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

The Additives

Should It End, the second release from The Additives, offers inventive keyboard and guitar arrangements that fall somewhere between prog rock and jazz. Unfortunately, Joe Ryan’s talky, off-kilter singing doesn’t go with the flow, especially on some of the more awkwardly phrased lyrics he’s written. Having background vocals on the catchy “Miss Saturday Night” certainly helps, but there should be even more vocal diversity in the band’s approach. (www.theadditives.com)

– Terrence Flamm

Singer/songwriter Jeffrey Altergott could very well be the male version of Aimee Mann on Balloons, thanks to his provocative songwriting (“Everyday Is A Reason”) and organic arrangements (“Dandelion”). Producer Chuck Harling keys into the talented tunesmith’s roots rock/acoustic undertones (especially on the sublime “Something Beautiful”) and brings out a warmth and comfort that also evokes fellow locals Andrew Bird and Neko Case. (www.jeffreyaltergott.com)

– Andy Argyrakis

You can’t fault a band for wanting to keep the party going and, in that regard, Band Called Catch’s album will happily fight the barkeep for another round of Miller Lite. Their shuffling, jam-lite pop is earmarked for the Dave Matthews crowd and what it lacks in nuance or originality it battles back with consistency and likability. When you work this hard to be unobtrusive, however, it’s hard to understand “Girl Gone Wild,” an ill-conceived, misogynisitic slam (despite there being a female Catch-mate) that seems to take aim at their target audience. (www.bandcalledcatch.com)

– Steve Forstneger

Instrumentally speaking, Celestine’s Transparent is an excellent album. Husband Michael Barry’s string and keyboard work is absolutely top-notch, especially on tracks like “Keep On Going (God Cares)” and “Long, Long Way From Home.” While Celestine has a remarkable voice, the disc as a whole comes off as extremely heavy handed (even for gospel), which unfortunately sours much of the overall listening experience. (www.celestinesongs.com)

– Dean Ramos

Early on, Rondi Charleston’s performance of In My Life’s title track is transcendent, though by the time she warbles such standards as “Bewitched, Bothered And Bewildered” and “Shall We Dance” her robust voice simply isn’t enough to overcome otherwise uninspired arrangements. Of the 14 jazz cuts, only a handful — most notably the aforementioned Beatles cover and her self-penned “Ancient Steps” — are worthwhile. (www.rondicharleston.com)

– Jeff Berkwits

Not much goes right on Defective Monk’s five-track demo, Union 666 Local. The herky-jerky computerized beats, tinny synth, and overall muddy sound are curiously billed as “electro-house-metal” — but none of these genres is done any justice. The vocals need fixing as well. Songs such as “Tramp Stamp” feature a constipated style, only to be followed up by a tone-deaf delivery on “Everyday People.” (www.myspace.com/defectivemonk)

– Jason Scales

Hair metal, hard rock, and humor are all integral elements to The Divotones‘ That Gorilla Mine. While its retro, guitar-driven sonics are unmistakably ’80s, frontman Edward Placha’s lyrical vision is considerably more up-to-date and original. And Placha clearly doesn’t take himself too seriously when making tracks as offbeat as “The Little Blue Pill” — a number about being past 40 and needing Viagra to help keep up with his lady’s sexual “appetite.” (www.divotones.com)

– Max Herman

Former Philadelph-ians Gehenna (a name soon to be changed thanks to a pair of European metal bands vying to be the true Gehenna) might not have purposefully recorded the Silent Cooperative EP to sound like Chicago, but it does. Actually, strongest cut “Vortex Soul” aside, the songs recall the ’90s alt-rock explosion when having a disc mixed like a demo was cool. Luckily for (ex) Gehenna it suits the material: sloppy, no frills, honest. (www.myspace.com/wearegehenna)

– Kevin Keegan

The Injured Parties offer a mix of character studies and offbeat love songs on Fun With A Purpose. Singer/songwriter Larry O. Dean, formerly with Post Office, has a talky vocal approach that’s annoying on some of the slower songs, but his rapid-fire assurances on “For Your Protection” and humorous attention to detail on the catchy “Zingerman’s Deli” help the CD live up to its name. “Beauty Of The Block” is the best of Dean’s slice-of-life acoustic tunes. (info@zenithbeast.com)

– Terrence Flamm

Rock quintet Kickbend has been kickin’ it live around Chicagoland for nearly 20 years now, so it’s about time the band makes its songs available on a full-length album. Enter Faith, Hope, Love, which is an album searching for an identity. The first half borrows its chords and choruses from Bon Jovi (the lead vocals are eerily similar to Jon Bon himself at times), which isn’t bad, just less glamorous. But halfway through, it veers off into mostly meandering ballads alongside a few almost-bluesy blues tracks. The listener is left slightly satisfied and thoroughly confused. (www.kickbend.com)

– Carter Moss

New wave/glam/goth rockers Kill Hannah return with their fifth album, Wake Up The Sleepers. Saturated with boggy synthesizers and the whispery, ineffectual vocals of frontman Mat Devine for most of the disc, there are, however, standouts like “Tokyo (Dance In The Dust,” “Acid Rain,” and the unfortunately titled “Mouth To Mouth.” “Escape Artistry” in particular — with its L.A. punk leanings – really sets itself apart from what can otherwise be considered an overly calculated, overly produced affair. (www.killhannah.com)

– Dean Ramos

Despite the billing and guitar pose on its cover, Aaron Koppel Quartet’s Falling Together Falling Apart puts most of its emphasis on the word “quartet.” Guitarist Koppel leads from the side, making space so his bandmates can further his hard-bop agenda. While his compositions don’t quite latch onto melodies as well as his heroes’, Koppel takes an un-Wes Montgomery approach and doesn’t dizzy you with his solos. He pops in when ready, and steps out of the spotlight with taste and grace. (www.chicagosessions.com)

– Steve Forstneger

Singer/songwriter Tim Kough depicts a number of characters on his first CD, Dreams & Demons, but needs to hone his skills in telling their stories. “Child’s Play,” a song about abusive parents, is over-the-top in terms of lyrics and vocals, while the tale of “Tin Man Gardenhire” lacks focus. The fun and imaginative love song “Magic Carpet” is much better and “Worst Of You” benefits from David Johnson’s tuneful mandolin playing. (www.timkough.com)

– Terrence Flamm

Low Rent has played cool, roots-based rock since 1997. Their latest, Dishonesty, was produced by Brendan Fitzpatrick and shows the band in fine form, showering tracks like “Vest Of Blue” and “Silver-Pleated Water” in a loose, Stones-approved style that is instantly appealing. Low Rent shows rock, country, and even alternative influences that all work together to make one very listenable album from start to finish. (www.lowrentmusic.com)

– Mike O’Cull

Withstanding the obnoxiously long title of The Luck Of Eden Hall’s new album, When The Clock Starts To Wake Up We Go To Sleep, there’s nothing too pretentious about this 13-track effort. This Chicago trio lays down accessible psychedelic rock, informed by ’60s acts like Cream, but also open to modern touches (see the effect and synth-tinged “A Child In A Mine”). Sure the psyche haze can become too clouded at times, but doeses of pop (“Down In Mexico”) help clear the path. (www.luckofedenhall.com)

– Max Herman

Despite being inspired by incidents encountered on their recent Southwest tour, the 10 tunes on Exiles, the latest CD from The Race, seem cold rather than sweltering, detached rather than desolate. There’s a slight cowboy air to a few tracks, especially “Black Boat” and “Ride The High Country,” but the cuts sound like some type of weird, late-1980s Depeche Mode/Nine Inch Nails mash-up. Though well performed, the music is more old-fashioned than Old West. (www.my space.com/therace)

– Jeff Berkwits

The plethora of Beatles references throughout Silverbeat’s Meet At The Jacaranda might pique the interest of Fab Four fans. But considering the mop-top teasers “Beautiful Girls” and “Imagine” (not to be confused with the John Lennon song) sound like they were recorded from a low-budget keyboard with equally amateur production makes the well-intentioned project virtually unlistenable. (Contact: silverbeat@comcast.net)

– Andy Argyrakis

Rebecca Sometimes’ voice seems to be an acquired taste, but fortunately her group, The Sometimes Family, more often than not hit the right notes. Their self-titled, 12-tune debut is likeable enough, with sweet pop songs like “Red Riders” and “Rabbit” bolstered by solid acoustic guitar and flute accompaniment. Still, it’s the bandleader’s pesky pipes that keep the collection from being in any way impressive. (www.thesometimesfamily.com)

– Jeff Berkwits

Performing under the pseudonym Static In Verona, Rob Merz has issued a one-two indie-pop punch with both a four-song EP, Life-Sized Replica, and an 11-tune CD, Be Quiet As You Leave. Each is sonically sweet, with “Two O’Clock Lights” the standout track on the shorter project and “Unlucky Stars” the highlight of the lengthier disc. It’s unclear why he separated the two efforts, but together or apart they’re thoroughly entertaining. (www.staticinverona.com)

– Jeff Berkwits

Falling somewhere between a roots-rock act and a jam band, Van Ghost’s Melodies For Lovers is loaded with punchy riffs and grimy grooves. At its best, the group kicks up some serious dust a la Drive-By Truckers or Cracker, though there are also shades of hippie-clad self-indulgence that may turn off straight-up Americana appreciators. (www.myspace.com/vanghostchicago)

– Andy Argyrakis

Influenced by the likes of Yes, Rush, Pink Floyd, and Dream Theater, Schaumburg’s Voodoo Monkey Child’s double-disc Under A Crescent Moon is loaded with progressive-rock tendencies. Though not as refined or packing as much of a production budget as the aforementioned, the musicianship is top-notch and having a female vocalist adds some originality. However, two discs is overkill and could’ve been streamlined to a more succinct, single installment. (www.myspace.com/voodoomonkeychild)

– Andy Argyrakis

The six tracks on Abysmal Lullabies from Arctic Sleep (a one-man show written, performed, and produced by Keith D) deliver what the title promises: sludgy, bottom-heavy alt-rock that is heavy on fuzzed-out riffage. The mostly instrumental tracks are lengthy and languid, pausing often to let the distortion ring out like a crashing wave. Vocals, when featured, complement the drone with a weary delivery. (www.myspace.com/arcticsleep)
– Jason Scales

If the drums weren’t immensely overpowering throughout Before The Fall’s Slow Descent, it could be a decent example of hard rock meeting alternative angst. Falling somewhere between a louder Evanescence and a tamer Underoath, the project has just as much potential to land on modern-rock radio as it does the hardcore scene, but in order for that to happen, the mix needs to start from scratch. (www.myspace.com/livebeforethefall)
– Andy Argyrakis

The latest from Birdnames — a lo-fi, psychedelic D.I.Y. band that values being different for difference’s sake — is an odd mix of discordant harmonies and rhythms. The 13-track Sings The Browns features muddy, living-room production to the detriment of the vocals, which are mostly off-key wails mixed far below the harsh guitar strumming and picking. Tribal, multi-layered percussion adds a certain droning to the cacophony. (www.birdnamesmusic.com)
– Jason Scales

Yet another power-pop band from Chicago doesn’t exactly break the mold, but at least The Boolevards have studied hard prior to crafting Real Pop. The 17-track collection sounds like a better version of Tinted Windows had that act really channeled its Cheap Trick backbone, wrapped around Fountains Of Wayne’s wit and the sing-along style of Marshall Crenshaw, and set the Rickenbackers at full steam. (theboolevards.blogspot.com)
– Andy Argyrakis

Minutes To Circle is singer/songwriter Phil Circle’s eighth CD, and it’s a nice surprise to hear both how much he still has to say and the diverse yet delightful manner with which he relays his musical message. There are a couple of duds among the 11 tunes — most pointedly the pedestrian “Surreal Life” — but much of the guitar-driven melodies are imaginative, especially the languid, country-flavored “Lipstick & Whiskey” and the bluesy “There’s A River.” (www.myspace.com/philcircle)
– Jeff Berkwits

If by some bizarre twist of fate Axl Rose and Courtney Love were to have a love child, she would be the frontwoman for Drench. From the power-chord-driven sound, to Demetria’s bad-attitude-drenched vocals, to the band’s pretentiousness (the debut is titled Chicago Style Rock ‘N Roll), the sound is a complete mind-meld of Hole and GN’R. What’s missing are the melodies, smart lyrics, and charisma of either band, but Drench actually has the potential to get there. (www.myspace.com/drench)
– Carter Moss

Green Sugar touches on many rock clichés, most of which can be forgiven because of the band’s earnestness and solid execution on their four-track CD. “Timeless” and “God Help Me” are blues-rock distillations, and “Cobblestone” is simple guitar/vocals call-and-response. Yet, the vocals have the perfect rasp, the four-piece is tight, and the guitar leads are face-melters, even though the rhythm guitar drops too far out of the mix on the extended solos. (www.thegreensugar.com)
– Jason Scales

A decent eight-song sampler showcasing two different bands, The Lost Epics Of Dead Masters is a double-dose of punk-powered noise. The highlight of The Hallow’s four contributions is undoubtedly the dynamic “We’ll Be Gone By The Mourning,” with Love And Squalor offering a quartet of slightly less-frenzied cuts, most notably the memorable “(All That I’m Left With Is) Time.” As it should, the disc leaves the listener wanting more. (www.myspace.com/thehallowband; www.myspace.com/loveandsqualor)
– Jeff Berkwits

Kaspar Hauser is a thinking-man’s rock band. Led by singer/songwriter Thomas Comerford, the nine-track The Sons is a rocking, literary, and introspective ride. “Frontier” stands out for its genuine sophistication in songwriting and instrumental execution. Warm yet detached vocals are supplemented by a harmonica — that doesn’t sound hackneyed — and subtle guitar breakdowns. “Mark Of Cain” and “Prodigal Son” set Biblical themes to a bluesy swagger. (www.kasparhausermusic.net)
– Jason Scales

Kinetic Stereokids, the five-man group who call Flint, Michigan and Chicago home, carry a stylistic restlessness with their sophomore effort, Kid Moves. It doesn’t always amount to an easy listen: Moments of mellow, melodic alterna folk (“Twisted Thoughts”) are strong, but they ultimately clash with more heavily layered, jagged songs (“Proper Etiquette”) that have too much distorted sounds fighting for attention. It’s the select moments when Kinetic Stereokids find the balance between straightforward and experimental sonics that they hit the mark. (www.myspace.com/kineticstereokids)
– Max Herman

It’s surprising to hear the three bad-ass looking dudes from Lola Balatro harmonizing to melodic acoustic-guitar arrangements on their self-titled debut. Even more surprising is that they’re pretty funny. On “Rock Star,” a musician strives to balance backstage debauchery with a healthy diet and exercise, and “I Got 2 Black Friends” is a deliberately befuddled attempt at racial harmony. Occasionally, the humor aims too low, but for the most part, Lola Balatro serves up a good time. (www.lolabalatro.com)
– Terrence Flamm

Some listeners might not find instant gratification from the Rob Mazurek Quintet’s debut Sound Is, but as these songs develop, you can become easily engrossed in the cool, carefully composed new jazz here. Consisting of top post-rock and jazz players (Mazurek, John Herndon, Matthew Lux, Josh Abrams, Jason Adasiewicz), this quintet makes sure that every part of the song is well pronounced, whether it comes from the cornet, vibes, or bass. Complex, but rarely cluttered, these numbers build strength without getting carried away. (www.robmazurek.com)
– Max Herman

No stranger to the local indie scene, Cameron McGill & What Army turn in another consistent collection upgrading from Post-Important to Parasol. Warm Songs For Cold Shoulders once again weaves witty lyrics alongside a sonic spread that pulls from the folk of Woody Guthrie, the experimental surf sounds of Brian Wilson, and the political edge of Neil Young. (www.myspace.com/cameronmcgill)
–Andy Argyrakis

Make no mistake, Opposite Of Pants is a band unafraid to make use of its guitars. Combining punk, ska, metal, and even a little prog to go along with its cock rock, OOP proves surprisingly capable with each and every one of these sounds, especially on such tracks as “White Song” and the amusingly titled “The Lion, The Witch, & The Butthole.” (www.myspace.com/oppositeofpants)
– Dean Ramos

Although an interesting and certainly creative fusion of classical and jazz, Bradley Parker-Sparrow’s The Black Romantic is a disc even the most ardent jazz/classical fan has to be in the proper mood for. Morose barely even begins to describe these songs, however, given the proper ingredients (a long day at the office, a knock-down, drag-out with a significant other, and a bottle of whiskey), this collection would probably reach the top of anybody’s playlist. (www.chicagosound.com)
– Dean Ramos

Piano arpeggios neatly frame the vocals rolling through the eponymous opening cut “These Appetites,” of Heather Perry and The [blank]s third and (masterly) self-produced CD. However, when the piano drops out of remaining four cuts so did the interest of this listener, with the static vocal style/sound at seeming odds with the lyrical wordplay and melodic/ tempo changes at hand. (www.myspace.com/heatherperrymusic)
– David C. Eldredge

Chicago-based singer/songwriter/ producer Brad Peterson recently followed up The Red Album with The Ductape Album, and this time around, he seems much more relaxed and playful. Lyrically he’s not trawling any new depths (the title track proclaims, “Duct tape fixes almost anything, but duct tape cannot fix an open heart”), but musically he allows himself to get experimental while remaining faithful to melodies. Vocally he’s a dead-ringer for Beck, which certainly doesn’t hurt. (www.bradpeterson.com)
– Carter Moss

Section Gang dives into the murky waters of 1980s underground pop on its debut EP, Greater Than Civil. The blend of acoustic and chiming electric guitars recalls R.E.M. while lead singer Kilton Hopkins channels Morrissey with his haunted vocals. The melancholy lyrics are awkward at times, particularly on “Peter Poe,” but on “Patient Pending” and “On The Phone” Section Gang propels its angst via energetic arrangements. (www.myspace.com/sectiongang)
– Terrence Flamm

Chicago-bred quartet Welcome To Ashley makes efficient use of the four tracks on its new Absent Man EP to clearly communicate its post-punk influenced power-pop sound. Each track begins like an overcast day, then by the chorus the clouds have dissipated allowing rays of shiny pop to appear. Unfortunately there is nothing particularly memorable yet through these four tracks, but each Smiths-tinged song does at least contain enough depth to prevent you from skipping it. (www.myspace.com/welcometoashley)
– Carter Moss

Already eight years in the making and ostensibly a taste of a full-length CD still to come, Jienan Yuan’s five-song We Saw Everything is a pleasant enough (if brief) atmospheric electro/acoustic collection. Yuan’s delicate playing/production transforms what would otherwise be construed as weakly emo to the plaintively palatable, ultimately sounding more profound than it simply is. (www.jienanyuan.com)
– David C. Eldredge

Add American Draft to Chicago’s instrumental rock pedigree. The band’s second full-length release, the eight-track Hawk On Coachhouse, is like a less frenetic Mastodon minus the vocals. The title track showcases its multi-layered guitar attack, with variations on a soaring/airy riff. Harder-rocking tracks like “Diet Of Worms” and “Tree Of Woe” are at times plodding, faster-paced, and fuzzed-out grunge. The only vocals on the album, provided by a guest in screamcore style, are mercifully brief on “Dragon.” (www.myspace.com/americandraft)
– Jason Scales

While some may feel that the combination of theology and pop music is something less than ideal, it doesn’t have to be. Jennifer Benson’s six-song demo, displays an appealing voice and equally engaging musicality. For non-Christians it may be a bit grating, but for those of similar faith, it’s unlikely they won’t find something to like here. (www.jenniferbenson.net)
– Dean Ramos

From the head-bobbing “Sugarbabe, Sugarbabe” to the hip-shaking title track, a more thoroughly enjoyable combination of country, blues, rock, and jazz you’re not likely to find anywhere else than on Bluebird & Skoko’s Trust Your Mojo, Sista. In addition to Rob “Bluebird” Ruggeri’s Southern-by-way-of-the-U.K. drawl, Elena Skoko adds a distinctly feminine and even sultry feel to such songs as “Everyday Life” and “I’m An Angel.” (www.omomworld.com)
– Dean Ramos

While drawing heavily from The Beatles and a lot of generally great ’60s pop on the three-song demo Imagine, sadly, Terry Carroll lacks both The Fab Four’s charm or the ability to make their sound his own the way a band like Oasis do. On the other hand, though, Carroll does emulate the sound quite well; it’s just unfortunate that the line between happy homage and lesser imitation had to be crossed. (www.soundclick.com)
– Dean Ramos

Comasoft’s seven-cut second outing, The Beautiful Departure, is an infectiously inspired reprise of ’80s-style electro-pop/rock with all sass (and big drums!) of Missing Persons, synthy-hooks of earliest Vince Clark-led Depeche Mode, and vocal sheen of Duran Duran. (www.comasoft.com)
–David C. Eldredge

While the popularity of power pop has waned, there’s no denying the crunchy sweetness of Daemon Familiar’s Dawn Of The Albatross. Infectiously catchy, with snappy pop hooks and a sugary vocal melody, “Buddha’s Little Helper” will burrow into your memory. Likewise, you’ll find yourself nodding along with “I Hate To See You Go, But,” and the sweet ballad “So Sad” will leave you swooning and smiling. (www.daemonfamiliar.com)
– Patrick Conlan

Andrea Dawn & Jeremy Junkin are two Chicago-based singer/songwriters who learn and play each others’ songs, rather than write together. This makes for tracks with distinct personalities and some pretty tuneful music. Their latest CD, First Try At Goodbye, ranges from funk with horns to move the backside to ballads that move the soul, and remains uniformly well-written and conceived. Much better than your typical, Wrigleyville/overpriced coffeehouse fare, these two deserve a wider audience. (www.andreadawnmusic.com)
– Mike O’Cull

Even for those whose tastes lean as far away from orchestral music as possible, even they should be able to find something to like on George Flynn’s American City. Although the music here is more reminiscent of the urban cityscapes of such films as Breakfast At Tiffany’s and even the classic noir Kiss Me Deadly, it’s every bit as timeless as it is classic. (www.chicagosound.com)
– Dean Ramos

Matching superstar octogenarian sax player Red Holloway with two-thirds of rising star Deep Blue Organ Trio should be a supernova. Alas, Go Red Go! barely sizzles and mostly fizzles. Sounding as if each musician was recorded separately and barely (if at all) mastered, missed beats abound and rote-by-note playing surrounds. A truly missed opportunity. (www.redholloway.com)
–David C. Eldredge

While Maxwell James hopes to showcase his funky side throughout Don’t Date Musicians, he winds up sounding like nothing more than a white-washed version of the genre injected with ’90s ska flourishes. Tired themes throughout “Trouble In Double Time” and “I Don’t Want To Be Famous” don’t add appeal, but at least there’s robust potential on the No Doubt-tipped “Illinois Blues.” (www.myspace.com/maxwelljamesis1023)
– Andy Argyrakis

Josh & The Empty Pockets pretty much stick to playing fun rock ‘n’ roll on Under The Bed, starting with vocalist/guitarist Josh Solomon’s spirited scat on the opening “Meaningless Words.” “Freedom To Be” is a sarcastic take on politics while “Monsters” glances back at childhood memories in a country & western arrangement. Solomon also offers the homespun romantic ballads,”Beautiful To Me” and “You’re The One.” (www.myspace.com/joshandtheemptypockets)
– Terrence Flamm

Even with an affinity for several late ’70s/early ’80s rockers, the female-fronted Joyfocus is decidedly current with its alternative-rock explorations throughout Cyber Suburban Electro Rock Circus. Like a modern-day Eurythmics, the group deftly combines synth-pop with stadium rock and even breathes fresh life into that act’s “Here Comes The Rain Again.” (www.myspace.com/joyfocus)
– Andy Argyrakis

It’s slightly alarming how relaxed Lady Parasyte sounds with the world burning down around her. On the Sirens EP, punishing, industrial synth lines pound her in the back like pistons while melting feedback howls and a black-metal-influenced backing vocalist forebode the apocalypse. “I just can’t find the words!” she rants at one point, apparently getting a feel for the situation. The lo-fi, bedroom-style production suggests she’s not in any imminent danger yet, but given more high-tech equipment we’ll be the ones in for quite a shock. (www.ladyparasyte.com)
– Steve Forstneger

Much has been made of the musical genes of The Lava Brothers (their grandfather was “Batman” composer Neal Hefti), but Waking Birds Will Harmonize shows little direct evidence of that jazzy DNA. All 13 soft-pop songs swoop and soar, with a rich rock beat driving “Where Is The Rose” and gorgeous vocal harmonies guiding “Fly.” The three siblings’ musical style is quite different from their gramps’, but it’s clear the apple didn’t fall far from the tree. (www.thelavabrothers.com)
– Jeff Berkwits

Lulls are generally longer than 11 minutes, but that’s all Chicago’s A Lull has on its debut EP, Ice Cream Bones (Lujo). Mixed with the help of Aloha, the four-song release hints at the post-rock playbook via elliptical patterns and Sea And Cake vocals, though there’s a tension under the Northwest-side band that says if the members are just stirring their coffee cups, they’re doing so furiously. (www.alull.com)
– Steve Forstneger

Chicago-born Elliot Matsu discovered his calling to rock ‘n’ roll at age 10. After taking the “non-traditional” route to becoming a rock musician (studying piano at Suzuki, getting a masters in entertainment at NYU), Matsu finally hooked up with a friend who started a label and signed him. This sophomore effort, The Value Of Power, does display the value of a good musical education, but it also displays the limits. While Matsu’s songwriting his solid and his vocals are pure, he’s nowhere near rock stardom. He sounds like Michael Buble trying to front a bar band – and nobody’s fooled. (www.elliotmatsu.net)
– Carter Moss

Veteran keyboardist Eric Michaels has toured with well-known musicians, but on Somethin’ Blue, he’s the frontman for the Eric Michaels Organ Trio. The CD, which offers an entertaining mix of standards and originals, features Michaels on lead vocals as well on as the Hammond organ. His fluid rendition of Miles Davis’ classic “Milestones” is particularly impressive, while his own “Satisfied Tonight” evokes the energetic fun of the Brian Setzer Band. (www.ericmichaelsorgantrio.com)
– Terrence Flamm

Peacekeeper comes across as a sort of country & western-oriented version of Crosby, Stills & Nash or The Grateful Dead on its debut, Fireworks, thanks to some strong melodies and tight harmony vocals. “Dirty Road” is an easy-going travelogue while “Don’t Hold Me” rocks harder. Peacekeeper also does well with the old-time, bluesy romance of “Lonely Waltz” and “Is This Love?” (www.myspace.com/peacekeeperband)
– Terrence Flamm

Aspic Tines constructs an alternative persona and exploits that character for his unorthodox musical adventures. Crypto-Superzeit! International features European electro-disco and Tines’ carnival-esque vocals detailing his interstellar journeys and madcap discoveries. There’s an abundance of self-conscious irreverence – “H.I.C.” is a disturbing blend of Dead Kennedys and Erasure – but “Music Of The Spheres” is a legitimate tune, paying respectful homage to Depeche Mode while still basting in Tines’ off-beat humor. (www.myspace.com/aspictines)
– Patrick Conlan

Vee Dee’s Public Mental Health System is a massive double LP that finds us struggling to cope with the chaos of modernity. This is an ambitious, wild collection of raucous rock songs boiling over with wiry guitars, blistering harmonic distortion, and impassioned vocals. “Glimpses Of Another World” is a surging blast of feedback and riffing, while “Teens O.D.” and “Out Of My Skin” are fiery, spastic numbers that spiral out of control. (www.criminaliq.com)
– Patrick Conlan

Though the title, Jam Tarts In The Jakehouse (Carrot Top), is a bit odd, it’s also an obtuse description of the 10 tunes on The Bitter Tears‘ sophomore release. The band’s music, while not entirely random, is all over the place: e.g., the straightforward indie pop of “Bachelors Say,” the hypnotically weird “The Companion,” the almost childish “The Love Letter,” etc. While not bad, the melodies are clearly an acquired taste. (www.thebittertears.com)

– Jeff Berkwits

Fans of Jason Mraz and Howie Day will deem Seth Bradley’s latest EP, Waking Up Broadway, a delightful find. The five-song album boasts slick production that places it head-and-shoulders above typical DIY or indie releases, but that’s no reason to begrudge Bradley. “Broadway” stands on an even plane with anything ever penned by the Goo Goo Dolls and “Breaking Away” just aches for radio play on adult-contemporary stations. (www.myspace.com/sethbradley)

– Janine Schaults

Candy Apple & The Buddies‘ new EP, Leprechaun To The Right, culls members from Chicago’s Welcome To Ashley and Nashville’s Pale Blue Dot for a searing combination of retro and Celtic rock. In other words, there’s a bit of early Replacements (“Kristin”), touches of the Faces (“Something Else”), and the drunken hootenanny of the Pogues (“99 Bottles Of Beer/Colours”), all of which are capable of packing a pub and inciting a rowdy sing-along. (www.myspace.com/candyappleandthebuddies)

– Andy Argyrakis

The up-and-coming collective Chicago Afrobeat Project is at its best on its new EP, Off The Grid. While past efforts have showcased the group’s fluid musicianship and penchant for pouring out funky instrumentals, its grasp on Afrobeat is now noticeably more apparent. Numbers like “Nobody Likes A Prima Donna” flow effortlessly with horns, percussion, guitars, and keys dancing among each other in a vivid unison. (www.chicagoafrobeatproject.com)

– Max Herman

Chinbaa opens Immortality with some Gershwin-style piano before he slides into a blend of prog-rock metal infused with his loping keyboard in the opening cut, “Genesis 2.” It’s the type of mutational juxtaposition that attracts large audiences to acts like Trans-Siberian Orchestra and Blue Man Group. There is slight variation over these epic-length tracks, and the run-time is scarcely worth the effort when “Trials Of Life” devolves into a showtunes-style soundtrack, but his compositional dexterity blossoms on the title track and the blissful “Prayer For All The World.” (www.chinbaa.com)

– Patrick Conlan

It would be easy to dismiss the annoying synth effects and repetitive overdubbed vocals on Clique Talk’s self-titled debut if it wasn’t for a nagging suspicion that something intriguing lies beneath the outdated gimmicks. “Cemetery Man” shows a knack for 1980s-style arrangements and, on “Hover,” Clique Talk pounds out an industrial beat. A stripped-down version of this CD with more variety in the vocals would have been more entertaining. (www.myspace.com/thisiscliquetalk)

– Terrence Flamm

Dance Club Massacre is a hardcore black-metal band in sound: crushing guitars and beats, synth highlights, and nails-on-chalkboard vocal delivery. But lyrically (as if you could make them out without the liner notes) the band reveals a sense of humor with a fixation not on death, but in alcohol-fueled antics (“Brewtality”) and other goofball musings, like “Deuces Shoeless Vs. The Double Dribbles,” a black-metal grinder about a pick-up basketball game. (www.danceclubmassacre.com)

– Jason Scales

Does Chicago really need another Irish band? Well, Kevin Flynn & The Avondale Ramblers do have a great sense of humor, blending local references and lyrics into such original songs as “The Devil & Dr. Holmes” and “A.M.H.S.” on their new CD, The Murderer, The Thief, The Minstrels & The Rest. Still, while the group is likely a hoot live, other than those few recognizable mentions the seven Celtic-infused tunes are otherwise run of the mill. (www.kevin-flynn.com)

– Jeff Berkwits

Blending Indian beats with fusion jazz, Fareed Haque, performing with The Flat Earth Ensemble, supplies a respectable 11-tune South Asian travelogue on Flat Planet. Standout cuts include “Bengali Bud,” with its energetic guitar, sitar, and tabla instrumentation, and “The Hangar,” which the liner notes rightly portray as a “Hindi boogaloo.” On the whole it’s a likable though surprisingly unadventurous journey. (www.fareed.com)

– Jeff Berkwits

As an opening salvo, the crackling punch of “Inside Voice” and the hiccupping sing-along melody of “Volts” announce a remarkable album of memorable pop melodies. Bubbling with tangled melodies and sharply observed wit, Loomings finds Kid, You’ll Move Mountains in peak form. Energetic guitar whips “New Blood” into a blustery whirlwind, and a collision of screeching guitar and hammering piano bursts “An Open Letter To Wherever You’re From” apart at the seams. (www.kidyoullmovemountains.com)

– Patrick Conlan

With shades of Sonic Youth, Garbage, and Joy Division, Magnetars sure have solid taste in influences, even if that merger’s yet to be fully realized. Sure, certain songs on Scram EP excel with brooding riffs and moody distortion (most notably “Sketchy”), but the group lack punch and focus across the spacy “Number 2″ and “Redshift.” (www.myspace.com/magnetars)

– Andy Argyrakis

Tatsu Aoki is one of the most prolific and accomplished bassists in Chicago. In addition to being the Artistic Director of the Annual Chicago Asian American Jazz Festival, he is also the founder of The Miyumi Project, a collection of big-band and jazz musicians. His latest release, The Miyumi Project Live In Poland, attempts to capture the power that emanates from this collection of experienced musicians. The disc contains four tracks (each between 13 to 20 minutes) of big-band, world, and jazz compositions. While some of the energy of the live show gets a bit lost in the translation to recording, the pure skill from each instrumentalist clearly shines through. (www.miyumiproject.com)

– Carter Moss

Vocalist/guitarist Joe Goodkin is the unifying force on Things We Would Rather Lose, the eclectic second release from Paper Arrows. He’s the main songwriter, and his distinctive vocals bring a sense of realism to intimate material like “Til I Couldn’t Cry” as well as catchy rock tunes like “One More Quiet Song.” The unique title track features piano and organ as the lead instruments, along with haunting harmony vocals. (quellrecords.com/paperarrows.php)

–Terrence Flamm

Given his own wide-ranging musical resume (ranging from the insouciant rock of Flo&Eddie and Alice Cooper in the ’70s to the more recent gospel of Pops Staples and his own soul-kissed band Sonia Dada) one perhaps shouldn’t be surprised by the tranquil new-agey explorations bassist Erik Scott pursues on his “solo” debut, Other Planets. While no new ground is broken during his 20-cut space walk, the ears do perk up on those cuts where the pedal steel takes him on country-ish detour. (www.erikscottbass.com)

– David C. Eldredge

Marc Kelly Smith, organizer and superstar of Poetry Slams at the Green Mill, loads his latest, Love And Politics, with rapid-fire spoken-word pieces set to jazz and hip-hop created by his son Adam. It’s a potent combination, particularly the urban romance of “Street Musician” and satiric “Radio Dope.” Marc’s rough-edged voice and arresting imagery will resonate with fans of Tom Waits or Dennis Leary, as well as anyone else who’s willing to listen. (www.marckellysmith.com)

– Terrence Flamm

Singer/songwriter Kelly Steward succeeds at making modern country without being overblown on her latest EP, Long Long Road. Her smooth and warm voice draws listeners into her musical world before they even realize what’s happening. Produced by Miles Nielsen, the tracks get behind Steward and stay there, letting her shine on “Get Back On Your Way” and “Lost My Mind.” (www.kellystewardmusic.com)

– Mike O’Cull

Experimental rock trio Strawberry Horsecake keeps its songs short, off the cuff, and peculiar on its 8-track EP, Entropy And The Id Triumvirate. The song titles and subject matter (see “Nuke The Whales”) may have listeners scratching their heads, but that’s partially why these head-bop-inducing, guitar-driven tracks have a replay value – that effective erratic quality is just hard to deny. (www.myspace.com/strawberryhorsecake)

– Max Herman

True Historians is a throwback country & western band playing the kind of honky tonk that the crowd at Bob’s Country Bunker could appreciate. Singer/guitarist Trevor McSpadden wrote most of the songs on this 11-track, self-titled CD and is ably backed by a host of musicians including steel guitar, keys, harmonica, and mandolin. A warm, well-produced sound pervades the album, especially coming together when Jessica Jane Childs sings lead on “Ode To Billie Joe” and provides harmony on “Right Back In Your Arms.” (www.truehistorians.com)

– Jason Scales

Vee Dee’s Public Mental Health System is a massive double LP that finds us struggling to cope with the chaos of modernity. This is an ambitious, wild collection of raucous rock songs boiling over with wiry guitars, blistering harmonic distortion, and impassioned vocals. “Glimpses Of Another World” is a surging blast of feedback and riffing, while “Teens O.D.” and “Out Of My Skin” are fiery, spastic numbers that spiral out of control. (www.criminaliq.com)

– Patrick Conlan

Nathan Xander opts for a vintage folk approach on his latest CD, Fear, building songs on acoustic guitar, harmonica, and his expressive vocals. There’s a touch of Dylan throughout the CD, particularly when Xander spins clever lyrics on “True Love Never Did Run Smooth” and “Martyr’s Song.” “The Alchemist” and “Dark Horses” prove he can also succeed in a more hard rock mode. (www.alwaysneverhome.com)

– Terrence Flamm

Alan Bailey evokes theatrical productions with the ambitious keyboard and string arrangements on Can’t Let Go. The forced wackiness of “To The Breaking Point” gets annoying, but Bailey entertains with fluid piano playing and inviting melodies on “(Don’t) Get Your Hopes Up” and “Release.” On the simple but charming “I’m Off To Bed,” Bailey sounds like he could have a successful career as an accompanist for silent films. (www.alan-bailey.com)
– Terrence Flamm

Following its outstanding ‘06 release, It’s A Sin, Bakelite 78 returns with the equally exceptional Delta Disc, bringing its own distinct brand of vaudeville-like stylings. This time, though, in addition to experimenting with such sounds as country and folk, jazz and blues are also thrown into the mix, providing listeners with yet another relentlessly enjoyable time capsule of a record. (www.bakelite78.com)
– Dean Ramos

Egon’s Unicat is nothing if not ambitious on Bonesaw, an elaborately packaged two-CD set. The first disc, subtitled “Apocalypse Kramer,” offers hard-driving numbers with names like “Terror In Argyle” and “Accents & Accidents,” while the second platter, “The Reverse Beatles Effect,” provides such subdued but still comparatively heavy songs as “St. Patty’s Day” and “Joe Victory Line Of Freedom.” Unfortunately, though the presentation is noteworthy, the 23 melodies are merely mediocre. (www.myspace.com/egonsunicat) Appearing: August 22nd at The Mutiny in Chicago.
– Jeff Berkwits

Mama’s House Live by the Ethnic Heritage Ensemble trio boasts some amazing music in opener “Oof,” “Mama’s House,” and “Barundi. For those still green to the genre, though, 15-minute track lengths like the one on “Ornette” may be a bit much to handle in one sitting. Needless to say, this one is definitely not for the uninitiated. (www.katalystentertainment.com)
– Dean Ramos

Flatlander is a self-described aggressive experimental rock combo, and the trio of songs on its eponymous EP do show a willingness to explore variations within heavy metal. Drew Trilla’s inventive guitar playing is particularly impressive on the more subtle “Coma Forever,” while bassist Ryan Trembath anchors “Guarded By Flames.” Pedro Prosdocimo has a solid set of pipes but Flatlander would more interesting if he was as adventurous as his bandmates. (www.myspace.com/flatlanderband)
–Terrence Flamm

A back-panel photo with all three members sitting on toilets isn’t exactly a selling point for Geronimo’s A Different Kind Of Greatness and, upon further listening, several songs could surely stand to be flushed. The zouk rockers jam incohesively throughout “Do The Driving,” continue the random noodling throughout “Ender,” and suffer from poor production quality across the entire five-track EP. (www.myspace.com/thegeronimoband)
– Andy Argyrakis

There’s an air of gorgeous melancholy to music of Jenny Gillespie, with Light Year offering eight mesmerizing melodies. The talented singer/songwriter channels Sinead O’Connor on “Hydra,” offering a heartbreaking voice complemented by stark piano, even as tunes like “New Maze” and “Hummingbirds” at times recall such legendary folksingers as Judy Collins and Joni Mitchell. It’s coffeehouse music that’s ready for the big time. (www.jenny-gillespie.com) Appearing: October 10th at Uncommon Ground-Devon in Chicago.
– Jeff Berkwits

Falling somewhere between Bright Eyes meets Nada Surf, Incredible Shrinking Boy fills City Nights with coming-of-age reflections over airy acoustic strums. The title track and “The Moon Picked Me Up” both float with sublime bliss, but “Reminder Song” takes a whiny card out of Dashboard Confessional’s playbook, suggesting that despite the storytelling productivity, there’s still room for vocal development. (www.incredibleshrinkingboy.com) Appearing: September 5th at Mike & Denise’s in Aurora.
– Andy Argyrakis

Joan Of Arc’s Flowers (Polyvinyl), a 13-track effort supposedly born out of a two-day improv session, values unpredictability, loose arrangements, and musical inclusiveness. Nowhere is the juxtaposition of musical influences more clear than through the three-song progression of “Fasting,” “Explain Yourselves #2,” and “But Tsunshine [sic] and Moon,” which flows from scraping pipe/avant-garde on the former to simple drum and vocal arrangement on the middle to bluesy acoustic ditty on the latter. (www.joanfrc.com)
– Jason Scales

There’s a pleasing folk simplicity to the four tunes on Boomerang, the latest offering from Todd Kessler. Both literally and figuratively he hits all the right notes, providing a solid performance on the title track plus a de rigueur lyrical bashing of former President Bush on “Hoping That Tomorrow Is Better Than Today.” This singer/songwriter has now issued two EPs; it’d be nice to hear a full-length release soon. (www.myspace.com/toddkessler) Appearing: September 18th at Horseshoe in Chicago.
– Jeff Berkwits

Trinity seems an inadequate name for Dylan Lloyd’s three-song EP, because the entities he worships number far greater. Despite the rumbling piano base of “The Ride,” he’s backed by a funk that’s equal parts ebony (Stevie Wonder) and ivory (Dave Matthews). “All I Wanna Do” keys on a loungier version of Fiona Apple’s blocky chords, and “Visible” begins pensively before pouring itself a drink and reclining its seatback. Lloyd’s wordplay could stand a little personality, but it’s hard to develop too many skills at once. (www.dylanlloyd.com or Click here to download “All I Wanna Do.”)
– Kevin Keegan

Megitza Quartet offers an intriguing blend of classical, jazz, and world music on its debut, Boleritza. Although guitarist Andreas Kapsalis’ “17_14″ is the only track with lyrics in English, the exotic music artfully conjures images of campfires, folk tales, and lovers dancing the tango or samba. Vocalist Malgorzata Babiarz is consistently enchanting, whether she’s conveying the beauty of the traditional “Krywaniu” or breezing through her own Latin-flavored “Cisza (Silence).” (www.megitzaquartet.com) Appearing: September 18th at Katerina’s in Chicago.
– Terrence Flamm

Milk At Midnight’s third release, Less Love More Acid (Stars/No Stars), finds the trio alternating between heart-stirring indie pop (“Sticks In My Stomach”), Killers danceability (“Kristol Ball”), and bombast worthy of Muse (the title track). “The Leaning Tower Of Astigmatism” opens with a riff that’s a little bit country and a little bit “Big Bird In Japan,” while “Lost Highway” drowns in a cacophony of psychedelia. Rarely does an album’s full track listing consist of must-hear ditties, but here’s a perfect dozen. (www.milkatmidnight.com)
– Janine Schaults

The Nashville Wreckers may hail from the city’s South Side, but the sextet wouldn’t seem out of place taking the stage at the Grand Ole Opry’s Ryman Auditorium. And if the band’s four-song Alleyways is any indication, an invitation from the venerated venue could come soon rather than later. The brainchild of guitar/vocalists Don Melas and Andrew Wetmore, The Nashville Wreckers take up where Ryan Adams left off on Heartbreaker, especially on the album’s tour de force, “Streets Don’t Sing.” (www.myspace.com/thenashvillewreckers) Appearing: October 3rd at Chicago Country Music Festival.
– Janine Schaults

The Possum Hollow Boys play straight-up hillbilly music in the truest sense and would have fit right in as a part of Sun Records’ mid-1950’s roster. The sound is stripped down and old school, full of twanging guitar and slapped upright bass and sounds as if it could have been recorded live in the studio. Guitarist Casey McDonough steals much of the show on Introducing The Possum Hollow Boys, but the rest of the trio rocks just as hard. (www.myspace.com/possumhollerboys)
– Mike O’Cull

Roosevelt Jenkins hits on all cylinders with its brand of unadorned, punched-up rock, styled with a collegiate friendliness and warm-hearted genuineness. “Streets” and “Your Smile Snuck Into My Dream” ride a buzzing guitar and hooky melodies with Jeffrey Connor’s vocals cresting over the steady rumble. There’s nothing flashy or artfully clever on Turn Your Lights On (except for maybe the sly cover art), but that’s the essence of the album’s appeal, and strong melodies performed by skilled musicians will always find an audience. (www.myspace.com/rooseveltjenkins)
– Patrick Conlan

Debut Out Of The Sky from The Steak House Mints is a richly layered/produced orchestral pop confection, with songs for the most part sounding as if Chicago were covering Magical Mystery Tour in a pleasant enough way. Breaking this mold is the Cole Porter sounding “Cheap Thrill,” tongue-in-cheek jaunty quickie “If I Were President,” and Southern jam-bandy “Run Two” – all of which stand out by their difference, leading one to wonder about the band’s best future direction. (www.myspace.com/thesteakhousemints)
– David C. Eldredge

Despite the floundering economy, it’s not too late for the members of Strawberry Horsecake to hit the streets looking for a new job. Office work might really suit Tom Velat, Brian Foust, and Eric Kmiec because as a band, the trio would have a hard time fending off a couple of sophomores in a local battle of the bands. Throughout the 13 minutes and seven rudimentary songs that make up Incontrovertible Theory, a few glimmers of hope (or at least humor) transpire: the righteous Alice Cooper-like riff in “Right Hand Man” and the faux warbling in “Edith Bunker’s Countdown To Armageddon.” (www.myspace.com/strawberryhorsecake)
– Janine Schaults

On his debut, Starin’ At A Green Light, Dan Tedesco yearns to join the ranks of American troubadours like Bruce Springsteen and John Mellencamp. He mostly succeeds, thanks to poignant lyrics about blue-collar workers aching for a better life, Iraq War vets, and incurable romantics. “Bound For Glory” is an energetic blast of horns and guitars while “Symphony In The City” and “A Long Haul” are melodic, acoustic-based tunes. (www.myspace.com/dantedesco) Appearing: August 29th at Irish Oak in Chicago.
– Terrence Flamm

Once again performing as The Weightlifters, Adam McLaughlin returns with his second solo effort, O My Stars, showcasing his bright, buoyant indie pop. The catchiest cut is far and away the radio-ready “Belle Of The Wrecking Ball,” which provides a fun, sing-along chorus. Still, all seven songs are commendable, displaying a host of venerable influences ranging from Elliott Smith and Matthew Sweet to Teenage Fanclub and The Apples In Stereo. (www.theweightlifters.com)
– Jeff Berkwits

Whut’s debut album title, Through It All, We Stand Tall, harkens to a hardcore lineage of positive attitude, but its thrashy hardcore hybrid is menacingly confrontational. Barreling through an unrelenting onslaught, Whut tears through six tracks in just over 14 minutes, fashioning cranked-up, bloody guitars and throat-shredding vocals into nimble, gripping bludgeons. Every single cut here is a glass-splintering scorcher, but the destructive blast of “Uphill Battle” is the standout, as it threatens to blow the scalp off your screaming skull. (www.myspace.com/whutsss) Appearing: August 15th at The Mutiny in Chicago.
– Patrick Conlan

Willowfair is not your average indie-pop band. Comprising a husband/wife duo on piano/vocals and twin sisters on violin/cello, the Aurora-based quartet doesn’t try to write sing-along lyrics or infectious melodies. Rather, the band is content to envelop you with its stream of intricately intimate compositions. While obvious Over The Rhine comparisons can be made, Ryan Bibza’s dark, tortured vocals definitely come from the Thom Yorke school of singing. The Lie Within may leave you depressed at times, even sleepy (when it slows down too much), but it will most certainly leave you touched. (www.willowfair.com)
– Carter Moss

Lubriphonic

Lock five skilled blues musicians from the heart of Chicago in a room and ask them to jam for a couple of hours, and what do you get? Hopefully an all-out blues-soul-funk experience — and in the case of Chicago newcomers Lubriphonic, that’s exactly what’s delivered. The quintet lets all its influences — from Blues Traveler to Buddy Guy — pour through the 13 tracks that comprise Soul Solution. Dirty, groovy, and soulful all at the same time, Lubriphonic keeps the spirit of Chicago blues alive and well. Appearing: July 25th at Taste Of Lincoln Ave. in Chicago. (www.lubriphonic.com)
– Carter Moss

Despite a name implying the presence of a full-blown band, The Jerrys is just one guy, Jerry Schwartz, playing quaint melodies with a retro flair. His new EP, What The World Could Use A Lot More Of, features five songs of self-proclaimed “treblepop,” including the humorous “Polly Urethane” and a straightforward cover of “Nowhere Man.” With a total running time of just under 15 minutes, the effort is concise and captivating. (www.itsthejerrys.com)
– Jeff Berkwits

With an ear for both cinematic expansiveness and relaxed immediacy, Jeff Neville’s Romantic War Novel (Tableturn) highlights his extensive musicianship. Composing and playing all of the instruments, Neville layers a beautiful piano melody and blurry, shimmering guitar in the sweet reminiscences in “What She Said To Me.” He skillfully reflects the solemn piano coda that closes the jazzy turns in “Your Stubborn Pride” through watery echoes in the tender ballad “Tonight.” Appearing: July 7th at Double Door in Chicago. (www.myspace.com/jeffneville)
– Patrick Conlan

On Memphis And Chicago, The Pale Figures split the CD between songs inspired by each city. For the former (recorded with Roland Janes of the Jerry Lee Lewis Band), expect a fairly legitimate throwback to the early Sun Records days, especially the swingin’ rocker “Portrait” and the country-infused “I Don’t Have You.” Though the Steve Albini sessions in the Windy City would sound more cohesive on a separate album, they’re loaded with intriguing alt-rock explorations and distortion-drenched explosiveness. (www.palefigures.com)
– Andy Argyrakis

Following a stint in San Diego, Americana act Ben Ripani returned home to Chicago and released his 2008 solo debut Hope Street — an album rife with rich instrumentation and soulful vocals. Some songs here are stripped to only the acoustic guitar to showcase Ripani’s poetics, which certainly hold up. But the best moments capture both his production and songwriting prowess, like the head-bopping “Get A Hold Of Me.” Appearing: August 22nd at Yakzie’s in Chicago. (www.benripani.com)
– Max Herman

The energetic funk rock on The Short Attention Span’s Pay Attention is propelled by Mike Stankiewicz and Paul Parello Jr., both of whom fill the guitarist/vocalist role. Their rapid-fire playing on “Apple Tree” recalls Red Hot Chili Peppers, while “Me Me Me” is more hard rock. Bassist RJ Neumann and drummer Jorge Tobias also impress, especially when Neumann takes center stage on the instrumental “Extended Faith.” Appearing: July 17th at Silvie’s in Chicago. (www.myspace.com/theshortattentionspan)
– Terrence Flamm

It seems Soft Targets is experiencing a sophomore slump, as its second full-length outing, Soft Targets Must Be Destroyed!, lacks the vitality of its debut. Here and there the band’s powerful post-punk sound comes through, especially on “Excitement!” and “Faulty Wiring,” but most of the 10 tunes simply sound strident. Appearing: August 6th at Quenchers in Chicago. (www.soft-targets.com)
– Jeff Berkwits

Tenniscourts‘ earnest pursuit of pop perfection continues unabated on Dig The New Sounds Of . . . , with its Cheap Trick-edged, Oasis-esque sound solidly propelling the band through its 12 carefully crafted originals. While clever lyrics, solid solo-instrumental turns, and smart production override formulaic tempo tendencies, the much more layered, complex cuts “Crystal City” and “The Grove” stand apart as the band’s aspirational apogee. Appearing: July 16th at The Burlington in Chicago. (www.thetenniscourts.net)
– David C. Eldredge

Having (by its own admission) turned full circle away from the debut’s introspective sound, Athens‘ What Would We Wear Were We Werewolves announces its rejuvenating break from the past with a witty opening take-off on ’80s-techno dance rock “The Future” and then settling into three of the tastiest cuts of deconstructed guitar-rock R&B this listener hasn’t savored since Beefheart and/or the earliest Peter Green-driven Fleetwood Mac. Sideshow, carnival-esque cut “The Farthest Sons” further rounds out the band’s new sound, making this CD an impressive reach of a group worth watching/listening. (www.myspace.com/athensinchicago)
– David C. Eldredge

Scott Waterhouse provides a great 1960s lounge vibe on his new nine-song CD, A Spot In The Shade. “Today’s The Day” and “The Blue Lilac” could easily have been lifted from a vintage Burt Bacharach LP, while cuts such as “Walk The Walk” and “Vicious Cycle” provide a more contemporary yet still historically reverent jazz flair. Now and again the instrumentation is a tad synthetic, but the music remains uniformly enjoyable and evocative. (5th Wheel Productions, 503 South Bench St., Galena, IL 61036)
– Jeff Berkwits

Veteran singer/guitarist Peter Blast recruits Enuff Z’Nuff bassist Chip Z-Nuff and New York Dolls guitarist Steve Conte among others for his latest garage rock opus, A Plush Horse . . . With A Monkey On A String. Blast’s vocals are almost cartoon-like at times, but there’s no denying the firepower of his guitar playing, especially on the spirited “The Last Word.” The melodic “Lay Down Here” proves Blast is also adept at weaving psychedelic pop music. (www.peterblast.com)
– Terrence Flamm

Unusually named, but treading over familiar territory, Doctor, This Virus Is Silence weaves strands of post rock into a core of riveting indie rock on An Existence In Terms Of Yes Or No. Huge, claustrophobic guitar punctuates the scorching burner, “A Series Of Trials,” and a tightly coiled dynamic structure balances the dramatic sweep of the sprawling “Dream Up, Setting And Location.” (www.dtvis.com)
– Patrick Conlan

Harlan Flo

While Harlan Flo is more than competent musically, this power-blues outfit adds very little to the genre that Eric Clapton hasn’t already. More often than not, one is simply left wondering why female vocalists Amanda Riva, Kat Swanson, and Sophie Hall aren’t given more time behind the microphone, as they are the absolute highlights of this record. Unfortunately, however, they are hardly enough to make up for the fact that Wheels Of Time is a rather bland listening experience, overall. Appearing: July 10th at Muldoon’s in Wheaton. (www.harlanflo.com)
– Dean Ramos

Hollus vocalist Jamison Acker describes the band’s goal for its latest release, Joker And The Queen, as “to make timeless tunes that sounded good in our living rooms,” which translates into evoking Led Zeppelin III and early Rod Stewart. Acker’s rough vocals and Michael Lux-Saur’s guitars guarantee success, particularly on the acoustic-based “Horseman” and the hard-rock stomp of “Fever Song.” There are few slow moments, but overall, this is a solid collection of classic rock. Appearing: July 28th at Double Door in Chicago. (www.myspace.com/hollusmusic)
– Terrence Flamm

Honeyglass fit in the venerable tradition of blistering hard rock fronted with angelic female vocals, bearing a striking similarity to early ’90s rockers Echobelly. On Through The Honeyglass, C.J.’s soaring vocals provide an effervescent counterpoint to the crunchy guitars and hooky melodies that are perfectly tuned for mass-media appeal. The acoustic ballad “Have A Good Night” shows it has the requisite tenderness as well. (www.honeyglassmusic.com)
– Patrick Conlan

Dan Hubbard And The Humadors exude a workingman’s sensibility on a self-titled CD filled with easy-going rock songs about finding love and a purpose in life. Hubbard’s expressive vocals are appealing, and having three back-up vocalists results in some impressive harmonies. “You’re All I Need” provides some Buddy Holly-type fun and “Run For Our Lives” has a melodic country & western arrangement. Appearing: July 25th at Taste Of Lincoln Ave. in Chicago. (www.danhubbard.net)
– Terrence Flamm

Chicagoland/Wisconsin headbangers Jungle Rot go the safe route in claiming veteran status on What Horrors Await (Napalm), their sixth full-length since forming in 1994. “Worst Case Scenario” and “The Unstoppable” mount the comeback with sleepy half-time death metal (“You cannot stop me,” the latter’s chorus sluggishly insists). The vets fully rise on “Straightjacket Life,” a tarantula-on-fretboard feast from the psych ward, with an old-school breakdown so heavy it kills “10 million.” That’s more like it. Appearing: July 24th at Nite Cap in Chicago. (www.myspace.com/junglerot)
– Mike Meyer

Salsatonico Bailando La Danza De La Venganza, Maladicto’s sensational debut album, is a brilliant, blood-riling fusion of pulverizing American hardcore and swaggering Latin grooves. The breakdown and feedback hook in “Calvario” provides a smashing sonic soundtrack befitting Manny Nieves’ incendiary lyrics. It adds Brazilian heat to “Lamento Latino” and “Cumbiatron” with hip-shaking rhythms and thumping percussion. (www.myspace.com/maladicto)
– Patrick Conlan

“I’d rather speak my mind than die a bitter old man,” proclaims nasally MC Phillip Morris on his sophomore LP, The Process Of Addiction Has Its Costs. Like his 2007 debut, no topics are off limits, but this time he cleverly covers a wider range of subjects, including venting about 9-to-5 life and challenging the common notion of patriotism. And with his raps being coupled with crisp, sample-based beats from himself and producers like Coolout Chris, this album consistently sounds fresh. Appearing: July 16th at Double Door in Chicago. (www.myspace.com/phillipmorris)
– Max Herman

It’s fitting that rhymer Prob Cause a.k.a. Prob C returned home to Chicagoland from Boston with his new band. On the five-song EP You Don’t Know/The Half, Prob C And The DH continue the local live hip-hop tradition sparked by groups like Abstract Giants and Treologic. With a part-funk/part-jazz foundation, this group’s laidback beats are always robust and on-point, even when they aren’t entirely innovative. And on singles such as “The Realness,” the eager Prob Cause proves he sounds best rhyming over organic instrumentation. Appearing: July 23rd at Morseland in Chicago. (www.sonicbids.com/probcandthedh)
– Max Herman

Though the melodies are four-years old, the reissued Hello Soldier!!! from Push-Pull remains notable. The band’s punk-infused panoply of 11 pop tunes (plus a gospel-tinged bonus cut) is effervescent and intelligent, especially such odes as “Baseball” and “Don’t Panic” (a rough-and-tumble tribute to author Douglas Adams’ “The Hitchhiker’s Guide To The Galaxy” series). It’s a refreshing break from similar recent yet often less enjoyable fare. (www.myspace.com/pushpull)
– Jeff Berkwits

Strikingly desolate and fragile, while at times recalling the likes of Victoria Williams and Mazzy Star on Last One Standing, make no mistake Ashley Riley has an utterly gorgeous voice and a sound all her own. Sometimes warm and affectionate on songs like “Bad Habits,” Riley is more often heartbroken and regretful, which (on her) comes off beautifully as tracks like “Way Back” and “Good Excuse” illustrate. Appearing: Every Wednesday at Blocks Brewery in Decatur. (www.ashleyriley.com)
– Dean Ramos

A common concern with success is whether someone gets too big too quickly. In Yeah Yeah Yeahs’ case, they went from a venue the size of the Riviera (where this show was originally booked) to the Aragon in a matter of weeks. No wonder frontwoman Karen O. didn’t know how to use the stage.

Ms. O is a rarity from the garage-rock revival earlier this decade, because she’s a natural showperson. Tuesday night, she had no problem dancing with her microphone cord, clawing at her wardrobe, or striking poses in solo “Vogue” fashion. It was strange, however, that she remained tethered so centrally to the stage. Maybe it was to ensure she’d be near the confetti cannons she would discharge via foot pedal, but she sparsely ventured onto the cavernous Aragon’s stage wings until an hour into the 75-minute set.

(And that brings up another issue about YYY’s leap into the big time. If they’re going to entertain 5,000 people, they’re gonna need to put out a little more. In 2003, when the band debuted to Chicago at Empty Bottle, they only performed maybe 20 fewer minutes.)

The band had no problem keeping the Aragon jumping, however. While they conspicuously wrapped all their bigger hits in one four-song cold-cock (“Zero,” “Maps,” “Y Control,” “Heads Will Roll”) that straddled their encore departure, the opening minutes were spent watching Ms. O switch from synth-pop tart (“Runaway”) and untamed garage-rock savage (“Black Tongue,” “Man”). Whether writhing her legs during “Kiss Kiss” in a Stryper-esque ensemble or altering “Cheated Hearts” to call “take it off, take it off” while moving her straps off her shoulders, she magnetized the throngs in front of her.

Through no fault of the band and more the venue, guitarist Nick Zinner’s alchemy was often swallowed by drummer Brian Chase’s pounding, though when Zinner’s melodies were in tandem with O’s vocals (“Dull Life,” “Honeybear”) the electricity was akin to rubbing everyone’s hair with balloons. The frontwoman’s only fault was an inability to express herself when Chase’s drums weren’t propelling her hips. “Skeletons” sank from ethereal to plain ether, while she went through “Maps”‘ motions with a towel around her neck.

The big rooms require a little more.

– Steve Forstneger

Beaujolais‘ Love At Thirty (Parasol) revolves around divorce, with melancholy tracks like “Nightmare In A Healthy Brain” and “Please Don’t Let This Be True” over-sharing Joe Ziemba’s (The Like Young, Wolfie) dark emotions. The project is instead at its peak when throwing the toaster in the tub like “Friday The 13th: The Loft” and “I Do Go In The Woods Alone,” which may not iron out the indie rocker’s issue, but are nonetheless relatable to anyone in the aftermath of a break-up. (www.beaujolaismusic.com)

– Andy Argyrakis

Atomic Shop, the self-titled debut from Chicago singer/songwriter John Kuczaj, is unfortunately the type of debut singer/songwriters should attempt to avoid. Kuczaj’s vocals are barely on-key and, sadly, the lyrics aren’t much better. Kuczaj does aim for humor on half the tracks, like “Co, Bondo & Beer” and “(Oh No) The Cubs Suck Again,” but such songs just make it harder to take him seriously. (www.atomicshopmusic.com)

– Carter Moss

Blackdog is unabashedly a blues band — and a working one at that, with a number of regular gigs booked in Northern Illinois/ Southern Wisconsin. On its self-titled, seven-track album, the band goes beyond its name to give props to its muse, Led Zeppelin, with a dead-on impression on opening track “Travel Song.” Otherwise, the four-piece (with two alternating lead singers) belts out convincing Delta blues with occasional Hendrix-inspired solos. (www.yourblackdog.com)

– Jason Scales

Braced by his “Secret Stash” core bass/ drum duo (along with special guest turns), Frank “Bang” Blinkal amply displays the considerable guitar chops he honed as part of Buddy Guy’s band from 1999 to 2004. On And They Called It Rock And Roll’s eight not-R&B-charged, but Southern boogie/jam/balls-out rock originals Bang’s earthy vocals are well grounded to his gritty power trio’s playing and wide-range of guitar turns lead one to only imagine what must be great witnessed live. (www.frankbang.com)

– David C. Eldredge

Minimalist/indie/chamber/world outfit Conductive Alliance makes inspired and unclassifiable music on its self-titled EP. It is acoustic, hypnotic, and eclectic, with each song taking on its own character. It must be one of the more unique acts playing around the city and would stand out on any stage. The CD package only lists one day of recording for the EP, meaning this all went down live in the studio, which is impressive. Groove out on “Silver,” “Turtles,” and “Harmonics.” (www.myspace.com/conductivealliance)

– Mike O’Cull

Deep Cricket Night continues to strengthen its arsenal of amiable, intimate folk-pop songs with Before Morning. The lush arrangement of rich bass and warm cello provide a thick, strong foundation for Lance Drake’s clear, strong vocals in “Through The Arches.” Their glistening, sprightly interpretation of Echo And The Bunnymen’s “The Killing Moon” captures the sublime spirit of the original while allowing space for an infusion of original character. (www.myspace.com/deepcricketnight)

– Patrick Conlan

In the early days of rock ‘n’ roll, the AM airwaves were filled with tunes that could easily have been performed by The Del Moroccos. The group’s first full-length, Blue Black Hair, blends rockabilly riffs, garage-rock grit, and old-fashioned R&B on rollicking numbers like “He Knocks Me Out” and Ronnie Dawson’s classic “Action Packed.” It’s a raucous and entirely entertaining 13-song recording. (www.myspace.com/thedelmoroccos)

– Jeff Berkwits

The acoustic-leaning rock of Chicago quartet Dexter is well-suited for a snug venue a la Uncommon Ground. On Locus Of Control, folky tunes like “Day You Die” are the type of tracks best appreciated in a quiet atmosphere, given the placid yet promising resonance. While some songs lack punch, overall, Dexter does a decent job exploring the mellower side of rock. (www.myspace.com/dextertheband)

– Max Herman

It’s hard to imagine a Chicago-based band known as The Dirty Blue producing music that might be classified as (gasp!) Brit-rock, but that’s exactly how the Chicago trio loves to describe itself. Channeling everyone from real-early-Fleetwood Mac to Arctic Monkeys, the band’s latest offering finds itself trying (too hard) to be a little of everything (Brit-rock, indie, blues), which leaves them falling short of everything. It’s a talented band that needs to clean up its focus and identity. (www.thedirtyblue.com)

– Carter Moss

Farkus sounds like a band well into honing its sound, rather than what it is: a band releasing its first work after reuniting by way of Champaign. Mellow alt-rock dominates the six-song Thought You Should Know. Shoegaze is punctuated by broad strokes of arena guitar outbursts on “Supposed To Be” and “New Love And Prescriptions”; “Windsor Noose” is an acoustic confessional. (www.farkusmusic.com)

– Jason Scales

Instrumental albums often face the challenge of avoiding monotony and remaining compelling without the benefit of lyrics or vocals. Enter Chicago’s electronic jam-band The Infrasonics. On their sophomore effort, Surface To Air, the foursome has composed 13 tracks of gorgeous electronica-drenched rock that skillfully blends the expansiveness of Explosions In The Sky with the imagination of ’70s classic rock and just a touch of Beastie Boys funk. You can’t dance to it, but you certainly won’t fall asleep to it, either. (www.theinfrasonics.com)

– Carter Moss

Illinois Entertainer reviews all local submissions we receive – every one. Visit our contact page for our address, and you’re on your way.

“This fucker sounds just like Tom Waits. Do we need another Tom Waits?” Matt Arbogast, a.k.a. The Gunshy, asks on I Gave Too Much Time To The Wine’s title track. It’s a fair self-critique, but, as he also points out, “Dylan was Woody” and “there’s a hundred Pogues.” Too Much Time comprises new material and two older EPs and shows how much Arbogast has improved his craft since 2004, though the early material ain’t too shabby, either. As far as Waits soundalikes, you could certainly do worse. (www.thegunshy.com)

– Trevor Fisher

On The Tide Has Turned, The Assembly construct an album Bloc Party should have made. It’s destined for the dance floor, loaded with hooks, maintains a delightfully dark undercurrent, and features programmed beats balanced with live instrumentation. Fans of The Rapture will likely be entranced by “Optimization”; those preferring an industrialized edge can turn to “If They Exist”; and a goth-tinged cover of Depeche Mode’s “Strangelove” would even make Dave Gahan proud.(www.myspace.com/theassemblyband)

– Andy Argyrakis

Dear Future may hail from tiny Pickneyville, but it strives for a sound anything but small. The band’s sophomore effort, Can’t Wait Any Longer, is all about big: anthemic choruses sweep over instrumentation communicating grand messages. While Dear Future freely borrows from the shoegaze of bands like Film School and the introspective pop of Snow Patrol, it still somehow manages to pull off an original sound. (www.dearfuture.com)

– Carter Moss

With a visage that recalls McCartney and even sounding like Macca on the skiffle-esque “Sunglass Wardrobe,” most the rest of his 14-song Abstract Man finds Tom Fuller’s vocals so shrouded by heavily produced classic-rock instrumentation that a certain sense of artifice creeps in. Lyrical lapses such as “Protecting my ass . . . no questions asked” and a cover of best-forgotten “The Air That I Breathe” (made famous by The Hollies) don’t help. But closing acoustic cut “Franklin Street” does hint at better grounded potential for future recovery. (www.tomfullerband.com)

– David C. Eldredge

So many Windy City acts are influenced by Cheap Trick, but very few borrow just a little bit and expand with their own dynamic. Though “Stuck In The Box,” off Holding Mercury’s Downfall Of An Empire, has echoes of that Rockford legend, modern alt-rock guitars and frontman Matt Hoffer’s rugged delivery never sound derivative. References like The Cars or newcomers Your Vegas aren’t that far behind throughout the melodic ear candy “Standing Eight Count” and “Let It Go,” but once again excel, thanks to inventive framework. (www.myspace.com/holding mercury)

– Andy Argyrakis

The Insecurities‘ debut EP, Ban The Kiss Hello: A Social Commentary, has more letters in its title than minutes on its six songs. Each track name contains a philosophical subtitle, a hint of the brainy lyrics contained within. Musically, the quintet gels effortlessly. The piano-infused pop underneath the honest vocals clearly calls to mind shades of Jack’s Mannequin, which is a great vein to settle in and should make the group feel a little more secure about its musical future.(www.iminsecure.com)

– Carter Moss

JT Nero is an offbeat side-project for JT Lindsay, lead singer for JT And The Clouds. His falsetto yields mixed results on Demons/Demons, a CD of slow, acoustic music. His singing distracts from the appealing melody and doo-wop backup vocals on “How It Runs” and seems forced on the disjointed “Diamond Cutter.” On the plus side, Nero crafts classic soul on the shimmering “The Sun Ain’t Your Friend” and “Who Shot Sam Cooke?” (www.myspace.com/jtnero)

– Terrence Flamm

Listening to Matt Robinson’s full-length debut, Everybody Dreams Under Big Trees, it’s obvious he has abundant influences, but whether he can mold them into something of his own isn’t so certain. The singer/songwriter and his band are capable musicians on “Sing Me Do” and “Time Will Only Tell,” but Radiohead and Cat Stevens are best left to Radiohead and Cat Stevens. Nothing sticks out on Big Trees because nothing sounds like Robinson’s own. (www.mattrobinsonmusic.com)

– Trevor Fisher

After playing stages (of the theatrical kind) all over Chicagoland, recent high-school grad and Disney-connected Justin Stein just opened Corbin Bleu’s tour. His self-titled debut is perfectly formulaic – borrowing beats from “the other Justin,” infusing enough dance and hip-hop for the boys, and plenty of swooning ballads for the girls. Fortunately, buried beneath all the slick production, Stein appears to have actual vocal talent. (www.justinstein.com)

– Carter Moss

Acoustic guitarist Jim Green, also known as The Wandering Endorphin, is a player and songwriter in the Andy McKee/Michael Hedges mold. He creates compelling, mostly instrumental music that combines a bit of pop songwriting with new-age hypnotics. Green’s latest, When The Moon Was Full Of Mystery, is mostly solo acoustic with some light piano, harmonica, and Native American flute backing. The music is smooth, melodic, and full of the kind of chops that make the guitar disappear and let the song move to the forefront. (www.wanderingendorphin.com)

– Mike O’Cull

The assemblage of sounds by Nick Butcher on Bee Removal is music at its most concrete. Imagine sitting harborside, listening to the steady chimes of a bell buoy, while in the background a vinyl LP skips as your next-door neighbor ceaselessly scans the FM dial. If such is your cup of tea, you’ll want to latch on to one of these 500 limited-edition custom CDs before they disappear. (www.home-tapes.com)

– David C. Eldredge

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Dave Ero is an imaginative musician who employs vaudeville, Latin, blues, pop, and folk to back the offbeat songs on Nuns With Guns. But much of his work is undone by forced rhymes, awkward phrasing, and the misguided belief that cheesy vocals are always hysterical. It would be interesting to hear Ero when he wasn’t straining to be funny. (daveero2@yahoo.com)

– Terrence Flamm

Andreas Kapsalis Trio’s Original Scores is rife with cinematic, soundtrack-ready compositions. Given Kapsalis’ experience working on film scores, his sonics on steel- and nylon-string guitars are naturally dramatic. With the help of percussionists Jamie Gallagher and Darren Garvey, this trio taps into multiple moods. While atmospheric, songs like the circus-inspired “Strangers To Fellini” are a bit too bizarre to be enjoyed on their own. But the festive feel of the Latin-fused “Ethnic Cleansing” and other numbers sound good as is. (www.andreaskapsalis.com)

– Max Herman

Meyhew The Traitor subscribes to the Johnny Cash/Neil Young philosophies of folk rock: no frills, yet solid musicianship evoking melancholy and “man in black” mysteriousness. “Shakin’ With John Wayne” and “See You In Hell” set the chiming guitar precedent. “Deathwish,” the 10-song CD’s title track, ruminates on poor choices made in life behind jangling chords and is followed later by the most haunting track, the stripped-down funeral ballad, “Lottie.” (www.myspace.com/mayhewthetraitor)

– Jason Scales

On Patience Gloria’s About A Girl, Charles Malave sings the lyrics of Michael Dobbins (think Elton John/Bernie Taupin). Though the words are pensive and poetic (especially throughout “Fall Down The Stairs” and “Dust Specs”), the delivery is disappointing across the album. As if Malave struggling to stay in key isn’t bad enough, the low-budget production is riddled with chaotic sound effects and a too-obnoxious-to-be-cool quirkiness. (www.patiencegloria.com)

– Andy Argyrakis

– David C. Eldredge

The Quilts uses several musical styles on its latest, Turn The Love On, but excels at Southern-rock barn burners like “Kingston Tennessee” and “Let It Rain.” Singer/guitarist Dana Okon strives for a positive message on each song though it’s not always easy to catch his drift. Nevertheless, the guy is incapable of composing a dull melody, as evidenced by irresistible songs like the new wave-flavored “Skeleton Colors” and the Kinks-influenced “Beethoven.” (www.myspace/thequilts)

– Terrence Flamm

Born from the ashes of the late Rabble Rousers, Swing Out Chicago is a somewhat derivative, but feverishly passionate take at Chicago blues and Memphis-inspired R&B (“Swing Out Chicago”) from the Windy City Rev-Ups. Vocalist Rich Reminger and his band perform over 100 dates a year around the Midwest, and it shows in their plier-tight arrangements, guttural vocals and their hypnotic jonesing for the blues. A musical detour into acoustic-driven Southern rock (“Red, White & Blues”) only enhances their allure. (www.windycityrevups.com)

– David Gedge

Section4 singer Serena Romero may be a vocal dead-ringer for Portishead frontwoman Beth Gibbons, but that doesn’t mean the material found within the group’s self-titled disc is even close. Tunes like “Pretend” and “Sunday Song” may be pleasant trip-hop tunes, while “Showroom Party” presents the group’s gritter, alt-rock aura, but they all lack memorable appeal. (www.sectionfour.net)

– Andy Argyrakis

Between brief opening/closing instrumentals, The Webstirs serves up another collection of excellently produced two-to-three-minute jaunty pop originals. The band’s fourth CD, So Long, again achieves an excellent sonic balance between basic rock-quartet and supporting-brass sidemen and synth overlays, with the group reaching its apogee on the jangly, richly produced, and Hold Steady-ish penultimate cut, “Still Drowning.” (www.myspace.com/thewebstirs)

– David C. Eldredge

Zip Tang adds to the prog-rock resurgence with the 11-track Pank. The title track is a buzzing jazz-rock instrumental, and the only one less than four minutes. The remaining songs give plenty of room for musical tooling around. After a rollicking first movement, the eight-minute-plus “It’s In My Head” forges a dreamy saxophone freak-out eventually accompanied by guitar moans and squeals. “Katy” adds to the sax-driven fusion with the repeated “Katy won’t leave home” used as a bridge to eventual funk-guitar stylings. (www.ziptang.net)

– Jason Scales

With infectiously lush, wide-screen arrangements that prominently feature tingling vocal interplay between Russell Baylin and Sarah Snow, My My My turns out gorgeously winsome pop confections. Every winding turn through its convoluted arrangements reveals memorable pop magic. Cool, breezy guitar, shimmering cymbals, and keys ricochet through the schizophrenic melody of “Palisades,” and an effervescent guitar lifts the airy “Uh, Wow.” (www.myspace.com/iluvmymymy)
– Patrick Conlan

A nostalgic throwback to classic heavy metal with some added progressive modern touches, The Crossing offers energetic, guitar-driven rock on its self-titled EP. The snappy, crunchy riffs and burning, distorted leads propel the boisterous, throbbing “Rebellion.” The Crossing gets sidetracked with the slightly spruced-up, but essentially faithful cover of Frankie Goes To Hollywood’s “Relax,” a throwaway track that sounds uninspired alongside the molten, scuzzy fervor of “Genie.” (www.myspace.com/thecrossing1111)
– Patrick Conlan

Driving Forward wants to be a big, muscular hard rock band but hardly bothers flexing on Dissolve Your Resistance. Frontman/guitarist Jesse Naul’s proggy riffs on “Up The Spine” and “Buy Sell Trade” have the horsepower, but are often buried under the unusually loud drums and his own vocals. Naul is a solid singer, but hardly spectacular, and this album would benefit from shining more spotlight on his other instrument. (www.myspace.com/drivingforward)
– Trevor Fisher

Despite an obnoxious promo photo, The Glide impresses with a self-titled four-song CD of pulsating dance music. The split acoustic/electronic arrangement on “Noth-ing To Hide” doesn’t work, but the remaining tracks are tailored to the club scene. The bottom-heavy “In Flames” is particularly fun, and it showcases how The Glide’s synth beats and expressive vocals recall New Order. (www.myspace.com/theglidemusic)
– Terrence Flamm

The spirited country rock on The Jennifer Jennings Band’s debut, All The Pieces, gets a boost from the lead singer’s ability to create funny lyrics that ring true. “Not That Way” depicts an addiction to one-night stands, and on “Family Reunion,” a gal dumps her beau for his unruly brother. The irresistible love song “I’ve Got A Feeling” is a genuine contender to top the country charts. (www.thejenniferjenningsband.com)
– Terrence Flamm

A beautiful blend of folk and lighthearted pop mingle gracefully on Lucy Kaplansky’s Over The Hills (Red House). She illuminates summer memories with imaginative, joyful reminiscence in the delightful “Swimming Song” and provides an admirable performance with a respectable cover of “Ring Of Fire.” Sweet pedal steel and crisp electric mandolin swirl together as she pays displays her abundant musical gifts in the tender closer, “The Gift.” (www.lucykaplansky.com)
– Parick Conlan

Singer-songwriter Brian McDermott is rootsy, melodic, and interesting on his debut, Deep. His laid-back vocal style complements his lyrics and encourages the listener to lean in to hear what’s coming next. The production is minimal and simple, but it works, and McDermott is better than most of the acoustic types floating around. (www.brianmcdermottmusic.com)
– Mike O’Cull

Ready The Destroyer teeters on the edge of angular, dissonant indie rock, but never trips over the precipice on Into The Night. Guitarist/singer Neil Miller always snaps the sweetness into place. He slides his sparkling guitar in “Lifeline” through a simple chord progression during the verses before unleashing a cathartic release in the chorus. The chunky rhythm and elliptical phrasing in the shimmering “Stalemate” snags your ear with a relentlessly catchy hook. (www.readythedestroyer.com)
– Patrick Conlan

Guitarist Matt Hudson leads Scientific Map through an adventurous collection of songs that deftly combine jazz fusion and techno on the band’s debut, Power To The Babies. Most of these tracks are instrumental, and even the vocals on the haunting “Merlin’s Bride” and futuristic “Carpenters In Forehead” flow through the arrangements as opposed to leading them. Likewise Hudson’s guitar playing (most prominent on “Port De Patois”) melds perfectly with the talents of others musicians. (www.myspace.com/scientificmap)
– Terrence Flamm

Rousing, irreverent, and eminently enjoyable, The Statues Of Liberty throws down classic power rock teeming with an earnest patriotism and imaginative critique befitting its name. “Barack And Roll” is a witty, satirical cut-up on last election’s presidential candidates that clangs against some uncomfortable truths, while the poppy hooks of “Crucify A Brother” leaven the biting social commentary. America Still Kicks Ass isn’t a cynical lament, but rather a spirited rallying cry. (www.myspace.com/statuesofliberty)
– Patrick Conlan

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Hay Perro is more interested in exhibiting maximum punk rock fury than impressing with clever and subtle tunesmithing on the five-song Summer Of Destruction EP – “The End Is Nigh” being the exception. The title track’s chorus most clearly embodies this Dead Kennedys approach (without the biting sociopolitical commentary). Otherwise, intertwining and sometimes-jerky guitar riffage – “Kitty, Queen Of Destiny” – runs full throttle behind a convincing agit-rock vocal delivery. (www.hayperro.com)
– Jason Scales

While sounding an awful lot like Warren Zevon on the opening and closing cuts of Blurry White Guy, David Lykins is much more mainstream country on the intervening originals. This is understandable because on most tracks he’s surrounded by some of Nashville’s best players. While impeccably produced, nothing really jumps out, save the first mention of “Tivo” in a “love” song this listener has ever heard. (www.myspace.com/ravin12)
– David C. Eldredge

While Shawn Maxwell’s 2005 debut, Originals, was inspired, his unimaginatively titled follow-up, Originals II, lacks the same unbridled verve and vision. The performances are strong, but the dozen jazz instrumentals are simply tedious, with Maxwell’s prowess on alto sax, flute, and clarinet adding little pizzazz to such tracks as “Duck Snort” and “Mr. Strongbow.” Here’s hoping his next CD better builds upon the buoyant promise of his initial effort. (www.shawnmaxwell.com)
– Jeff Berkwits

The New Duncan Imperials‘ 12-song End Of Phase One should have been named Start Of Phase Two. It has been eight years since the band’s (that formed nearly 20 years ago) last studio release. And, yes, it was worth the wait. The three-man group is a chameleon, shifting from the pop punk of “High School Soul” to the Johnny Cash/Chuck Berry number “Blame It On Me” and onto other simple yet delightful alt-country rockers, all built around sharp guitar hooks. (www.pravdamusic.com)
– Jason Scales

The Buildup by Raise High The Roof Beam is a perfect example of indie rock that is neither ice-box cool nor overly self-conscious but still every bit as catchy and infectious. Armed with easily relatable songs about heartache (“Break My Heart In Two”), long-lost friendship (“The Great Midwest”), and social anxieties (“Foxtrot At The Sockhop”), RHTRB wears its heart on its sleeve even more visibly than a band like Weezer, but it sounds every bit as good because of it. (www.raisehightheroofbeam.com)
– Dean Ramos

It has been said it takes a village to raise a child, but, based on the performance credits, it seems nearly that many people were also required to record Cha Cha Time!, the new disc from Mike Roman & The Tellstars. Fourteen featured players and 17 “special guest artists” contribute, bringing a fun Latin flair to songs like the catchy title track and the surf-infused “Tsunami 911.” (www.tellstars.com)
– Jeff Berkwits

On Seel Fresh’s latest effort, Street Famous, the South-west side act represents a wiser, more-focused MC. While less concerned with anthems about deba-uchery, Seel expectedly still raps about his unmatched perseverance (the single “Keep It Moving”). More impressively, his head-nod-inducing tracks also reflect on how Chicago has changed for the worse, the value of family, and the possibility of settling down. With the help of the Molemen and a couple rookie producers, Seel represents Chicago hip-hop in its rawest form, free of posturing and industry trends. (www.myspace.com/seelfresh)
– Max Herman

With a number of recordings and noteworthy opening gigs under its belt, it’s somewhat surprising Swizzle Tree offers only five cuts on No Really I’m Happy. But the disc’s polished production of the band’s solid, hooky pop/rock originals (think Weezer meets Cheap Trick) is testimony to Swizzle Tree’s experience. While the songs may tread a tad too close to emo at times, closer “Our World Changed” does so appropriately, being as good (if not better) a straightforward ode to 9/11 as any other offered up to date. (www.swizzletree.com)
– David C. Eldredge

Yoome’s The Boredom Of Me is the type of album that’s endlessly abstract yet not all that inaccessible. This freewheeling collaboration between eccentric rhymer Serengeti, producer Tony Trimm, and New Zealander vocalist Renee Louise Carafice is loaded with imagination and lo-fi hip-hop meets pop sounds. What’s often commendable is how Geti and Carafice naturally play off each other’s low-key styles whether they’re getting introspective or taking a stab at creative fiction. Conceptually, songs like “Blueberry Breath” may have listeners scratching their heads, but that’s expected. (www.myspace.com/boredomofme)
– Max Herman

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The drums are dynamic, the guitars potent, and the bass vigorous on Certain Company’s four-song demo. Unfortunately the vocals, which are shared among three of the group’s four members, leave much to be desired. Tunes like “Are You Ready?” and “Shake” are wonderfully soulful, marred only by those agonizing voices. Since recording these cuts the bassist has reportedly left the band – a replacement with singing experience would be the perfect addition. (www.certaincompany.com)
– Jeff Berkwits

Bright Eyes, Ryan Adams, or Pete Yorn fans might identify with the intimate acoustic rock/folk of Jackson Combs‘ The Hardest Parts. Though the album aptly taps into those influences, the vocals can’t live up to any of them, sounding under-developed throughout “September” and under-produced during “Little Lies” and the title track. “In The Middle Of Nowhere” confidently strikes a balance, indicating future potential, even if this round isn’t fully realized. (www.myspace.com/jacksoncombsmusic)
– Andy Argyrakis

Ex-Chicagoan John Eichleay celebrates his Brooklyn relocation with an extremely polished self-titled debut. The album’s production boasts an Oasis-like sound and musical range that defies its basic four-piece lineup. While the band never quite recaptures the energy of the opening four cuts once it veers into slower balladry, the entire disc serves as a showcase for Eichleay’s considerable guitar-playing prowess. (www.johneichleay.com)
– David C. Eldredge

Hired Goons pays tribute to “The Simpsons” via catchy punk songs on Everything’s Coming Up Milhouse. The band understandably draws inspiration from the Ramones for cartoon tales like “Let’s Go To The Moe’s” and the title track, though “The Homer” also taps into The B-52’s. A cover of The Monkees’ “(I’m Not Your) Steppin’ Stone” adds to the fun, and Hired Goons takes on Shakespeare with the clever “I Like Revenging.” (www.gabbagabbadoh.com)
– Terrence Flamm

Having always put a Black Crowes spin on old school rock ‘n’ roll, Indignant really rolls up its rebellious sleeves on The Good Fight. Greasy guitars collide with psychedelic vocals throughout “The Devil’s Right Hand Man,” fiery licks intersect with bluesy harmonics across “You Can Look,” and “Lose Those Blues” is a peeled back alt-country ballad that once again merges the group’s Windy City upbringing with an insurgent Southern spirit. (www.indignantmusic.com)
– Andy Argyrakis

Nonagon’s limited-edition EP, No Sun, sports a classy cover with old-fashioned, European-style art that’s in stark contrast to the trio’s chaotic music. The six songs on this impressive debut are raw punk with a few variations, like the funky bass on “The Brushback.” There’s also a high-speed instrumental called “Peterson” that underlines how Nonagon’s material would be even more engaging if it was possible to make out the lyrics. (www.nonagon.us)
– Terrence Flamm

Bands recording their debuts can be tempted to try so hard to make a statement, they end up over-writing, over-playing, and over-producing their records. Chicago alt-rock group Overman avoided this temptation. The band’s debut EP finds it sitting back comfortably and simply letting the music flow. Each of the four tracks slowly pours out laid-back but confident alt-country, especially the moving, bluesy ballad “Move On.” (www.overman.info)
– Carter Moss

That guitarist Marcus Singletary gets his latest artistic groove from the baseball diamond is somewhat surprising given his cousin Mike’s enduring fame as a Bear. Recorded live and with only drum accompaniment, Singletary’s Take Me Out To The Ballgame finds him riffing and then off into the freeform chording stratosphere pursuing the disc’s eponymous opening chestnut and similar nods to baseball themes and icons like “The Babe” and “Boys Of Summer.” The latter is perhaps the most original and interesting of the five cuts before a certain repetitiveness sets in – as evidenced by the ever-increasing volume of the crowd at the bar. (www.marcussingletary.com)
– David C. Eldredge

Six Ways From Sunday deals with heavy spiritual and emotional material – mostly through power ballads – on Long Road Ahead. Francesco Roti’s soaring vocals and fierce guitar keep the material from bogging down. Roti also produced this highly polished eff-ort, which includes startling battle sound effects on “M.I.A.” and atmospheric keyboards on “Blind.” Six Ways From Sunday sounds best when it’s rocking out on faster songs like “How I Feel.” (www.six-ways.com)
– Terrence Flamm

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Hard-hitting trio Bruiser taps into feelings of alienation and frustration on its six-song slugfest, Right Before The Stop Ahead. The snarling, vaguely British-sounding vocals and catchy melodies add a pop sensibility to the band’s approach. “Loud Verse Soft Chorus” has an elaborate arrangement that includes keyboards, while “Parasite” rocks with punk intensity. (www.myspace.com/bruisermusic)
– Terrence Flamm

Combining Krautrock-inspired synth minimalism with ultra-mellow dance beats, Chandeliers offers a great electronic escape on its first full-length, The Thrush. From the opening track, “Mr Electric,” though captivating tunes such as “Big League” and “Bamboo,” the nine cuts offer perfect opportunities to by turns zone out, make out, or chill out. (www.myspace.com/chandeliers)
– Jeff Berkwits

The most interesting track on Fierce Atmospheres‘ self-titled, three-song CD is “Nashville Sessions Medley,” an instrumental metal-chops exercise where the band showcases what it can do. This is not so much an endorsement of the musicianship, which is sharp, but an indictment of the vocals, which come across like an Iron Maiden cover band on the other two songs, “Amo-ngst The Shadows” and “Glass Terrain.” (www.myspace.com/fierceatmospheres)
– Jason Scales

Jokr’s Psycho Sync is a massive conceptual project – a double album that offers an alternative soundtrack to Hitchcock’s Psycho. Jokr runs the gamut with influences ranging from Pink Floyd and The Who to Rodgers & Hammerstein and traditional American folk. The juxtaposition of the leftfield pop of “Oasis Motors” nestled alongside the trippy psychedelia of “Mother, Blood” is as unexpected and surprising as the suspenseful turns from the source inspiration. (www.jokrcode.com)
– Patrick Conlan

Lucid Ground continues to sharpen its songwriting acumen and expand its sonic palette on its latest EP, Conflicts & Tides. Thankfully, the band retains its tough, lean, muscular edge, and Karl Hafner still recalls a mature, more versatile Eddie Vedder. The opening track, “Downcast,” and the anthemic “Embrace” hit with the familiar force of supercharged guitars and Hafner’s soaring vocals, but “All To You,” “Learn To Speak,” and “Follow” show LG can pack plenty of power into slower, more complex arrangements, too. (www.myspace.com/lucidground)
– Patrick Conlan

Minnesota-bred Chicago act The Minneapolis Henrys keeps things friendly on its debut, The Way Of The Albatross. The indie rock group largely prefers an untroubled output highlighted by refined guitar riffs melded with intricate drum patterns and jovial vocals best heard on songs like “The Photograph.” Even when lead vocalist/guitarist Jai Henry veers toward anger (“Stay Away”), the Henrys maintains its cool, making this album ideal for fans of relaxed yet progressive rock. (www.myspace.com/mplshenrys)
– Max Herman

While one can appreciate what Pryce is attempting on Natural History, she unfortunately falls a bit short. With a bit of Kate Bush in her vocals, her music is dreamy, poppy, tragic, and even a bit slinky at times, but getting further into the disc, the songs begin to lose their luster as it becomes difficult to differentiate one song from the next. Natural History would be an exponentially more listenable release if Pryce simply decided to mix it up more. (www.paulapryce.com)
– Dean Ramos

The Righteous Hillbillies is blessed with Southern rock talent in the tradition of The Black Crowes (evident from opener “Black Jack Mama”) and ZZ Top (clearly on “Mexican Rodeo”) during its 10-song, self-titled debut. The ballad “I’m Not Feeling You” tempers the rowdy good time, and slide guitar highlights a catchy, square-danceable chorus on “Cassie.” The production sparkles throughout for the band, which has clearly honed its sound live. (www.righteoushillbillies.com)
– Jason Scales

There’s an appealing minimalism to Thin Cities, the most recent release from Southern Illinois’ Secondary Modern. Whether it’s the folksy simplicity of “Swedish-Made” or the pop purity of “Kings Speaking Prose,” the 13 straightforward rock melodies are neither overpowering nor overproduced. Now and again the effort gets tedious, but generally it’s an amiable excursion. (www.myspace.com/secondarymodern)
– Jeff Berkwits

A pop rock act with blues and alt-rock undertones, Taxi’s self-released, five-song One Night With Me is often sad and maudlin (“Things I Can’t Hear”), sometimes entirely rockin’ (“Million”), but overall disappointing. While ending on a rather endearing note with the country-esque “Home,” most of the disc is rather dull in comparison, and the whispery, yet sometimes strained vocals of lead singer Brian Petzal leaves a bit to be desired. (www.myspace.com/taxirockschicago)
– Dean Ramos

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Revealing his versatility and wide-ranging skills, Henry “Sadiki” Buckley, Jr. displays remarkable technical producing skills and songwriting maturity on Morning’s Come. He brings a refreshing insouciance, coupled with piercing lyrical depth, in creating a unique crossover sound. Constructed on a solid foundation of reggae’s sauntering tempos, slick grooves blend R&B and hip-hop influences in sparkling tunes. “Perfect Love” and “Dancing” showcases how Sadiki mixes these elements into intoxicating, revelatory songs. (www.sadikionline.com)
– Patrick Conlan

Three musicians + eight songs = Muttonhead, Bloomington-based Constant Velocity’s latest. It’s equally straightforward but not as easily defined, so let’s just call it honest rockin’ music for/about regular folks. From unrequited love songs of longin’ for hangin’ oneself in a trailer (but the ceiling’s too low!) to giving a Pink Floyd cover a sexy Latino beat, the band’s honest plug-and-play mentality and smart, quirky catchiness recall Violent Femmes, albeit with a harder edge. (www.constantvelocity.net)
– David C. Eldredge

Helicopters has been circling around for years now. Sizing Up The Distance amplifies the band’s continued progress to bring greater depth and color to its indie guitar pop originals by overlaying electronics, loops, and other studio tweaks. It’s akin to early Mission Of Burma, but sounding much more acoustically grounded: ’70s prog-crossed by lyrically emo-shaded ’80s new wave. This latest does justice to the buzz Helicopters has built. Indicative of the trio at its best is final cut, “This Is The Bookend,” a nothing-short-of-brilliant homage to Paul Simon’s classic “bookend” ballad, “America.” (www.ilovehelicopters.com)
– David C. Eldredge

Mindwarp Chamber’s eight-song Delusional Reality is a solid representation of the progressive metal genre, even if it doesn’t offer anything groundbreaking. The tracks, averaging seven minutes, follow Iron Maiden’s model of ambitious layering, frequent tempo changes and imaginative lyrical themes. A synthesizer is a signature touch, with mixed results: The synth works when sustained notes give the guitar and drums room to work, but sounds cheesy or dated when featured in entwined guitar solos and attempts at dramatic introduction (on “Snowdevil Sleeps” and “Thought Saboteur”). (www.mindwarpchamber.com)
– Jason Scales

Bloomington duo 100 Year Picnic delivers a stunning collection of songs on Tales Of A Modern Splash. Friends/neighbors Jeff Greeneberg and Edwin Pierce revel in family and the everyday humdrum of life lived to the fullest while channeling The Beatles and Wilco. Greeneberg dons a slithering John Lennon on “I Don’t Know What To Tell You” before switching gears into Calexico’s Joey Burns’ twin brother on “Isolation.” Guests Brian Choban and Jennifer Rusk imbibe the funky “Everything’s Perfect” with sweaty trumpet bleats and Prince-worthy calisthenics. (www.100yearpicnic.com)
– Janine Schaults

Following in the tradition established by The Jesus Lizard and Big Black, Pyrite writes prickly melodies that stick with a jagged barb on Back Pain (Belgian Style). Snarling, stabbing, dissonant guitars ride roughshod over ragged bass and disjointed drumming in the satirical “Teenage Page.” The punchy drill of “Move On” recalls 13 Songs-era Fugazi. The incisive lyrics, shouted and barked with wit and fury, add to the fine cacophony. (www.myspace.com/pyrite312)
– Patrick Conlan

Tongues plays a delightfully sleazy brand of garage rock – a virile, potent mix that’s incendiary yet playful. From the opening full-on blast of the combustible “Cool Air” to the brash, wonderfully titled “The Creamer,” Tongues plays it hot and heavy. The standout cut, “The Sag,” is a steamy, roiling number of crashing drums and muscular riffs, and the disjointed, ribald lyrics add to the fun. (www.myspace.com/storybookfuneralband)
– Patrick Conlan

Unlike many ’60s/’70s throwback records, Tropical Disease’s Blessings In Disguise is neither too stylish nor too hokey. It seems to come from a genuine love of bands like The Monkees (“Comin’ In Loaded”), The Stooges (“Telemarketer Blues”), and Badfinger (“Secrets”). While hardly anything revolutionary, Tropical Diseases seems to be the real deal as opposed to a lot of bands that only go as far as the local record store for inspiration. (no contact provided)
– Dean Ramos

Young metalheads might scoff at Veilside’s big, polished sound, but the band didn’t record Chapter One for teenagers at Hot Topic. Songs like “Awake” (damn unfaithful women) and “Little Game” also don’t fit Chicago’s current heavy scene, but there’s still an audience out there for well-played and well-sung hard rock. Veilside is proof. (www.myspace.com/veilside)
– Trevor Fisher

James Wyman plays a comforting, placid, adult-oriented pop that’s coolly modern with a respectful nod to AM gold. His lyrical themes of optimism and resilience are matched with assured melodies and solid musicianship. His comforting, innocuous style is especially effective on the title track, and the bright, chirpy horns add a touch of jazzy whimsy to “If I Can’t Find My Way.” (www.jameskwayman.com)
– Patrick Conlan

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Farewell Captain’s highly polished The Jersey Bounce veers from mainstream rock to power pop in a way that recalls The Bad Examples. Strong melodies abound and lead vocalist/guitarist Mark Ruggiero takes full advantage of them, particularly on the high-speed “Out Of My Reach.” “Someone I Know” is an artfully rendered midtempo song, and Farewell Captain offers some classic power pop with “Knocked Around.” (www.myspace.com/farewellcaptain)
– Terrence Flamm

Despite the high-tech name, w00t (Internet slang for “Yay!”) isn’t filled with computer sounds. It’s down-and-dirty, fun fusion expertly performed by Garaj Mahal, a quartet led by bassist Kai Eckhardt and local guitar legend Fareed Haque. From the opening murmurs of “Semos” (a tune that, on more than one occasion, pays subtle homage to synth savant Thomas Dolby) to the quiet keyboard interlude within “Corner Peace,” the nine jazz jams are uniformly provocative and pleasurable. (www.garajmahal.net)
– Jeff Berkwits

On Anne Harris‘ Gravity And Faith, the singer-songwriter finds herself once again immersed in a vibrant amalgamation of violin-infused, pop/rock arrangements (“Lull-aby,” “Violet Revolution”) and the occasional folk flavoring (“1000 Miles,” “Seeking The Source”). Those sweet but sassy sounds are also met with introspective lyricism that find the ambitious troubadour digging deep into the most transparent portions of her already provocative soul. (www.anneharris.com)
– Andy Argyrakis

With obvious nods to the likes of Tom Waits on “Not Likely To” and “See Me,” Orso’s Ask Your Neighbor nevertheless leaves a bit to be desired. While some cuts (like “Warm Up”) are more moving than others (“I’m High”), the album is consistently very slow and droning, and one can’t help but feel a little drowsy afterwards. (www.myspace.com/bintofamily)
– Dean Ramos

Pull up a barstool and enjoy Slow Gun Shogun’s Eve Adam And The Apple, a CD that sounds like it was recorded at a honky-tonk. Vocalist/guitarist A.J. Martin makes most of the fun, particularly a revved-up take on the traditional “Evangeline” and the funny “Even Outlaws Grow Old In Utah,” which features backup vocals by Miss Palanti. But Martin’s tendency toward so-bad-they’re-funny vocals get annoying, especially when they spoil the cow-punk arrangement of “One Big Ache.” (www.myspace.com/slowgunshogun)
– Terrence Flamm

Suicide Note’s 10-song Empty Rooms (Hawthorne Street) is not, like the band’s name suggests, a woe-is-me, suicidal missive. It is discordant, agitated noise mongering, urgently delivered in tracks that mercifully average two-and-a-half minutes. On songs such as “Truly Historic” and “Social Leper,” the band displays a talent for experimental post-modern punk. The standout tracks, including “Merci, Mercy” and “Simple Math,” however, take a slightly mellower, Fugazi-inspired approach. (www.myspace.com/suicidenote)
– Jason Scales

Cy Touff is one of the few bass trumpet specialists in the history of jazz and, along with tenor saxophonist Sandy Mosse, brings a classic jazz sensibility to Tickle Toe (Delmark), a collection of tracks recorded in 1981 and unreleased until last year. This is the kind of straight-up jazz that has sustained the Chicago scene for decades, and it’s pleasing to hear it done this well. Sadly, Touff went on to that great gig in the sky in 2003, but his playing swings from beyond, maintaining his place in local jazz circles. (www.delmark.com)
– Mike O’Cull

If you’re going out, go out with a bang, right? “Best Of Around Hear” alum Twin Wrecks The Memory goes out with a huge fucking bang on Suffer And Sell, an album it released the same night as its farewell show. There’s no one easy genre like indie rock, punk, metal, or hard rock with which to describe “Alcohol And Rock N’ Roll” and “Joy (Kill) Me Now,” because they, like the entire album, are bloodyknuckle mashups of each. TWTM will be missed. (www.myspace.com/twinwrecksthememory)
– Trevor Fisher

Early in 2008, Brice Woodall & The Positrons toured England, visited Abbey Road Studios, and played at the Cavern Club. The influence of that trip is heard on “Pulses,” the kickoff cut on Sine Wave Sea. Throughout the 11-song CD, The Beatles are an appreciable inspiration, but the mellow pop melodies also nicely blend folk, psychedelic, and alt-rock elements. (www.my space.com/bricewoodall)
– Jeff Berkwits

Singer-songwriter Nathan Xander aims for old-school folk rock on his latest CD, Swiftly, Surely, creating seven acoustic-based songs modeled after a youthful Bob Dylan. Xander’s imaginative imagery on “America As Egypt” is arresting, even when it’s not clear what he’s singing about. “Brilliant Before My Eyes” has a classic coffeehouse feel, and Xander evokes Harvest-era Neil Young with the tuneful “Lighthouse.” (www.myspace.com/nathanxander)
– Terrence Flamm

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Alaska-native Brett Wilder’s Vanishing Point documents his time as a teenage runaway, and it’s a harrowing tale to say the least. Unfortunately, the same description can be applied to the album’s 12 tracks. The serial hitchhiker also self-released Everything But Why under the moniker The Brettster, which doesn’t fare any better. The sweet “Baby, Close Those Big Brown Eyes” shows Wilder’s ear for melody, but those urges get pushed aside in favor of droning noise and odd vocal expressions. “Tuesday (Everything But Why)” is a head scratcher, while “My Worst Nightmare” really does mimic a terrifying dream. (www.myspace.com/welovethebrettster)
– Janine Schaults

Rudy G doesn’t quite take hip-hop to the next level on High Society, though he does prove to be an all-around solid talent throughout this 15-track disc. More familiar-sounding than futuristic, this Albany Park rep keeps it traditional atop a set of mostly synthy beats. With his cool and concise delivery, Rudy G takes on a mix of standard rap subjects, including weed anthems (“So-Hi”), perseverance (“Sleep”), and swatting away the haters (“Game Ova”). (www.myspace.com/rudygmusic)
– Max Herman

Like Joan Of Arc’s last album, Eventually, All At Once, its latest, Boo! Human, is a gentle, lo-fi effort. Singer-songwriter Tim Kinsella’s airy vocals drive the tracks here nicely, particularly on psychedelic moments like “Just Pack Or Unpack.” On the aforementioned song, Kinsella’s nonchalant resonance makes for a worthy juxtaposition with the trippy effects and off-kilter guitar strums. While the band’s experimentation sometimes backfires, overall this album is a notable addition to its hefty discography. (www.myspace.com/joanfrc)
– Max Herman

On its fourth release, Blood And Bone, Chicago-based Medicine Hat attempts to re-establish roots into its roots rock. More Drive-By Truckers than The Black Crowes this time around, the band takes its Americana sound straight back to the ’70s. The quintet creative-ly committed the first half of the new LP to electric and the second half to acoustic. The acoustic portion showcases the vocals far more, while the electric tracks are just plain better. (www.medicinehatband.net)
– Carter Moss

Neither the act’s name nor sound are particularly original, but Nostradamus offers some surprisingly creative compositions on its lengthy debut, Ancient Future. With 16 tracks – including an epic, seven-song “disasterpiece” titled “Quest” – ranging from power ballads to potent instrumentals, there’s something for just about every hard or prog-rock fan. The band definitely needs to enhance its ingenuity on subsequent albums, but all in all it’s a fine start. (www.myspace.com/nos tradamusrocks)
– Jeff Berkwits

Here’s hoping Old Kishwaukee Band didn’t take I Wanna seriously. If it did, we’d feel pretty bad putting it down because it sounds like the DeKalb group has never actually played instruments, let alone recorded. Of course, you have to start somewhere, but if that is the case, I Wanna would be been better served in the group’s private collection rather than unleashed on the public. Judging by the elaborate one-sheet (penned by The Baron DeKalb) and goofball lyrics, this album was just friends with spare time and a case of beer. (www.myspace.com/oldkishwaukeeband)
– Trevor Fisher

His claim to fame may be co-penning Ryan Cabrera’s pop hit “Shine On,” but don’t hold that against Andrew Ripp. Throughout Fifty Miles To Chicago, he evokes the sophisticated styles of Ray LaMontagne or Paddy Casey and even hints of Jeff Buckley across the quivering “Tim’s Song.” Though “Get Your Smile On” takes a cheesy card from Jason Mraz’s collegiate playbook, it’s the sole dud on an otherwise emotive and meditative spread. (www.myspace.com/andrewripp)
– Andy Argyrakis