegrass bands can you name that hail from Chicago? Special Consensus are the rare group that fit both of those. So to celebrate, the bluegrass veterans released 35, a collection of six previously unreleased and six new recordings. Despite the tracks’ varying ages, all 12 prove the same thing: these guys have perfected the fine art of bluegrass and have earned every year of their long career. (www.compassrecords.com)
– Carter Moss

There’s no doubt Streets On Fire frontman “Chadwick” commands the stage like a man possessed, spazzing equal portions of Jon Spencer, Jack White, and The Stranglers’ Hugh Cornwell. Pile them all into a taut, Ponys-esque post-punk/death-disco package as the band do on This Is Fancy, and you get a lot of flash and dash – and that’s it. Tracks like “No One’s Fucking On The Radio” and “Astronaut Love Triangle” are ridiculous but could still be essential to the larger piece, but without support they’re vulgar novelties. (www.thestreetsonfire.com)
– Steve Forstneger

Velocity is heavily concentrated on playing ’70s and ’80s rock hits and its demo no doubt showcases a love for recognizable tunes from yesteryear. UFO, Led Zeppelin, and Ozzy Osbourne are just a few of the bands these western suburbanites attentively revisit. Focusing on such a specific niche as a cover band, don’t expect any huge surprises, but do expect to reminisce. (www.myspace.com/velocityhard rock)
– Max Herman

While not as cool as modern metal styles, heavy, roaring rock ‘n’ roll will have always have a faithful, denim-clad following, and The Warning Label play for that crowd. Reminiscent of the heavy rock of the ’70s and ’80s – think of any of the big-gest names from the era: Van Halen, Black Sabbath, Motley Crue – and you can hear them in The Warning Label’s sound. Light-ning-fast solos punctuate “In Control” and “Chains Of Evil,” while “Superstar” features a thick, rhythmic grind. (www.myspace.com/thewarninglabelmusic)
– Patrick Conlan

Vocalist Brooke Bartlett follows her own advice on Whiskey Blonde’s Scream Like You Mean It EP, belting out, “Rock me as hard as you can!” over the aggressive guitars and drums on “Crash & Burn.” She wails on the heavy-metal stomp of “Sweet Unknown,” and her band members break free for some extended jamming. Bartlett also impresses while taking a more subtle approach on power ballad “Faded Star.” (www.myspace.com/whiskeyblonde)
– Terrence Flamm

Bird Show Band’s self-titled CD is flat-out bizarre at first, but for those willing to embrace its unconventional mixture of jazz, progressive rock, and synths, it’s one of the more alluring projects to come from the Amish Records catalog. Though the group is avant-garde at its most indulgent, the European undertones provide a sense of warmth that make it less heady than most experimental projects of this nature. (www.amishrecords.com)
– Andy Argyrakis

With hard-rock hat tips to Helmet and Chevelle, Chainwax’s Provoked is tried-and-true headbanger fare from start to finish. Though there’s no denying the roaring riffs and players’ chops (especially on “Sacrifice” and “Voices And Deception”), clichéd songwriting subjects in “One More Score” and “Steal My Soul” hamper the group’s efforts. (www.chainwax.net)
– Andy Argyrakis

James Brown may have been the “hardest working man in show business,” but when it comes to the local jazz scene no one works harder than Fareed Haque. Together with his ensemble Garaj Mahal, he has two new discs: the nine-track More Mr. Nice Guy and the 12-tune Discovery. The former offers solid fusion, especially on “Tachyonics,” with the latter using the Moog guitar to shape a more esoteric air on compositions like “Sea To Sky.” Both efforts are marvelously mind-blowing. (www.owlstudios.com)
– Jeff Berkwits

On A Future For The Dead, Chicago’s electronic rockers The Glide commendably introduce the old school to the new. The opening track, “Monster,” sets the tone with thumping, new wave-influenced percussion, while the reverb-laced guitar parts favorably add a more experimental element. Paying careful attention to congruency, this quintet keep the momentum building with catchier midway tracks like “The Vanishing” only to bring the LP to a cool, melodic close with the minimal “A Billion Lights.” (www.theglidemusic.com)
– Max Herman

The eponymous debut from Sarah Holtschlag & The Crosscuts is best heard late at night. Holtschlag’s sweetly innocent vocals float above a thin layer of instrumental backing, usually nothing more than an acoustic guitar or piano. Her songwriting is solid and her melodies harmlessly wash over the ears. Unfortunately she gets too sleepy at times, and none of the tracks leave a lasting impression. (sarahholtschlag.wordpress.com)
– Carter Moss

What do you get when you put five songwriters of varying musical tastes in a studio to record? You get exactly what you’d expect: a sonically diverse jam band. You get Ifdakar. Their debut, On The Edge, is a varied collection of funk, rock, jazz, and electronica that is just cohesive enough to really work. Nearly every track is six minutes or longer, and half of them forego vocals for straight-on instrumental jamming. (www.ifdakar.com)
– Carter Moss

Bursting with passion and soul, JT And The Clouds‘ Caledonia’s rich musical complexity shows the group’s amazing repertoire. Supercharged with exuberant R&B and Motown funk, “Low July” and “Fever Dream” are blistering urban bumpers, perfect for blasting on the El to get you through your sweltering summertime commute. The Southern gospel drawl and slinky jazzy come on of “Playin’ Dozens” hits your head from a different angle, but with similar intoxicating effect. (www.jtandtheclouds.com)
– Patrick Conlan

While the testosteronic lyrics/subject matter (and indeed the band’s name and CD title) may might be a tad too chauvinistic for some sensibilities, it nevertheless sounds well-suited to Knife Of Simpson’s hard rockin’ proto-metal dual-guitar led eight-plus songs on Orenthalogy, and reminded this listener of, say, Deep Purple (sans organ) or Uriah Heep in their prime, with a bit of good ol’ all-American Blue Oyster Cult on the side. In short: just wonderfully irreverent over-the-top rock that one doesn’t hear too much of any more. (www.myspace.com/knifeofsimpson)
– David C. Eldredge

Yvonne Doll has been an impressive solo artist, but teaming up with bassist Christy Nunes and drummer Kirk Snedeker in the power trio The Locals seems to have created an even better vehicle for her powerhouse vocals and songwriting abilities. The band’s new Salt EP follows 2008’s full-length debut, Big Picture, with four hard-hitting but melodic songs. “Sound It Out” is reminiscent of Melissa Etheridge but with more of a Midwestern power-pop feel, and “Away From Here” is a declaration of independence set to a rocking beat. (www.localsrock.com)
– Terrence Flamm

More often than not the vocals are deficient, and the melodies aren’t too creative, but there’s something undeniably charming about the nine songs on Maddog Madden’s debut, Drowning In Harmony. The multi-instrumentalist’s fun ode to the film Flight Of The Navigator perfectly reflects his mid-1980s metal sound, while the final tune, “Rock Rock Rock,” testifies to his musical attitude. With more instrumental originality and a few voice lessons, the future looks awfully bright for this crazy canine. (www.reverbnation.com/maddogmadden)
– Jeff Berkwits

Thoroughly electronic and undeniably quirky, Mahjongg’s The Long Shadow Of The Paper Tiger is also not surprisingly incredibly danceable at times, especially on tracks like “Grooverider Free” and the ’70s-tinged “LA Beat.” Other notable tracks include the Nitzer Ebb-like “Wardance” and the Tom Waits-ish “DeVry” as well as the unclassifiable “Miami Knights.” Overall, an entirely creative and utterly engaging disc. (www.myspace.com/machinegong)
– Dean Ramos

Stretching and flexing over the course of eight minutes, “Alphaspectra Rising” starts as a ripping instrumental charged with dissonant squeals and massive drums before dissolving into a twisty, Tortoise-like epic. It’s a convoluted track, but acts like a mission statement for Miracle Condition. Expertly meshing similar juxtapositions, MC weaves slippery grooves and spacey guitar textures in “Into The Bay,” and the sinister feedback creaking through “Anthem” prefaces the art-damaged, shoegazing mist that crystallizes into gleaming armor around “The Arrival.” (www.miraclecondition.com)
– Patrick Conlan

The Palace Flophouse’s Try Not To Get Worried comprises 12 finely crafted acoustic-pop jewels, encrusted with bass, horns, piano, and multi-hued vocal harmonies. Bradley Bergstrand’s rapid-fire lyric crunching in “10 Feet Tall” hurtles alongside the elliptical piano melody for a compelling contrast. Gretchen Shaw’s vocal harmonies are elegant and classy, and infuse these songs with an angelic lilt. There’s a beguiling honesty and genuineness when the vocals aren’t pitch-perfect either, befitting the homesickness of “Lafayette,” and the struggle and yearning in “Minor League Pitcher.” (www.myspace.com/tpfsounds)
– Patrick Conlan

Kevin Andrew Prchal’s Eat Shirt & Tie showcases his deep, rich vocals on a highly polished collection of easy listening and country & western songs. “Another Fool (In Love With You),” is a rollicking Johnny Cash/June Carter Cash style duet with Genevieve Schatz from Company Of Thieves, and Prchal also impresses with the majestic romantic fantasy of “Opryland Hotel.” (www.kevinandrewsprchal)
– Terrence Flamm

It seems Question Of Honour set out to record a survey of rock genres on the 11-track CD Apothecary, trying to be the one band for everyman. There’s pop rock, hard rock, acoustic pop, and even a skosh of electronica and metal (“Power” is dead-on Judas Priest). It all makes for a schizophrenic listen, but also shows the band capable purveyors of all genres. If not original, better to be prolific. (www.strangehues.com)
- Jason Scales

Rabbit Children’s lushly self-produced Thou Shalt Have A Time Machine shows just how far technology has raised the level of DIY recording, enabling the band to craft a richly layered collection of midtempo pop tunes and ballads that — as centered upon the multi-instrumentalist band’s straightforward keyboard and guitar leads and driven by its tight multi-vocalist harmonies — recall mid-career Beatles with, at times, flirtatious nods toward good ol’ all-American country and indie rock jangle . . . with (thank God for once!) no emo at all. A great beginning; now time to get more adventuresome. (www.mayspace.com/rabbitchildren)
– David C. Eldredge

They call themselves the “modern-day Santana,” which seems odd since the rock legend is still churning out amazing melodies. Still, on Make Music Rico generate a dozen pleasant albeit pedestrian songs. Although their Latin/Afro-Cuban/soul-infused tracks — most notably “Zoned” and “Money” — are dynamic, they’re basic Santana-style jams. The act is probably great as a tribute band, but need to find a unique sound before they can be judged on their own merits. (www.ricojams.com)
– Jeff Berkwits

As of this spring, indie-rock trio The Salts are no longer recording or performing together. Fortunately the band’s third and final album, Broomstick Rock Star, is available for free download and it’s a good indication of the light hearted tunes they were capable of crafting. Sure, “Fa La La La La” and a few other tracks sound slightly underdeveloped, but the simplicity The Salts carry can also really work for them, like the bluesy and mildly amusing “Parent’s House.” (www.thesummersalts.com)
– Max Herman

The 16 tracks on Treadmill Trackstar’s ambitious I Belong To Me sound like a cross between Coldplay and the orchestrated psychedelic rock of the late 1960s. Heidi Carey’s cello gives the band much of its ornate texture, but singer/guitarist/keyboardist Angelo Gianna’s vocals play a huge role as well, particularly when he harmonizes with bassist Mike Mills. Drummer Tony Lee helps Trackstar add a hard-rock edge to its lush approach on the bitter “Hands Off” and “Least I’m Feeling.” (www.treadmilltrackstar.com)
– Terrence Flamm

It seems only yesterday Canasta were youngsters joyfully tossing sand on the beachhead of local indie-pop. With The Fakeout, The Tease & The Breather, however, Matt Priest and Elizabeth Lindau’s band have matured not beyond recognition, but what used to be heartbroken odes to young loves lost have acquired desperation. Priest opens the album ruing missed chances and allows a very British melancholy to tighten its grip with the one-two of “Appreciation” and “Shortcut.” An overall emphasis on acoustic and electric piano underscores Canasta’s mood, though brilliant touches like the gang chorus in “Mexico City” reminds that all worth living for isn’t quite lost.
– Steve Forstneger

Making a mockery of the EP format, Arriver brandish their full arsenal on Simon Mann. Though screaming metal at the core, the three songs veer from throaty, D.C.-inspired odd-meter punk to blistering tech-metal. Though the tale of Mann — a nouveau British mercenary arrested in an African coup attempt — is more obscure than compelling, the chance to title a song “Splodge Of Wonga” was reason enough to go with it.
– Steve Forstneger

Chicago-based singer/songwriter Kristin Cotts enlists the help of her band What About Rosalind for a second full-length release, a curious collection of folk/alt-country tracks. Cotts’ voice is equal parts sweetness and innocence, but unfortunately her style, tone, and lyrics sound like something out of a ’60s musical, rendering her sound quite peculiar and potentially narrowing her fanbase.
– Carter Moss

While the idea of blending free jazz and punk may sound exciting, in practice it’s dreadful — at least as performed by Dadad on their full-length debut, Uluctricity. “Evil Elgin” is the only cut that fully comes together, leaving 10 other tunes that are either excessively repetitive or melodically strident. Although the three band members have mastered the basics, in the future such experimentation should probably be left to experts.
– Jeff Berkwits

If you’re part of the thrash-metal revival, you could do worse than recycling Kill ‘Em All. On its debut, Between The Devil And The Darkness (Blastoff), Desolate Sky shows it knows Metallica’s early work, complete with chainsaw riffing, jackhammer drums, and fiery solos. It opens the title track with some clean guitar before unleashing a monstrous attack, and Scott Staszak even sounds a bit like James Hetfield on “Another Day.” Desolate Sky captures the visceral thrill of thrash, and make it sound relevant for today’s metalheads.
– Patrick Conlan

Imagine hanging out late one night at a smoke-stained jazz club like the Green Mill, listening to proficient players enjoying a fun jam session. That’s the intoxicating effect of Carswell, the latest 10-tune recording from sax-man Tom Gullion. While standout numbers include the energetically improvisational “Monkey’s Tale” and the evocative electric piano and flute of “Right On Time,” every cut is consistently captivating.
– Jeff Berkwits

While most local musicians fine-tune their craft in garages, basements, and bars, Timothy Hay developed his music in isolation by a campfire as a 20-year backcountry guide. Finally ready to return to civilization (Chicago) and record, The Timothy Hay Wreckerd sounds like — well, what you’d expect. The folk/country/ blues tracks are light on lyrical depth, simple on instrumentation (mostly guitar and harmonica), and big on rootsy Americana. It’s the perfect album to listen to — where else? — by the campfire.
– Carter Moss

Although one can’t deny their obvious zeal for the genre, Headwall’s brand of hair metal on Rockstar Loser leaves a bit to be desired. While their musicianship is top notch (particularly Gary Thiakos’ guitars), the vocals lean toward the irritating, which isn’t helped by sophomoric lyrics, which is saying something for hair metal.
– Dean Ramos

Heather Lynne Horton has an intimate singing style that exudes both vulnerability and self-confidence in lyrical content and vocalization. Most of the 10 tracks on Postcard Saturdays use background country-based instrumentation (piano, shuffling drums, slide guitar) to highlight Horton’s crooning talent. “Don’t Cry Wolf, Coyote,” a livelier rocker channeling Sheryl Crow, picks up the tempo among other slow-paced — almost hymnal — confessional explorations.
– Jason Scales

If Kevin Lee & The Kings already sound familiar, that’s because the leader was previously in charge of The Lonesome City Kings, who were once inked to MCA. As a guitar-charged rocker that falls somewhere between Lenny Kravitz and Bruce Springsteen wrapped around the production of Rick Barnes (Smashing Pumpkins, George Clinton), he’s far above the typical indie act and continually connects with gusty ditties.
– Andy Argyrakis

The experimental trio Mako Sica draws upon Native American culture, and its name roughly translates as “land bad.” The long-form songs on its imaginatively titled, limited-edition vinyl LP Dual Horizon conjure a mysterious, natural setting via wailing guitars, chanting, and tribal percussion. The musicians shift tempos throughout “I’Itoi,” “5th One Is The Dark,” and “Dunes,” and occasionally incorporate avant garde jazz. It’s a challenging work that should appeal to more adventurous music fans.
– Terrence Flamm

Sounding as if it was tailor made for Chicago’s own US 99, Lathan Moore’s Love In Your Life is without a doubt an album that most fans of the aforementioned country music station should enjoy. It can be, however, a bit bland and many of the tracks here seem to run into one another, each often indistinguishable from the last.
– Dean Ramos

Sin Ropas‘ eclectic collection of sounds gives its off-kilter melodies an idiosyncratic charm. “Nailed In Air” features a crinkled, waltz-y melody, spritzed with banjo, piano, and what sounds like a detuned violin. “Plastic Furs” shimmies and shakes from the ramshackle fuzz-and-buzz of homemade instruments. Tim Hurley’s whiskey-and-cigarette drawl conveys a wounded soul and hard-earned wisdom, and has the perfect timbre for carrying the emotional weight of the album. After a five-year hiatus, Holy Broken is a welcome return.
– Patrick Conlan

Joe Swank & The Zen Pirates play rollicking country & western for honkytonks on their third CD, Hank Williams Died For My Sins. It’s a consistently fun effort, particularly when the band cuts loose on “Just Tell Her I Loved Her” and “Tomorrow’s Just A Train-Wreck Away.” Swank also connects on “Better Than Bein’ Alone,” a sad tale of a wife who’s afraid to ditch her loser husband, and the jagged title track has an almost theatrical ambience. ()
– Terrence Flamm

Though Toast tries to conjure a bluesy groove reminiscent of The Doors, its Evolution EP sounds more like the sanitized soulful rock of Uncle Kracker. Aside from the tunes being unmemorable and bloated in the harmony department (especially “His Shoes”), a switch-up between four co-vocalists and songwriters lacks continuity.
– Andy Argyrakis

There’s a nostalgic feel to the melodic love songs on Train Company’s self-titled debut that brings to mind smoke-filled lounges in the early 1960s. John Zozzaro is a classic crooner who frequently harmonizes with bassist/vocalist Mike DeWitte, and Mark Alletag adds a jazz flavor via saxophone, clarinet, and flute. The lyrics are a bit corny on “Clementine” and “Winter,” but Train Company offers plenty to like, especially the romantic “Do You Really Want To Know?” and “Forest.”
– Terrence Flamm

Vicious Attack packs an incredible amount of destruction into its four-song EP, Blade Of The Reaper. “Vicious Attack” and the title track borrow heavily from Reign In Blood-era Slayer with David Correa’s clipped, staccato cadence closely mimicking Tom Araya, as rolling drum fills and insistent snare blasts anchor palm-muted, lightning riffing. A sliver of metallic-hardcore seeps in with shouted gang vocals highlighting the bloody carnage in “Infestation,” but VA’s primary purpose is to bludgeon you into submission with an unrelenting thrash assault. Mission accomplished, boys.
– Patrick Conlan

Violet Winter, a self-titled debut from singer/songwriter Oscar Salinas, is an effective mix of hard rock and electronica, with a hip-hop bent. “Abuse Me” exudes a Nine Inch Nails sensibility, and others, opening track “Turn Me Round” for starters, reference Depeche Mode. However, Salinas is skillful enough in production and arranging to forge his own style, as on “Part Of Me.” Including guest rappers on two tracks (“Relapse” features Shorty K and “Find A Way” stars Malik Yusef) shows range.
– Jason Scales

The Love Me Nots bust out some serious hip-shakin’ grooves and spastic garage rock on Upsidedown Insideout (Atomic A Go Go). Bristling keyboard stabs tangle with spiky guitar clatter as fiery Chicago-native Nicole Laurenne snaps out lyrics of bruising honesty. A jittery keyboard swirl smacks against snarling guitars in “You’re Bringing Me Down” and there’s a supercharged sizzle in the fuzzed-out blast of “He’s What I Want.” (www.myspace.com/luvmenots)
– Patrick Conlan

Rap band Tha Basix creates a fun, positive vibe through clever rhymes and basic keyboard arrangements on its self-titled, three-song demo. “Paradise” is a seductive invitation to slip away to a tropical island, while “Job” takes on the everyday work world. On “80s Problems & Hood Internet,” the band opts for a more energetic and techno-oriented approach. (www.myspace.com/thebasix)
– Terrence Flamm

Just as the band’s name — slang for an old-fashioned shortwave radio kit — recalls a bygone era, so to does the sound of Benton Harbor Lunchbox. On their self-titled 10-song debut, tunes such as “Cleo The Cat” call to mind early Bob Dylan, while melodies like “Just A Little Harder Than It Seems” invoke a Les Paul vibe. The spare production further reinforces the act’s standing as modern-day purveyors of traditional American roots rock. (www.bentonharborlunchbox.com)
– Jeff Berkwits

Falling somewhere between the growling grunge of Rage Against The Machine, Pearl Jam’s mightier material, and the garage-rock bombast of Kings Of Leon, The Circle View bridges the gap between the 1990s and now on The Dither Age. The dusty “Dizzy” and the riff-roaring “Come Of Age” are immediate crests, though the power ballad-turned-pummeling “Fail To Save You” is the odd man out as a schizophrenic misstep. (www.thecircleview.com)
– Andy Argyrakis

Taking cues from Muse and Glasvegas, District Somnium writes unabashedly emotional, stadium-worthy rock anthems. Electrifying dynamics and soaring melodies lead to cathartic choruses, and Adam’s (no last name) vocal delivery has the earnest yearning that instantly evokes both windswept mountaintop vistas and crushing heartbreak. “Sunseekers” and “Regain Your Soul” start as mild-tempered songs, but eventually crank up the intensity, and wind up as roiling epics. “Family Nectar” floats along gently until it blows up with crushing guitars and heart-thumping vocals. (www.myspace.com/districtsomnium)
– Patrick Conlan

With vocals similar to Metallica’s James Hetfield, despite the fact that metal outfit Fierce Atmospheres no doubt take their headbanging seriously, there really isn’t a whole lot to latch on to here — and that’s not just because their EP is a scant three songs. Although there’s no questioning their passion or musicality, there seems to be little attempt to synch their lyrics with the actual music, and (unfortunately) there are very few distinguishing characteristics to differentiate this metal album from the next. (www.myspace.com/fierceatmospheres)
– Dean Ramos

The Fource approaches its self-released full-length, Sense Of Direction, in a very Barenaked Ladies-esque manner, which also features first-rate harmonicas and keyboards from vocalist Bob Kramer. However, there are more than a few moments when it can come off as rather bland, and already lyrically challenged songs are put under more strain by vocals that never quite hit the notes they’re supposed to. (www.thefource.com)
– Dean Ramos

Coining the phrase “electro-rock-hop,” Ghosthouse indeed demonstrates elements of plugged-in rock ‘n’ roll and beat-infused hip-hop throughout Default. It’s a creative combination that just so happens to be instant airwave candy, from the thumping “Radio On” to the haunting, New Order-like “Crystal Lite” and the hypnotic “Sounds Of Life,” which contributes to such a compelling EP that this should’ve been a full-length CD. (www.myspace.com/ghosthouserecords)
– Andy Argyrakis

Most folks facing a midlife crisis buy flashy new cars or change careers: Kathy Greenholdt expresses her middle-age turmoil via music. Lowly Violet, the 45-year-old singer/songwriter’s latest effort, includes eight tunes showcasing her affecting voice and emotional lyrics. Cuts like “Fire” and “The Dream” sometimes suggest the gritty energy of Melissa Etheridge, at other times the studied nuance of Martha Wainwright. Happily, they’re at all times pleasing and profound. (www.kathygreenholdt.com)
– Jeff Berkwits

Blending tried-and-true hard-rock elements with creative dexterity and imagination, Ideamen lives up to its name, cooking a unique sonic stew on May You Live In Interesting Times (Rotten). Hard-edged guitars find fresh energy in the crunchy, razor-barbed riffs that propel “Emergency,” and the chugging rhythms and prog-influenced tangents in “Sunshine” and “Uneventful Day” produce a swirling, dynamic vortex of sound. Just about everyone supplies vocals, and the multi-part harmonies add depth and texture to these power packed tracks. (www.myspace.com/ideamen)
– Patrick Conlan

Raising The Bar finds Magic Slim & The Teardrops in fine form, in this their ninth CD (and one DVD) for Chicago’s Blind Pig Records. Slim mixes it up with some tasty funk, Southern soul, and blues with “Part Time Love,” “Breaking Up Somebody’s Home,” and the slow, sinewy “Cummins Prison Farm.” His rhythm section of seasoned vets — featuring stalwart Jon McDonald on guitar, B.J. Jones with drums, and bassist Andre Howard — add fuel to Slim’s ever present fire. (www.magicslimblues.com)
– Beverly Zeldin-Palmer

Chicago singing legend Tony Ocean’s claim to fame is playing the part of Dean Martin in the city’s production of “Rat Pack.” That, combined with years singing at Jilly’s Night Club in major cities, both prepared him for his latest full-length release, Me And Mrs. Jones. The disc is 10 tracks of exactly what you’d expect from a guy with that résumé — Ocean crooning slowly and dramatically about love and heartbreak over piano-based tracks. What you see is exactly what you get in this case. (www.tonyocean.net)
– Carter Moss

Phillomac’s Stranger’s Funeral is an eight-song collection of indie folk-ish pop/rock originals from musician/songwriter Phil Lomac. While his solid vocals and guitar playing, lyrical craftsmanship, and DIY production values make his six mostly acoustic songs far more accomplished and pleasingly compelling than most, it’s the two more electric songs — eponymous opener and (especially) double-tracked vocal closer “Cinderella” — that point to an even more promising musical muse worth pursuing. (www.phillomac.com)
– David C. Eldredge

Looking for the perfect gift for the drummer-geek/music-theory-buff in your life? Then look no further than Milkwork, the solo drumming project by Chicago drummer/composer Frank Rosaly. Not only is the entire album composed solely of percussion (both acoustic and electronic), but most of it is completely improvised by Rosaly. There really is no social setting appropriate for ever playing this album, but it might serve to help one study for a music-theory class, or just to satisfy some odd curiosities. (www.contraphonic.com)
– Carter Moss

Local shoegazers Sissy Mena (not to be confused with Norwegian shoegazers Serena Maneesh) revives the uniquely American take on the genre with burnished guitar flair and sweet pop melodies. Sissy eschews the “endless oceans of sound” approach in favor of a chunky rock punch and sturdy vocals — think of early Lilys, Swirlies, and Drop Nineteens. All six songs on Young Girl pack delightful hooks inside a massive, saccharine guitar rush, but the title track stands out with its catchy Beach Boys-inspired melody and shimmering bite. (www.sissymena.com)
– Patrick Conlan

Most of the music on Dave Yeager Band’s debut CD, In Your Sight I Am Sound, deals with trying to maintain spiritual values in a confusing world. These mainstream rock songs are well-crafted and singer/guitarist Yeager comes across as genuine whether he’s preaching Christianity on “Giving It Up” or spinning the tale of the daughter of divorced parents on “Long Island Lullaby.” (www.davidyeagerband.com)
– Terrence Flamm

Admiral Of Black

Admiral Of Black has recorded the template for fundamental hard rock/metal debut albums with The Hand Of Chaos. The eight-track CD — already a year old — has the right production to stand out from other newcomers, thanks to a party-metal swagger that overcomes any minor first-effort deficiencies. Songs feature precise power-riffing, a high-octane tempo, a few face-melting leads, and a frontman who delivers vocals that match the intensity. (www.myspace.com/admiralofblack)
– Jason Scales

Brighton, MA committed its four-week/four-show February 2009 residency at Schubas to disc. While the live, six-song recording attests to the band’s proficiency with pedals and its ability to draw a crowd, it also leaves one to question blogosphere claims of frontman Matthew Kerstein possessing “one of the most engaging voices . . . anywhere.” Download for free and hear/judge for yourself (www.brightonma.net)
– David C. Eldredge

Throughout Jeff Chan’s seven-track Horns Of Plenty project, the bass-clarinetist and tenor saxophonist demonstrates his chiseled chops, but often stays in such a subdued frame of mind that the disc rarely shines. Ten-minute jams like “Waiting” and “Decisions” drag on, while shorter tracks like “Song For Ava” are still sluggish and long to be interrupted by a full band free-for-all. (www.asianimprov.org)
– Andy Argyrakis

Boca Negra (Thrill Jockey) is the fifth album from Rob Mazurek and Chad Taylor performing as Chicago Underground Duo. They continue to experiment with the contours of composed and improvisational jazz, and push the boundaries of sonic manipulation as music. Rumbling drums and searing blasts of Mazurek’s cornet fuel the lava-hot spiciness and kinetic energy of “Green Ants,” while “Left Hand Of Darkness,” with its smeared blips and raw sonic space, is more akin to a futuristic sound collage. (www.myspace.com/chicagoundergroundmusic)
– Patrick Conlan

The post-Low Skies outfit Judson Claiborne drives forth on Time And Temperature, which piles on the orchestral folk-pop arrangements as if in a death race with Andrew Bird. Bird’s whistle, however, is no competition for Chris Salveter’s toned-down keen, which always finds a way through the draped sonics. The draping can make its weight especially burdensome, though, as these 10 tracks work through nearly 53 minutes. It’s almost enough to shroud the Midlake-meets-The Veils roll of “The Freeze Up” and languorous “One Hundred More Than One Hundred Times.” But not quite. (www.judsonclaiborne.com)
– Steve Forstneger

Cary Kanno is wasting no time trying to become a one-man musical force. After forming two bands (Abstract Giants and Doko Benjo), he dove head-first into a solo career, simultaneously releasing two LPs (creatively titled One & Two), on which he played nearly every instrument and handled full mixing and production duties. One deftly captures 15 tracks of Kanno’s definitive sound — his honest, no-frills, laid-back vocals over simple country/ folk/pop-tinged instrumentals. Kanno’s sound is a beautiful example of “less is more.” (www.carykanno.com)
– Carter Moss

Don’t let the opening track, “Coal In My Veins,” fool you; as authentically gritty of a blues tune as that is, Joe Martina’s The More Things Change is a wonderfully simple country album through and through. Even despite missteps like “Carved In Stone” and “Salvation & Loss” (where the slower, more introspective direction really doesn’t do him any justice), this is still easily one of the most enjoyable back-to-basics country albums one is likely to hear. (www.myspace.com/countryjoemartina)
– Dean Ramos

Rap and disco are no strangers to flirting with one another, but rarely is the split so cohesively integrated as Keith Masters throughout the Discotheque EP. Like the beats of Jamie Lidell or Walter Meego, laced with the mic skills of Kayne West or Common, expect an old school authenticity on top of current dance floor beats sure to induce a sweat within seconds. (www.myspace.com/keithmasters)
– Andy Argyrakis

There’s a lovely, languorous quality to the 11 songs on Harm Among The Willows (Bloodshot), the first solo release from long-time country singer/songwriter Jane Baxter Miller. The melodies aren’t especially noteworthy, but her vocals, particularly on tracks like “Swimming Up” and the sweet “He’s On A Train,” are terrific. With a voice that by turns recalls Bonnie Raitt and Bobbie Gentry, it’s a solid, unquestionably successful CD. (www.janebaxtermiller.com)
– Jeff Berkwits

Hailing from Elmhurst/Villa Park, jam-band Mind’s Hideaway has released its debut LP Supercollider, which can be described in one word: conglomeration. Musically it’s a huge pot of influences, from 311 to Incubus to Cake to Bloodhound Gang and beyond. Lyrically the band covers everything from public health care to the environment to sleeping in. And instrumentally, well, the guys just love to jam on their guitars, organ, and percussion, all of which produces nearly enough interesting layers to overcome the lack of vocal prowess and memorable melodies. (www.myspace.com/mindshideawaymusic)
– Carter Moss

A thumb drive submitted by Passive Aggressor contains two parallel universes, in that the 10 songs credited to 2008 are a mostly similar-sounding collection of moody, darkish lyrical lamentations moved along by a jazzbo-ish bass rhythm and spare snare beat, with a now-and-then pizzicato string punctuation. The four songs (two labeled a B-sides) from 2009 embrace the full drum kit and deliver a much more rockin’ sound more suitable to the band’s moniker. (www.passiveaggressor.com)
– David C. Eldredge

Ryan Powers should takes is own advice: Stick With It, Kid. The singer/songwriter’s five-track CD is an impressive collection of pop rock songs. Powers unabashedly tugs at the heartstrings with tightly crafted, repeating-hook tunesmithing. On “All But Right” he’s earnest and vulnerable, with a vocal ability that is engaging and strongly featured above the instrumental harmonies. (www.myspace.com/callisto)
– Jason Scales

Despite its undoubted sincerity, Derren Raser’s Home In This Direction suffers from the same fatal drawback as numerous other folk-music releases out there: monotony. That said, however, there are a few songs here that break up the overall homogeny, such as jazzier tracks like “Friends & Lovers” and “Slow Down” while the accordion and almost Sade-like feel of “Goodbye” makes this particular number the absolute standout of the album. (www.derrenraser.com)
– Dean Ramos

Though certainly related, packaging The Right Now in the same box as Sharon Jones & The Dap-Kings because they’re reviving R&B is a mistake. Not a hair-on-fire shouter, Stefanie Berecz slips between full-on gospel (“Better Way To Live”) and bended-knee pleading (title track) with certainty and ease on the surprising Carry Me Home. Memphis horns, electric keyboard, wah pedals . . . the band have West Side electric blues on their side and don’t forget it. (www.therightnow.com)
– Steve Forstneger

Qubbles over a certain sameness of tempos among the three more jazzish vs. two more hard-edged cuts aside, duo Right Rongly’s five-song debut not only belies its size, but also (dareonesay) breaks new ground. Acoustic guitarist Scottish McMillan’s virtuosic “live” fretwork gets embellished by sample loops and distortions, and when combined with Ryan Aiello’s tasteful drumming, delivers a uniquely personal sound well worth continued exploration. (www.rightrongly.com)
– David C. Eldredge

Qualo member Shala waited long enough to see if his group’s debut would ever drop. Hearing the clock, he made the Songs To Rap Along To mixtape in anticipation of the (supposedly) forthcoming And Along Comes Shala LP. Lazily dubbed a “Kanye protégé,” Shala’s oversized beats are necessary to combat his powerful rhymes on the elbow-throwing “I Ain’t Goin’” and juke-happy “Pockets,” which features his Qualo mates. The highlight is “Sumthin Gotta Give,” which displaces trendy synths with a psychedelic Sly Stone chorus. (www.myspace.com/shalaesquire)
– Steve Forstneger

William Steffey’s latest release, the six-song Love And Armageddon, exudes the sophistication of an artist who has been creating music for two decades. The well-crafted pop of “This Show Must Go On” and “Had To Pay” brings to mind Chris Stamey and Crowded House, and Steffey taps into 1980s synth bands for the lush “Cartography By Candlelight.” Melissa Reasoner impresses with her back-up vocals on a funky cover of Thomas Dolby’s “Weightless.” (www.myspace.com/williamsteffey)
– Terrence Flamm

Toby & The Tremors continue to honor the tradition of Bruce Springsteen on Blond Alibi by spinning tales of everyday people through mainstream rock. The energetic title track depicts a guy searching for a woman from a one-night stand who can clear him of a crime, while “Hidin’ Their Tears” is a touching look at how a divorce affects a couple’s kids. The disc ends with two rollicking party songs, “Memphis Rescue” and “Shake That Stuff.” (www.tobyrhodes.com)
– Terrence Flamm

Hailing from Chicago, blues trio The Black Oil Brothers‘ sound is 100-percent pure Mississippi. The band’s debut, Long Way From The Delta, actually sounds like it was recorded right in the heart of it, with soul-stirring blues from start to finish. Don’t let their youth fool you: these guys are well-versed in their blues history, and have captured the sound perfectly from the harmonica solos and smooth harmonies, to the dueling acoustics and mandolins, right down to the old-school story-telling lyrics. (www.theblackoilbrothers.com)
– Carter Moss

The three-song Blue Balls is a hard-rocking new effort from the trio About Nothin’, with a title track that’s a ribald tale of a pirate who goes by that name. The grunge-flavored “Way Back” hits a bit closer to home, as a White Sox hat-wearing South Sider contends with hookers and panhandlers on his way to the liquor store. “One First Class Big Hurry” evokes Henry Rollins with its muscular arrangement. (www.myspace.com/aboutnothinpage)
– Terrence Flamm

Should they ever get hold of a copy, Hollywood music supervisors would have a field day with Where We Begin, the latest CD from Absentstar. Cuts like “Ready When You Are” and “At The Seams” are perfect for adding audio oomph to those emotional relationship moments TV and movie directors love to fashion. Listening to all 10 indie-pop tunes in a single sitting can get a mite maudlin, yet taken in two- or three-track doses the melodies are brilliantly sentimental. (www.absentstar.com)
– Jeff Berkwits

Cold Water Mystic is a first-rate party band, with the 14 tracks on Cooler By The Lake backing up this claim. It’s easy to forget that the reggae-infused rock isn’t coming from Long Beach or the Caribbean, but from landlocked Brookfield. The band nails the Sublime-light vibe throughout, even getting funky, a la Red Hot Chili Peppers, on “Tip Your Cup” and “Funk Yeah.” (www.myspace.com/coldwatermystic)
– Jason Scales

Transporting the club into your living room, DJ Leebo’s Adventures In Structures Chaoz — The House Soundtraxs Volume 2 is an electrifying slice of pulsating house and techno, overflowing with throbbing rhythms and tingling electronic accents. Huge, heart-heaving house beats, faux hand claps, and tumbling, squishy electric squiggles pound with insistent clarity in “The Donjon,” and Leebo guides a celestial tour in “Hartimes” as glitchy blips and beeps, backed with rolling, cut-up beats launch us into the stratosphere. (www.myspace.com/djleebohouse)
– Patrick Conlan

Singer/songwriter Sue Fink presents 12 polished songs on her third full-length, Thoughts At An Intersection. A variety of pleasant, easy-listening pop styles (from jazzy to country) are explored — all meant to highlight her gentle and at times vulnerable vocals. A host of talented musicians, providing everything from cello to piano, assist her in realizing her wistful, humorous, and serious observations about life. (www.suefink.com)
– Jason Scales

For simple, straight-forward pop, look no further than Gidgets Ga Ga. Opening strong with “Beki,” the broodier, more introspective “The Sorry Song,” and the bouncy handclapper “The Bomb,” The Big Bong Fiasco does, however, suffer from an overall homogeny after awhile, especially on a disc that’s 18 tracks long. That said, TBBF is as enjoyable of a pop record as you’re likely to hear. (www.myspace.com/gidgetsgaga)
– Dean Ramos

Conservationist/biologist Aldo Leopold is the muse behind the 18-song Great Possessions, a virtuosic folk-rock manifesto for tree huggers from The Giving Tree Band. A host of acoustic instruments — including banjo, fiddle, glockenspiel, and harmonium — creates a warm, organic aesthetic. Fun facts: the album was created with “100-percent solar energy” at the Leopold Legacy Center in Baraboo, Wisconsin, and 10 trees were planted for every 1,000 units sold to offset the pollution caused by shipping. Thankfully, the songwriting and musicianship is as solid as the environmentalism. (www.thegivingtreeband.com)
– Jason Scales

An undeniably catchy mix of metal and pop punk, Gypsyfly can without a doubt “rawk!” with the best of them, which is readily apparent on “You’re Gonna Get It” and the closing number, “The Day Night Ended.” However, this hybrid of genres doesn’t work for every track on Silver Or Lead. Ballads like “Don’t Worry” as well as the guitar-driven “Play With Fire” are just a couple of examples where the contrasts in musical ideologies are hardly a perfect match. (www.gypsyfly.net)
– Dean Ramos

Diane Marie Kloba pursues a more avant-garde sound on her latest solo effort, For You, Stranger, than she did as a member of The Silent Workers. At times, her spoken, childlike vocals and spacy arrangements get too cutesy as on the title track, but the sparse “For Inventors” has an intimate charm. “Skurf,” a spooky, guitar-driven instrumental adds a bit of fun, and “Keepable (Drum Experiment)” is an engaging indie-rock tune. (www.dianemariekloba.com)
– Terrence Flamm

Oddball rockers Let’s Get Out Of This Terrible Sandwich Shop are officially going out of business! Blame the economy or the band’s highly inaccessible sound, but after five years of playing pubs (and sandwich shops?) in the city, they are calling it quits, and releasing Everything Must Go! as a farewell gift — a collection of demos, live versions, and other random stuff. At least they are going out like they started: leaving fans slightly entertained and thoroughly confused. (www.letsgetoutofthisterriblesandwichshop.com)
– Carter Moss

Despite haunting tracks like “Hudson River Teenage Blues,” the “Don’t Go Back To Rockville” feel of the title cut, and the jazzy “Golden Record,” there’s ultimately something rather cold and un-emotive about this Lost Cartographers record. There’s a noticeable lack of passion that even makes the otherwise sweet and heartfelt “Love In the Morning” a rather uneventful listen. Still, the instrumentation and the variety of influences they’ve chosen to incorporate suggest promise. (www.myspace.com/thelostcartographers)
– Dean Ramos

With Good Advice, The Negligents nail that minimally rugged garage-rock sound to a T. This trio, led by vocalist/bassist Ken Negligent, hold an unmistakable youthful intensity but at the same time don’t come off as immature. Just check the standout single “Matter No More,” where Negligents kick things off by saying, “They say the salad days are coming back/I think I’m old enough to know better than that.” Consider this grown-up garage material. (www.negligents.com)
– Max Herman

Although catchy and sweet on such tracks as opener “Without Without” and bouncy and endearing on “Linda,” Roxy Swain’s New Love Designers unfortunately can come off a bit bland and generic as well, especially on “Duo Jet” and “Spread Eagle” when guitarist Tom Valenzano takes over vocal duties. On the other hand, though, much of New Love Designers seems tailored for adult alternative radio, an arena where the band would undoubtedly find the most success. (www.spadekitty.com)
– Dean Ramos

Soft Speaker’s seven-track Conditions is a solid collection of rock songs that convey an organic warmth. Finely orchestrated acoustic instruments provide this sound, with an occasional switch in vocalists to match the mood. “Barbershop Quintet” uses breathy vocals over a more melancholy tone, with “Mercury Park” — the opening track — increasing the tempo and energy in vocals and instrumentation. Closer “The Great Brick Mosque And I” breaks from the aforementioned aesthetic, instead relying on synth tracks and machine-like percussion. (www.softspeaker.com)
– Jason Scales

Not to be confused with the band of the same name from Tallahassee, Chicago’s Soft Targets is trekking forward with its third album, Don’t Put Out. Here, these songs are distinguished by oft-serious subject matter delivered with light-headed personality (“When The Apocalypse Comes”). Paired with its upbeat, lo-fi guitar-driven output and you get a non-depressing look at modern times. (www.soft-targets.com)
– Max Herman

Performing as Super 8 Bit Brothers, Tub Ring’s Rob Kleiner and Kevin Gibson proudly let their geek flag fly on Brawl, their full-length debut. Whether reminiscing about a classic Atari console via “2600 Refugee” or declaring “Goodbye Cruel World (Of Warcraft),” the pair melds decent melodies and smart lyrics with vintage, video-game-inspired electronic sounds. Not all of the disc’s 15 songs are entirely engaging, but enough make the grade to ensure a buoyant bit-pop journey. (www.myspace.com/super8bitbrothers)
– Jeff Berkwits

It’s not every day that a highly-lauded jazz pianist decides to take a detour to go start a rock band, but that’s exactly the story behind recent NIU grad Samuel Wyatt. The piano-based pop-rock on his debut, Welcome To America (recorded under the moniker Wyatt), certainly highlights his skills on the ivory, and the intelligent lyrics prove his potential as a bonafide songwriter. Wyatt’s debut is both fun and thoughtful, and might just be the perfect slap in the face to anyone who questioned his career choice. (www.myspace.com/wyattchicago)
– Carter Moss

Every critic should be so lucky to review an EP as absolutely pleasure-inducing as The Yearbooks‘ Have A Great Summer. While taking cues from such 2000s stalwarts as Death Cab For Cutie and The Strokes, the quintet aren’t content with merely aping those who came before. Instead, it seems as if they’re carving their own niche by crafting some of the finest indie pop/rock Chicago has probably heard in quite some time. (www.myspace.com/theyearbooks)
– Dean Ramos

“Break Little Branches,” one of the five tracks on Arboreal by the Chicago/Austin, Texas-based band Box Of Baby Birds, sounds like one of the more introspective and meandering songs by Red Red Meat. The folk-rock offerings, penned by Gary Calhoun James, are delicate compositions that rely on hushed vocals augmented by guitar, keys, and violin. Fleeting moments on “Coins, Letters, Numbers” burst with bass and drums, while other tracks exploring the band’s subtle, understated style. (www.myspace.com/boxofbabybirds)
– Jason Scales

Cavalry is out to prove that straight-up, glam-free rock ‘n’ roll is still alive and kickin’, and on its debut EP, the band makes a pretty strong case. Each of Snake Skins’ seven tracks hits with no-nonsense rock that has the attitude of Rise Against meshed with the accessible melodies of Nickelback (but far less-polished, in the good way). Frontman Collin Patrick delivers his vocals with conviction and authenticity, yet avoids going the screamo route, a welcome change. (www.myspace.com/cavalry)
– Carter Moss

Befitting its collection of talented multi-instrumentalists and collaborative writing process, Crooks And Children’s music is finely detailed, with lush textures layered in sweeping arrangements of dramatic scope. On its demo for its latest release, Night Is A Good Child, withering vocals take on an otherworldly feel as the passionate emoting resonates against a backdrop of patient drumming, echoing piano tones, and gently strummed guitar in the languorous “Black Cat,” while a detached theatrical air and jaunty thump fuels “Shoefly.” (www.crooksandchildren.com)
– Patrick Conlan

Not to be confused with the psychedelic prog band from the ’70s, Czar is a mutant fusion of brooding, heads-down post-rock, freewheeling, angular noise, and some surprising melodic passages. Vocals are kept to a minimum as its menacing rock morphs from a disjointed and spastic cacophony to a tightly coiled groove with the drop of a jagged chord. You can hear traces of Pelican in the murky, blast-furnace metal of “Depthless Paradise Of Terror” and the epic, billowing ebb and flow of “Above. Below.” (www.myspace.com/czarchicago)
– Patrick Conlan

Dressed For Radio delivers a quartet of three-minute pop tunes with a clean, jaunty, vocal-charged ’80s-esque new wave sound akin to say Elvis Costello or Joe Jackson. While things get a little more interesting when the band tweaks the tempo and strips the lyrics to the basics on “Roll,” one senses slight stumbles in the band’s execution of the changes. (www.myspace.com/dressedforradio)
– David C. Eldredge

Enforcer’s Classic Chicago Metal is an odds-and-ends compilation of studio tracks and live rehearsal recordings, dating back to hair-metal’s heyday in the mid ’80s. Clearly influenced by the NWOBHM — especially the roaring stomper “Born To Avenge” and the ripping crunch of the galloping “High Treason” — this metal is a throwback to chunky distortion and gleaming solos. Typical for the genre, lyrics focus on the occult, vengeance, and an impending “final conflict,” delivered with fiery passion and expressive falsetto howls. Kudos to Enforcer for keeping the faith all of these years. (www.myspace.com/enforcermusic)
– Patrick Conlan

According to chief writer/multi-instrumentalist Travis Lee Wiggins, the 10 songs collected on ever-evolving musical project Essex Chanel’s Love Is Proximity represents its most accessible album yet, one that “could be played in a Starbucks and sold at the front counter.” Indeed, outside of the Dixie honky-tonk paced opener, Wiggins’ soft vocals against subdued strings and muted horns predominate the remaining songs about, unsurprisingly, love — which, while pleasant enough background music at its best, leaves one fairly indistinguishable from another in a single listening. There are some 30 songs to this cycle of love online, complete with “how to” videos so you can create your own Starbucks at home. (www.essexchanel.com)
– David C. Eldredge

Face Time Police coined the term “pop macchiato” to describe its highly polished music on The Definition Of Deviation. The third disc from Brian and James Serra, it offers a radio-friendly mix of hard rock and rap on “Seashells,” while the aggressive synth beats of “Minute Made” sound destined for the dancefloor. Noted engineer Roger Lian of Masterdisk mastered this otherwise DIY effort, giving it an even more professional allure. (www.facetimepolice.com)
– Terrence Flamm

Wrapped in a handwritten, yellow-lined paper note explaining “He’s a 17 yr. old from Bartlett getting started & would happy to get a review in Around Hear,” the two-song CD from guitarist/songwriter John Ford displays chops, talents, and abilities numerous submissions from others twice his age can only dream of having. Ford’s solid vocals bring an early Ryan Adams to mind; likewise the pop craftsmanship/chord changes of his songs conjure Steve Forbert. Stop-you-dead-in-your-tracks impressive debut! More, please! (zepmanjmf [at] comcast.net)
– David C. Eldredge

Ambient jazz in the Israeli tradition is an acquired taste to say the least, but when it comes to Marbin’s self-titled release, there’s no denying the duo’s musical capabilities. Dani Rabin’s guitar and Danny Markovich’s smooth saxophones complement one another no matter the listener’s cultural background, though the pair’s ultra-chill instrumentals could insight drowsiness outside of a meditative atmosphere. (www.myspace.com/marbinmusic)
– Andy Argyrakis

Men Who Listen serve up an extremely well-produced 12-song debut that runs the gamut of rock styles: from the fun, fast, tongue-in-cheeky “I Hate Tom Cruise” and the honky-tonkin’ “My Baby’s The Bartenda,” to the Led Zep-esque chorded “(Dead & Buried) In Your Love” and prog-esque ballad closer “Forever.” Proof of the production savvy is found where the band wisely double-tracks the plain-spoken vocals and its crisp sound throughout, making for a solid intro. (www.myspace.com/menwholisten)
– David C. Eldredge

Denis Pesh grew up in Russia, but after arriving in America in 1993 and immediately falling in love with both music and English, he began writing music. Fast-forward to 2009 and his debut LP Promise, whose main problem is that each track begins with so much promise (simple melodies plunked out on piano or acoustic guitar), but by the time the the harmonies devolve into an odd ’70s folk b-side kickin. Pesh is obviously influenced by Dylan, but something is definitely lost in the translation. (www.denispesh.com)
– Carter Moss

Featuring members of Freshwater Collins and Decibully, Will Phalen & The Stereo Addicts are a local supergroup of sorts. But the folk-doused acoustic rockers demonstrate complete cohesion rather than a haphazardly assembled one-off throughout Middle West, which ranges between the rootsy flavors of Son Volt, Robbie Fulks, or Neil Young during a stripped-down Farm Aid Set. (www.myspace.com/willphalenandthestereoaddicts)
– Andy Argyrakis

Three-piece power poppers The Rikters provides an instant throwback to the glory days of Elvis Costello & The Attractions or Smoking Popes, while also channeling the witty appeal of Ben Folds throughout its self-titled, full-length debut. The group’s heavy on hooks and charging guitar action throughout “Give Me Tonight” and “All My Life,” while providing some laid-back garage rock on “Take Time,” suggesting there’s no reason why the band can’t follow in the Popes’ steps. (www.myspace.com/therikters)
– Andy Argyrakis

Everything moves at a leisurely pace on singer/guitarist Rob Scallon’s 16-song The Ride Home. He showcases his intricate strumming on instrumentals like “Regret” and “Everyway Is North,” but his talky vocal style weighs several of the other tracks down. “Run On Sentences” and the title track have enough pep to interest indie-rock fans, but some listeners might find themselves nodding off before The Ride Home is over. (www.myspace.com/ robscallon)
– Terrence Flamm

Though his wife’s untimely death led Eric Behrenfeld to curtail his career as a longtime blues sideman, it also led to the launch of Tiki Cowboys, an innovative solo project that blends, as the name implies, country and Polynesian influences. A Taste Of Tiki is the title of his first ukulele-powered EP, which showcases four delectable ditties including the infectious “Tiki Lady” and the bittersweet “My Little Song.” It’s a fleeting yet altogether pleasurable polyphonic pupu platter. (www.tikicowboys.com)
– Jeff Berkwits

Chicago-based Stanley Ross (moniker for Nicholas Meiers & his band) did all you can ask for on a sophomore release: start with what worked on the debut, and evolve. Intact on Here With Me is the signature Stanley Ross alt-rock sound, sure to please college students everywhere. And this time around, the band learns to really let loose once in awhile (“Lasso” and “Untitled #94″) and channel its inner Queens Of The Stone Age. (www.stanleyross.com)
– Carter Moss

Unplugged guitars and folk vocals put Them Damn Kids somewhere among a modern-day James Taylor, Jim Croce, or Cat Stevens. However, Arm Yourself With Perspicacity lacks the songwriting chops and practically perfect melodies that made any of those tunesmiths famous, suggesting the otherwise acoustically inviting environment needs a provocative facelift. (www.myspace.com/themdamnkids)
– Andy Argyrakis

There’s an intentional retro vibe to the self-titled, three-song EP from The Ton, a duo with one foot firmly planted in ’90s industrial and the other in ’80s new wave. “Wires” is ruggedly rhythmic, with “Lies” providing a somewhat more refined but equally forceful aura. Only “Games” is seriously flawed, suffering from a mediocre vocal performance. Overall it’s a decent though not terribly memorable sampler. (www.myspace.com/wearetheton)
– Jeff Berkwits

There’s a lot to like in the mostly straightforward, rockin’ R&B-esque boogie a la Aerosmith/Bad Company on Blue Moon Revue’s self-titled, eight-song CD. But when opener “Hot Flavor” launches into a totally unexpected banjo solo you really take notice and understand why BMR has become the local, opening-band-of-choice for much bigger visiting acts. (www.myspace.com/bluemoonrevue)
– David C. Eldredge

Listening to Blane Fonda’s debut EP, Master Of Stars And Broken Arms, is like being at a party where you’re scared of the host. Vocalist Mark Weasel yelps on some tracks and croons on others while his bandmates play adventurous dance rock. “Fess Up, Fess Down” is a melodic techno song but on “In Search Of The Giant Squid,” Blane Fonda mixes disco, rap, and Frank Zappa in a blender without a lid. It’s a mess, but fun. (www.blanefonda.com)
– Terrence Flamm

On A Higher Vibration, Chicago-based producer/singer Chenault melds feel-good vocals with future-leaning house music. For the majority of these eight tracks, he shoots for an escapist vibe with thumping, jazz-tinged numbers like “Feel The Music.” Helping listeners let go might be his goal, but Chenault doesn’t hide his socially minded side, which is particularly prevalent on the anti-racist declaration “War.” (www.myspace.com/chenault1965)
– Max Herman

Surprise, surprise: Another power-pop band has released a record in Chicago, though in the case of Go Time’s Speak, it’s also doused with some alt-country underpinnings. The resulting 14 tracks are loaded with crunchy guitars and hummable melodies; too bad sparse, low-quality production and a singer who struggles to stay on key plague the otherwise well-intentioned effort. (www.myspace.com/gotimeband1)
– Andy Argyrakis

The 12-track Walking With Angels represents an impressive exhibition in easy-listening Americana by singer/songwriter Ernie Hendrickson, originally from Rockford. With the help of numerous guest musicians, Hendrickson’s compositions ooze warmth, optimism, and good-natured Midwestern values, thanks to his vocals that at times eerily resemble Tom Petty’s, especially on opening track “Hold On To Hope” and the crisply paced “Let Me See You Smile.” (www.erniehendrickson.com)
– Jason Scales

Hard rock with a message is what Left Setter delivers on Irene. Keeping this LP confined to nine, highly focused tracks, the Chicago-based quartet doesn’t leave room for filler. Left Setter’s hooks and subject matter are not always groundbreaking (see “Good Mourning America”), but the group’s socially alert stance is genuine. Coupled with a rolling range of rock vibes — including ’70s-leaning laidback grooves (“Thief Without A Conscience”) and pure metal (“Bobby DeNiro”) — this album is complete enough to never lag. (www.leftsetter.com)
– Max Herman

Despite carrying an all-too-common band name, Lucas thankfully doesn’t offer pedestrian material on its debut, Jet Set Ready Go. Singer and lead instrumentalist “L” largely shapes the direction of these love-themed indie-rock tunes with airy vocals marked by a certain nostalgic type of joy; the mellow keys and fuzzy guitars help paint the daydream-esque, lo-fi sonics that are so prevalent. (www.myspace.com/thatbandlucas)
– Max Herman

Solo pianist Jeff Manuel’s ambitious Winterspring comes with a booklet of poems you’re instructed to read while listening to the melodic instrumentals. The poetry, written by Carrie Brecke and Manuel, reflects on how the seasons affect relationships, and the 12 original compositions range from the classically inclined title track to spirited jazz on “Right At The Moon.” The CD doesn’t come with a glass of wine, but you could supply your own to augment this engaging experiment. (www.jeffmanuelpianist.com)
– Terrence Flamm

James McCandless peddles his Western-themed stories on the 12-track Calamity James in the tradition of Johnny Cash — but decidedly more Western folk. Although a little verbose at times, highlights include the first-person perspective on “Black Bart,” the well-placed crack of the whip at the end of “Lash LaRue,” and the two melancholy horse stories in “Wild Horses” and “My Beautiful Red Roan.” A number of Irish-tinged instrumentals are mixed in with the acoustically rendered yarns. (www.waterbug.com)
– Jason Scales

The Mike Michalak Band displays crafty songwriting wit with its mild-mannered, adult-oriented rock on Big Plan. Composed with energetic arrangements and performed with slick, tight musicianship, Big Plan has deft lyrical dexterity and plenty of memorable hooks. The goofy and self-deprecating “Turtleneck” and happy-go-lucky “Wall” feature the kind of jaunty melodies and progressive jams that Blues Traveler and Widespread Panic perfected, and the piano-driven punch of “The Wave” packs a sweet wallop. (www.myspace.com/mikemichalakband)

– Patrick Conlan

Mr. Russia relies on its double bass, synth, and no-guitar gimmick fairly well on the six-song Training For The Gameshow Host. Fairly mindless and repetitive lyrics (“Come on, come on, come on, don’t stop” and “Paint it like a picture/pictures never fade”) are driven home in arena-rock fashion, with the sleazy “Fireball” — a Marilyn Manson-inspired striptease. The cover of Radiohead’s “The National Anthem,” featuring a sick bass line, is alone worth this free, EP download. (www.mrrussia.net)
– Jason Scales

974 plays straight-up hard rock reminiscent of Heart on its debut CD, Dreamcatcher, with vocalist Jennifer Jane and guitarist Rob Olson leading the way. Most of the songs deal with the perils of romantic entanglements, and 974 is particularly impressive when it combines firepower with a strong melody on tracks like “Strange” and “Devil.” (www.myspace/974cambridge)
– Terrence Flamm

Owen (a.k.a. Mike Kinsella) has always made deeply personal albums. Less overtly sentimental than previous efforts, New Leaves (Polyvinyl) is an intimate collection of gentle pop songs imbued with a new sense of maturity. Though derived from Kinsella’s freshly honed experiences as husband and father, thankfully his subtle ear for sweet, melancholy pop magic is still clearly evident in “A Trenchant Critique” and “Too Scared To Move.” (www.polyvinylrecords.com)
– Patrick Conlan

With only two cuts on its sampler CD, ’tis hard to pass firm judgment on The Part Five, outside of noting the first cut’s earnest, frenetic guitar overlay of a Booker T. & The MGs-ish beat, the frumious chordings washing over the rolling drums of the slightly more plaintive second cut, and finally wondering if they really say “liverwurst” in the first. (www.thepartv.com)
– David C. Eldredge

With So Be It, prolific rhymer Qwel reunites with a fellow Chicago underground hip-hop fixture: sample-digging producer Maker. The 14 tracks don’t sound that different from either’s past work yet Qwel’s weighty lyricism has become more lucid while Maker’s diverse, dusty loops and mid-to-down-tempo drum programming hits a little harder. Despite the developments, these songs about faulty friends, government propaganda, and youth are still best suited for the careful and not the causal listener. (www.myspace.com/qwelg4)
– Max Herman

Scythian’s Live Vol. 1 offers 15 crowd-pleasing live performances from around the country, including a March gig at House Of Blues. The quartet is most notable for its harmony vocals and the “dueling fiddles” of Alexander Fedoryka and Josef Crosby. They meet the challenge of covering Charlie Daniels Band’s “Devil Went Down To Georgia,” but the real fun comes on Scythian’s barn-burning renditions of traditional ethnic pieces like “Kesh Jigs” and “Chava Nagila.” (www.scythianmusic.com)
– Terrence Flamm

610 is the brainchild of 630-based singer/songwriter Anthony (the only name given) and on its latest release, Changing Vibrations, the group lays down strummy guitar pop of varying flavors. Through it all, the band sounds great, but Anthony’s vocals are pitchy and dissonant and they kind of spoil the party. It sounds, at times, like he is going for a Dylan-type sound without quite getting there, as the songs here are not quite up to such a level. (www.610themusic.com)
– Mike O’Cull

Inspired by an intriguing concept, Matt Ulery has composed a soundtrack intended as film music — only as of now, there’s no film. Themes And Scenes‘ arrangements hint at intimate character studies, as delicate, feathery strings and gently throbbing bass burnish “The Farm,” as well as a widescreen, epic ambience with shimmery brass and sweeping strings unfolding in bold, dramatic gestures in “October.” (www.mattulery.com)
– Patrick Conlan

Via Tania’s Moon Sweet Moon is a gorgeous collection of hushed, intimate lullabies of dreamy, soft-focus pop that evokes watery dreamscapes and shimmering mist. The trembling heartache in the simple repetition of the opening line of “How Come” is worth a thousand anguished emo screams, and Tania’s plush, fuzz-on-the-needle vocals jolt the soul and rattle dusty memories in “Lost In It” and the hypnotic album closer, “Home.” (www.myspace.com/viatania)
– Patrick Conlan

As its title suggests, Boxcar Man — the latest from The Wandering Endorphin (aka guitarist/mouth harpist Jim Green) — is a railroad-themed, mostly acoustic, eight-song cycle guitar-playing showcase. While the train emulations may at times veer dangerously toward the sonic cliché, Green’s unique finger-pick guitar style — a la Fahey/Kottke, but much more percussive — impresses throughout. (www.wanderingendorphin.com)
– David C. Eldredge