Leafing through the photo album with even the most casual interest suggests Local H frontman Scott Lucas was once scowling when someone hit him on the back, thus sentencing him to a life term with a frown on his puss. Though his hardened demeanor – great for this fall’s prison fashions – shows no sign of crumbling, his inner smile has become irrepressible. On October 19th, he’ll release music from two of his guises – Local H and Scott Lucas & The Married Men – one of which he even describes as “fun” in the press release. The H’s Awesome Mix Tape #1 features seven covers that have become staples of the band’s live sets, like Pink Floyd’s “Time,” The Jesus Lizard’s “Puss,” and TV On The Radio’s “Wolf Like Me.” His Married Men side-project also has an EP on offer, The Absolute Beginners, which is named for the David Bowie song and bears two reworkings of tracks from the SLMM debut, George Lassos The Moon, and a tinkering with Local H’s “Hey Rita.”

Sailing, Take Me Away…

Taking the famed Brooklyn Pool Parties and putting it on steroids, indie rockers are following their classic-rock forefathers onto the high seas. While voyages featuring Lynyrd Skynyrd, Sammy Hagar, and Lyle Lovett have been popular for years, the maiden Bruise Cruise sets sail February 25th through 28th next year. Venturing from Miami to Nassau, the band list includes such blogosphere-approved darlings as The Black Lips, Vivian Girls, Quintron & Miss Pussycat, Turbo Fruits, and more. Prices start at $615 (not including transport to Miami), which also packages an island party, various open bars, and a breakfast pancakes show with Miss Pussycat. You can also gamble to win your money back, but not your soul.

Storm Recovery

Widespread flooding, protests in New York and Arizona, record heat, Blago’s limp non-verdict, endless recession . . . for lacking a truly defining catastrophe, this has been an unbelievably irritating summer. If you pick up this issue in time, The Venue at Horseshoe Casino in Hammond, Indiana hosts the Voices Of Rock Radio show on the 4th, with an ear toward easing the burden on Illinois communities who suffered the brunt of a tornado onslaught. Journey/The Storm vocalist and downstater Kevin Chalfant fronts the VRR, with Survivor’s Jimi Jamison, Ted Nugent frontman Derek St. Holmes (not Spinal Tap’s David St. Hubbins), The Romantics’ Wally Palmar, and Eddie And The Cruisers alum John Cafferty, whose turn for “On The Dark Side” we think directly inspired Arcade Fire’s “Keep The Car Running.”

Ice, Ice Baby

Pardon the understatement, but music in video games – specifically sports games – has come a long way since the seven-second “Here Come The ‘Hawks” snippet in “NHL ‘94.” 2K Sports’ “NHL 2K11″ bows this summer, and when we found out Vancouver Canucks centerman Ryan Kesler chose some songs, we had to find out which. Among a set that includes Alice In Chains, Wolfmother, and Chicago-based Rise Against’s “Long Forgotten Sons,” Kesler – who termed the honor “unreal” and calls himself “that guy who sings in his car” – tabbed 3 Doors Down’s “Kryptonite” and The Trews‘ “Hold Me In Your Arms.” He also told us that along with the Blackhawks’ “Chelsea Dagger,” he can’t stand the Blue Jackets’, Flames’, and Coyotes’ goal celebrations and brushed aside our swipe that GM Place is a glow stick short of a rave when Vancouver scores. But what we were really after was this: Now that Dustin Byfuglien and Kesler-nemesis Andrew Ladd are out of Chicago, will the ‘Nucks still have a rivalry in Chicago? “Obviously they knocked us out of the playoffs again, and it’s probably more of a rivalry to us than them. But we want to beat them every time.”

– Steve Forstneger

IE: Your musical ambitions seem pretty friendly and harmless.
Jeff Daniels: I’m not trying to hurt anybody.

IE: Were you reluctant at first, or the guy “Jesus, Jeff’s got his guitar out again.”
JD: I avoided it at all costs. The “Michael, Row Your Boat Ashore” or “Kumbaya” around the campfire – I was never that guy. I only came out, so to speak, because we needed to raise money at [Daniels' acting theater] The Purple Rose. The fall show was out and the winter show hadn’t started, and I was looking at the theater going, “We need to raise some money. We should be doing something – there’s a lot of people in the area. What can we do that’s cheap or, God forbid, free?” They said, “Well, you and your guitar can go on out there and we can sell tickets to that.” And then it was, “Great. Me and my big mouth.” I did that in 2000, and I was absolutely terrified. I was just a backporch player.

IE: So when you write material, do you think primarily of augmenting a set?
JD: There’s a standard set that I’ve been doing for awhile, but I keep writing stuff that wants to get in. Sometimes you’re in a place where it’s the “listening” room, where they want to hear the writing. Or you feel like a third of the audience are guitar players and want to see some guitar work. “Here are those.” So I gauge it off of them. Or it’s “I want a beer and I want to laugh tonight. Please make me laugh tonight – I’ve had a rough fuckin’ week.”

IE: Have you ever bombed?
JD: Oh, yeah. Absolutely. Oh. Oh!

IE: Is it a compounding of mistakes after not reading the room right?
JD: It’s they’re not buying “actor-boy singing.” It’s usually something where I’m brought out and it’s the wrong setting. If you’re somewhere where there’s something else they can be doing, like, oh, I don’t know, turning around and walking to the bar at the back of the room? Or it’s a fundraiser and it’s Washington D.C. and it’s who’s-important talking to who’s-more-important and you’re up there singing your little funny song about a recreational vehicle? Uh-uh.

IE: You’ve got to get a taste for the big cancellation. You need a bit of primadonna, and I’m not getting that from you.
JD: I have been with divas, and I have also seen great people like Clint [Eastwood] and Meryl [Streep], in particular, who are not that way and who can with one remark or one burst of talent completely bring that diva to his or hers knees. I like using Clint and Meryl as models for what I should and shouldn’t be doing. It’s the mediocre who behave that way, I’m afraid. .

Jeff Daniels plays September 17th at Space in Evanston. His fourth record, Live At The Purple Rose, is out now. Q&A by Steve Forstneger.

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

Here’s the thing about digital voice recorders: the “record” button must be pressed in order to record something.

Actually, there are voice-activated options, but I don’t trust ‘em. There’s too much at risk when conducting an interview to trust a tiny-ass sound sensor inside a tiny-ass digital record to kick on and off when it hears voices. Huh-uh, girlfriend. If that tiny-ass thing inside the other tiny-ass thing doesn’t work, you have no interview, and, therefore, no story. Your time – plus that of the interviewee – is wasted, and you have to tell the editor you’re a dumb-ass piece of shit who can’t remember to push a button.

Luckily, I only forgot to record half my interview with The Sword guitarist Kyle Shutt. Unluckily, it was most of the talk about his band’s new – third overall – full length, Warp Riders (Kemado). Luckily, the rest of the interview is still very interesting. Unluckily (not for The Sword, though), Warp Riders is absolutely killer and the Austin, Texas-based quartet’s (Shutt, guitarist/vocalist JD Cronise, bassist Bryan Richie, and drummer Trivett Wingo) best effort yet, so having that particular conversation for this column would have been nice.

But I don’t. Sorry, O.K.? You might be perfect, but I’m not. Now, who wants to read about touring with Metallica?! The Sword are at Metro October 23rd.

Mosh: I read your story about meeting Lars Ulrich while on tour with Trivium, so I won’t make you rehash, but one question: How did The Sword end up touring with Trivium?
Kyle Shutt: That’s a really good question. We’re really not the kind of band that listens to much new metal, I guess you’d call it. That was ‘06, I think. It was right in the middle of the Age Of Winters tour, and we got a call from our booking agent. We had the summer off, and he’s like, “Hey, there’s this band Trivium, it’s a six-week tour, and you can get direct support.” It was pretty decent money for the kind of band we were at the time, and [sighs] . . . we hadn’t heard them before. We were like, “We need a tour, it’s pretty good money, and they’re suppose to be the new band that’s sorta old-school, right?” So we get in the van and are driving to Orlando, and somebody puts on the CD that our booking agent sent us and we were like, “Oh, no. What have we gotten ourselves into?” It was something to watch every night. That band . . . I hate to talk bad shit on people, but Jesus Christ. Talk about playing shows where all the kids are 14-years old and sleep on the barricade in front of you while you play. It did some good for us, but all in all I wish I had my six weeks back. [Laughs]

M: Did you find the Metallica fanbase to be more or less accepting than you expected?
KS: A lot more accepting, to tell you the truth. I’ve heard opening for Slayer can be rough ’cause they only want to see Slayer, and it was like that to a certain extent in the United States. The arenas here are so big and they have malls in them and bars and shit, and people go hang out until Metallica goes on. Sometimes you end up playing a 15,000-seat arena and there’s 3,000 people watching you, and it feels empty. But sometimes you get in there [and go] on to a full house. Honestly, it’s hit or miss with those big shows. But we got nothing but positive feedback, and if there was anything else I really haven’t heard it.

M: How did you get on with the other support bands?
KS: Really well, actually. Down was awesome because we actually partied with Pepper Keenan a couple times. We heard Phil Anselmo was a fan, and he was. He was a total riot to hang out with. It was just ridiculous. The shit that comes out of that guy’s mouth is golden. That guy was sayin’ shit that I . . . I couldn’t believe. [Laughs]. He wrapped himself in this huge flag that’s got pot leaves all over it. He’s in front of a sold-out crowd, and he’s like [in a remarkably good Anselmo voice], “Marijuana smoke. All day. Every day.” You hang out with him, and you just, whew. He’s a funny, funny guy. Lamb Of God did a bunch of shows, and we’ve been friends with them for years. They took us to Japan back in the day. You know honestly, the reason we have a record deal is because of Lamb Of God in a way, so we owe them a lot. And they’re a class act. They’re some really great dudes to hang out with. Machine Head, I used to listen to them when I was a kid. I remember going to see Pantera when I was like 14, and they were the opening band. It was cool to be able to hang out with those dudes. It was a trip.

M: You guys have been in three editions of “Guitar Hero” . . .
KS: Four! Count ‘em! Four!

M: Really?
KS: We did “Guitar Hero 2,” “Guitar Hero Metallica,” “Guitar Hero Smash Hits” . . .

M: Ohhh . . . “Smash Hits.”
KS: “Smash Hits” is actually pretty cool because we recorded “Freya” for them. So it’s a special version you can’t get on Age Of Winters or anything like that. So it’s actually kind worth it for super-nerd fans to track down that version of “Freya.” It’s recorded at the same studio we did Gods Of The Earth in. We just went in there one day and recorded “Freya” and a couple Kiss covers.

M: Do you play “Guitar Hero”?
KS: No. I mean, I did when “Guitar Hero 2″ came out. They sent us all some copies, and I played it and went “O.K. I did that.” I’ve played the Metallica one.

M: That has to be a bit surreal because that game sells zillions of copies.
KS: I kinda feel like the house band at this point. You look at the back of those games, and it’s like, Thin Lizzy, AC/DC, Black Sabbath, and then Sword. Whoa! What are we doing on there?! It’s a trip. Honestly, it’s about as close to mainstream exposure bands like us can get nowadays. When “Guitar Hero 2″ came out, that was in October, I think, of ‘06, and before Christmas it had already sold a million copies. And the kids have to play your song to get to the next part of the game. It’s ingenious.

M: “Metal revival” is a term often used in conjunction with The Sword. Thoughts?
KS: “Metal revival.” I don’t know. I don’t think too hard about words [laughs] and their meanings. I hate to talk big on us or whatever, but we just play riffs like bands used to play. We sing instead of scream. We’re trying to just rock like Thin Lizzy used to, you know? Just write some fuckin’ songs for the metalheads out there, ’cause there’s not that much metal like that anymore coming out these days.

M: Can you tune out talk like “hipster metal” and “ironic”? It has to be frustrating.
KS: It was years ago, but I’ve accomplished so much more than anything I ever thought I would with this band, so honestly every day is a gift to me. It they want to say we’re some hipster, piece-of-crap band, then you know what? Start your own awesome band and take over the world. See how far you fucking get. I don’t have time for people’s negative attitudes.

MOSH-WORTHY: Iron Thrones The Wretched Sun (self-released), Dave Mustaine with Joe Layden, Mustaine (It Books), Invasion Orchestrated Kill Maneuver (Rotting Corpse), Riot God Riot God (Metalville), Dawnbringer Nucleus (Profound Lore).

– Trevor Fisher

Fucking brilliant! Those two words uttered by U2’s Bono while accepting an award for “The Hands That Built America” on a January 2003 NBC broadcast of the Golden Globes sparked a battle with the Federal Communications Commission that lasted until July of this year.

Bono’s outburst came hot on the heels of similar utterances by Cher (“Well, fuck ‘em!”) and Nicole Richie (“Have you ever tried to get cow shit out of a Prada purse? It’s not so fucking simple.”) during live awards shows. The FCC took offense, ruling that the networks that aired the shows had violated its indecency policy.

But in July, a federal appeals court struck down the FCC’s indecency policy, calling it “unconstitutionally vague.”

“The score for today’s game is First Amendment one, censorship zero,” Andrew Jay Schwartzman, policy director of Media Access Project, said in a statement. “Media Access Project entered this case on behalf of writers, producers, directors and musicians [including the Future Of Music Coalition and the Center For Creative Voices In Media] because the FCC’s indecency rules are irredeemably vague and interfere with the creative process. Today’s decision vindicates that argument. The next stop is the Supreme Court, and we’re confident that the Justices will affirm this decision.”

The U.S. Court Of Appeals Of The Second Circuit did not, however, have the power to strike down the initial ruling – the 1978 Supreme Court decision regarding the FCC’s right to police the airwaves for objectionable content. That ruling was spurred by a Pacifica radio broadcast of George Carlin’s famous monologue, “Seven Words You Can Never Say On Television” (for the record, the list – which was Carlin’s, not the government’s – are shit, piss, fuck, cunt, cocksucker, motherfucker and tits.).

The FCC had used the FCC v. Pacifica Foundation decision as a hunting license when it started cracking under the Bush administration, deciding that profanity referring to sex or excrement was always considered indecent. (In 2004, Congress increased the maximum for each violation tenfold, to $350,000).

Fox, CBS and other television networks sued the FCC in 2006, claming that the FCC did not exlplain why it had changed its policy (previously, it had held that a single, non-literal use of an expletive was not considered indecent). The suit claimed FCC’s indecency policy was vague, and pointed out that the FCC had found ABC’s 2004 airing of the “shit” and “fuck”- peppered film “Saving Private Ryan” was not offensive, but somehow PBS’s airing of the same words in the documentary miniseries, “The Blues,” was.

In 2009, the Supreme Court ruled that the FCC could penalize networks for the occasional use of expletives, but did not rule on the constitutionality of the policy. The case was sent back to the Court of Appeals for the Second Circuit in New York, which ruled unanimously against the FCC in July.

The three-judge appeals court said FCC policy had had a chilling effect on protected speech. “Under the current policy, broadcasters must choose between not airing or censoring controversial programs and risking massive fines or possibly even loss of their licenses, and it is not surprising which option they choose,” U.S. Circuit Judge Rosemary S. Pooler wrote. “Indeed, there is ample evidence in the record that the FCC’s indecency policy has chilled protected speech.”

Such restraints included a Pennsylvania TV station’s decision not to provide live coverage of news events unless public safety or convenience are affected, and a Vermont station’s decision to carry a political debate because one of the candidates had previously sworn on the air.

Whether the case will end up at the Supreme Court remains to be seen. But if it did, the FCC’s indecency policy could be struck down. FCC Chairman Julius Genachowski was vague, saying, “We’re reviewing the court’s decision in light of our commitment to protect children, empower parents, and uphold the First Amendment.”

Still pending are indecency cases involving the Steven Bochco drama “NYPD Blue,” which was fined by the FCC for showing seven seconds of a female rear end, Janet Jackson’s 2004 Super Bowl wardrobe malfunction, and a Fox reality show called “Married by America.” They probably won’t be decided until the Supreme Court rules on the current overturn of FCC policy.

In the meantime, look for broadcast TV to get more raunchy. Coming up this fall on CBS: a sitcom starring William Shatner, called “Shit My Dad Says.”

ODDS N SODS: Long-gone Chicago rock jock legend Patti Haze is now rockin’ hard on Chicago Radio Online. Haze, who lives Detroit, teams up with former Loop staffer Mitch Michaels as co-host of the Classic Rock Chicago format. Many other radio legends are hosting shows at the site – including Tommy Edwards, Fred Winston, Connie Szerszen, and Clark Weber. It’s the brainchild of Kurt Hanson and John Gehron of Chicago-based AccuRadio.com. Hear it for free at chicagoradioonline.com, or get the app . . . The Creative Loafing-owned Chicago Reader has chosen Geoff Doughtery to take over as associate publisher – an interesting choice considering that his Chi-Town Daily News and Chicago Current weren’t exactly sustainable. (He says it would have taken another year for CC to make it.) Doughtery says he’ll manage the weekly’s day-to-day operations and lead strategic projects. “The Reader’s new owners are particularly interested in growing the business by finding new ways to serve our advertisers and readers,” he says. “Online initiatives are a big part of that.” Less surprising is Kiki Yablon’s official move to editor, and Alison Draper to publisher. (Both had been in interim positions.) Let’s hope they can keep it together until some decent funding comes their way. Or pigs begin to fly.

– Cara Jepsen

The fall traditionally signals back to school, work, and more activity than the lazy days of summer usually demands. Well the blues has stepped it up as well, with a slew of recent releases and reissues from the masters.

For any blues guitar fan, the remastered, expanded version of Stevie Ray Vaughan’s 1984 classic, Couldn’t Stand The Weather (Epic/Legacy), is a must listen but it’s also an essential for anyone even slightly interested in the blues. This two-disc set crisply documents the breadth of Vaughan’s dazzling talent, from his stylish versions of blues standards to evocative originals. The reissue commemorates the 20th anniversary of the mournful passing of SRV in 1990, after an Alpine Valley show with Robert Cray and Eric Clapton. I was at that concert and it will forever be etched in my memory as a seminal music event. His charisma and stunning showmanship overshadowed both Cray and Clapton, illuminating the rising star power that was dashed too soon. As his second album, Couldn’t Stand The Weather’s eight tracks explored myriad influences, molding them into his own style. Coming so closely after 1983’s sizzling debut, Texas Flood, it has traditionally been underrated, but that might soon change.

Including the four session outtakes from the 1999 expanded version, the Legacy Edition adds four tunes from the posthumous The Sky Is Crying along with three previously unreleased alternate takes of that collection’s title track, “Stang’s Swang,” and “Boot Hill.” The real treat is the previously unreleased Stevie Ray and Double Trouble concert at the Montreal Spectrum in 1984. The heightened energy, the crazed crowd, the palpable emotion flying from Vaughan’s guitar chords are all there in vivid detail.

Another can’t-miss release from a legendary blues talent is Pinetop Perkins & Wille “Big Eyes” Smith’s Joined At The Hip (Telarc). Billed as 170 years of blues history on one album, these icons deliver all the skill and originality expected from 97-year-old and 74-year-old masters. One of the few living original Delta bluesmen, Perkins continues to tour and record and you hear it in the ease of his piano playing. Although Smith is most famous as Muddy Waters’ drummer, he has picked up the harp in recent years and the easygoing connection between the instruments and the two friends behind them makes this 13-track CD a pleasure to hear. Highlights include “Grown Up To Be A Man,” a classic Chicago blues shuffle, and a cover of Sonny Boy Williamson’s “Cut That Out,” supplied with an uptempo groove and a rare and laid-back call-and-response between Perkins and Smith. However, the album’s absolute standout is Perkins’ riveting interpretation of Thomas Dorsey’s (an original bluesman who created gospel music) church-going classic “Take My Hand, Precious Lord.” The power of near-centenery Perkins singing quietly about being tired and weak, pleading for the strength of God, is not to be missed.

Mississippi Heat offer up tantalizing contemporary blues on their latest, Let’s Live It Up (Delmark). As the title indicates, there’s a party going on and the Mississippi Heat collective has invited everybody. Frontman Pierre Lacocque laces high-energy harp playing through 14 tracks of mostly original and pleasingly diverse tunes. The title track sets the tone for raucous goodtime music, underscored by Inetta Visor’s rich vocals and Carl Weathersby’s stinging guitar blasts. With a huge cast of 18 expert musicians on this CD, it’s really hard to go wrong but Rhonda Preston, a regular showstopper at Chicago’s Black Ensemble Theater, manages to up the ante on the entertaining “Daggers And Spears” and the funky groove of “Been Good To You,” bounces with Lacocque’s magical harp work.

Lucky Peterson’s long-awaited You Can Always Turn Around (Dreyfus Jazz) – his first in seven years – serves as a testament to his virtuoso gifts as well as the real transformative ability of the blues. This intimate, 11-track collection is perhaps the most moving and innovative blues CD of the year. A child prodigy discovered by Willie Dixon at 3-years old, Peterson has lived with the glory and the challenges that such a talent brings and you hear every nuance of his journey in his vocals as well as his piano and guitar playing. After struggling to break away from drug addiction for years, Peterson discovered that you can always turn around and change your life’s path. With a diverse array of tunes that shift from Robert Johnson to Lucinda Williams, he does exactly that with You Can Always Turn Around.

This is one CD that requires multiple listenings before even cracking its impressive surface. Peterson’s gripping vocals growl, chuckle, and wring the emotion out of every lyric, whether it’s foot-stomping bravado on Blind Willie McTell’s “Statesboro Blues” or an ethereal quality on Tom Waits’ “Trampled Rose.” Curtis Mayfield’s “Think” and the Nina Simone-popularized “I Wish I knew How It Would Feel To Be Free” also appear and he makes them his own, (the latter featuring his talented wife Tamara) mixing blues with doses of soul, gospel, and personality. Each track is gripping but the star is Peterson’s spirited treatment of Lucinda Williams’ “Atonement,” which draws chills with Peterson’s booming vocals and ferocious guitar licks. You will never forget this version, whether you know the original or not.

– Rosalind Cummings-Yeates

Boss continues to battle competitors with more portable and relatively affordable multi-track recorders with its new BR-800 Digital Recorder, a battery-powered studio “to go” using newly designed touch-sensor switches and SD-card recording media. Up to four tracks can be recorded or eight tracks played back simultaneously, plus an additional stereo track dedicated to the built-in rhythm generator. Whether you’re creating intricate, multi-layered songs or on-the-spot live recordings, the BR-800 makes the recording process much easier, according to the Boss man. Newbies will love the new “EZ Recording” mode that interactively guides users through the recording process. Other helpful features include the “mulligan” Retry function, which re-cues automatically to fix recording mistakes, and a Song Sketch option for recording with an instant, one-touch capture. Included is a built-in stereo condenser microphone, plus a DR-880-quality drum generator for adding drum and percussion tracks to your songs. Effects can be added with the acclaimed BR-800 effect generator. Many of the effects are derived from Boss’ flagship processors, including VE-20 vocal effects, GT-10 guitar/bass tones, and modeled acoustic-guitar body effects from the AP-1 preamp. The BR-800 gets power from an included AC adapter, or, for ultimate mobility, it can be powered from six AA batteries. A USB jack connects to a PC, and lets the unit function as an USB audio interface for recordings that utilize the internal effects. The BR-800 can also function as a control device for DAW software sound like Pro Tools. No matter where you roam, Boss is counting on the notion that you’ll use the BR-800 instead of your laptop to capture your next brilliant rock opera. MSRP is $524. Visit www.bossus .com/Gear/BR-800.

Jonesing on all things retro, British Amplifiers has announced that a limited-edition, golden-anniversary reissue of the legendary Watkins Dominator V used by Pete Townshend and Eric Clapton before Vox and Marshall took over the ’60s British amp scene. To celebrate 50 years, only 100 of these iconic amplifiers are going to be available. Reissue Dominators are identical to the original with the only exceptions being U.L. safety-standard compliances. Small cosmetic details have not been overlooked, including control knobs and custom transformers cloned from originals that ensure both the look and sound have been faithfully recreated. The original Watkins 17-Watt “Push Pull” circuit remains as well as its unique V-front cabinet design. To complement the ’60s vintage valve tube sound, Celes-tion G10 Vintage speakers are inclu-ded. The “you must be crazy” list price? $1,900. Visit www.britamps.co.uk.

Now’s the time to put away your tangerine Speedo and break out the ol’ guitar. And if you decided that it’s time for a new axe, September is a perfect month for some new gear. Tobias Music is hosting their version of the Taylor Guitar Roadshow Thursday, September 23rd at the Tivoli Theatre in Downers Grove. This year’s show features both Grammy-winner Wayne Johnson showing some of Taylor’s newest hardware, and company founder Bob Taylor answering questions and showing his newest wares. Details can be found on this month’s ad as well as www.tobiasmusic.com. If vintage axes are your thing, The Elgin Vintage Guitar Show is also back on Sunday, September 26th at the Holiday Inn in Elgin at Rt 31 & I-90.

– David Gedge

At OAKDALE 3B STUDIO in Chicago, Lauren Frost, current indie/acoustic rocker and former Disney star, recorded what might be regarded as her signature song, “The August,” with songwriting partner Ashton Likes. One of the more requested songs from her live show, Frost gave us the backstory on the song and how it came to be. “The August” was written by Frost and Likes for their friend and bass player, Tom Gallagher, as a wedding gift. “The first time we played it live was for Gallagher and his new bride at their wedding reception. The two were married at Illinois Beach State Park in Zion. Tom is a photographer and his wife is a painter, so those themes are incorporated into the verses of the song. Additionally, the photo used for the single release was taken by the groom.” The popularity of the song grew during Frost’s month-long Double Door residency, where audiences clapped and sang along to the song as it was being developed live. “It was because of the great response that we decided to take the wedding song into the studio.” Frost and Likes began recording with their good friend and Frost writing partner Matt Scutt at his home studio, Oakdale 3B in Chicago’s Lakeview neighborhood. “Our goal in recording the song was to keep it as raw and organic as possible to keep from overproducing the track.” Without the possibility of using a drum kit in the small apartment, and wanting to stay away from pre-programmed midi beats, all of the percussion sounds came from what they had to use at the time: Beating the back of an acoustic guitar for the kick drum, using shakers and mouth noises for hi-hats, and snaps, claps, and tambourine for the backbeat. “The August” can be downloaded from Frost’s Web site at www.laurenfrost.com

AT GRAVITY STUDIOS in Wicker Park, it’s been a busy summer, Bon Jovi and Ritchie Sambora came in to cut vocal tracks for an upcoming release with Ian Spudes. It was quite a surprise when the band walked through the door, you don’t figure Bon Jovi as a Wicker Park band (Gold Coast maybe?). But just as quickly as they appeared, they were off to their next gig – two sold-out shows at Solider Field . . . Studio honcho Doug McBride recently finished an album with Rollo Time and began the final touches on a new record with Anna Fermin (of Trigger Gospel fame) and an EP with Slow Match . . . Joseph Peven recently completed a three-song EP with Athel and a two-song single with At Rifts End. A lot has changed at the studio this summer, according to Peven. “We totally rebuilt the A control room, featuring a Tonelux summing mixer, as well as adjustments to the acoustics that translate amazingly well to other environments.” Peven says not only is this system sleeker and more compact than the bulky consoles of yesteryear, “but it provides a more efficient work flow and instant recalls on demand.” The Gravity crew is so proud of their new set-up and invites prospective artists to visit it online (www.gravitystudios.com) or stop by for a tour. Just call ahead – they’re busy! Also of note, Gravity’s mastering services have increased in a flat economy. McBride has mastered albums for Aiden (Victory Records), The Million Dollar Quartet, and American Idol winner/Mt. Prospect native Lee DeWyze.

At MILLION YEN studios in Chicago, über producer/former Jawbox and Burning Airlines frontman J Robbins recorded Small Town Bike for No Idea Records . . . Scott Lucas finished a covers EP to be released by Local H and another mini album for his side-project with The Married Men; studio owner Andy Gerber assisted.

So this is how marriage is: You’re together for awhile, squeeze out a few kids, and settle into a routine. You go to work, you come home from work, feed and clean up after said kids, and do it all over again the next day. It goes without saying that your best married friends will be splitting up, and they will let you know in no uncertain terms that it’s the best thing that ever happened to them, and you’re idiots for not doing it as well.

But if we’ve learned nothing else from Hollywood, it’s that a single night of wackiness and danger is all it takes to get the matrimonial bliss back in focus.

Such is the premise of Date Night, director Shawn Levy’s attempt to ape Martin Scorsese’s After Hours. Problem is, despite the able cast, it has none of the quirkiness and cleverness of Scorsese’s overlooked gem.

Steve Carell and Tina Fey play the aforementioned, woebegone couple, and instead of going to their usually weekly date-night retreat of suburban generic restaurant glory, they decide to venture into the big bad city. Of course, nothing good ever happens when you leave the cozy confines of the suburbs, but nobody ever seems to learn.

After snagging another couple’s reservation, the pair are accosted by two ne’er-do-well cops on the take. Seems the two who didn’t show up have stolen some incriminating stuff, and the bad guys want it back in the worst way. Naturally, they assume Carell and Fey are the culprits, and the hijinks ensue.

Along the way, they receive help from a shirtless Mark Wahlberg and encounter the real culprits, James Franco and Mila Kunis, in perhaps the film’s best turn.

Date Night continues the trend of two of TV’s most creative stars’ hit-and-miss relationship with the big screen. Carell, in particular, has shown he has the chops to make it work, but so far the misses have outweighed the hits.

The Blu-Ray doesn’t knock itself out with special features, although it does have an extended version of the flick. Not really sure that’s a good thing, but it’s there if you want it. You also get commentary from Levy, deleted scenes, and an outtake real.

Film: **1/2 Features: **

Kick-Ass
Lionsgate

Has the comic-book movie really come to this? Now they’re not even waiting for them to be created and released before making the film version. Not surprising, really, since even the worst versions of what my grandmother used to call the “funny books” seems like a license to print money.

So here’s Kick-Ass, a fable that wonders what would happen if a normal comic-book geek (Aaron Johnson) decided to follow in the footsteps of his idols and become a hero called Kick-Ass.

Along the way, he inspires others to do the same, including Christopher Mintz-Plasse (Hey, it’s McLovin!), Chloe Grace Moretz, and Nicolas Cage (as perhaps the worst father in history). Of course, despite routinely getting the livin’ crap beat out of him, Kick-Ass does manage to do the impossible.

The main knock on the film was not only the over-the-top violence – it’s definitely not for the kiddies – but Moretz’s foul-mouthed 12-year-old character. To hear the naysayers tell it, it would single-handedly destroy the film business. But seriously, they said the same thing about Jodie Foster in The Bad News Bears, and she seems to have done all right. Granted, Foster never hacked off anyone’s limbs, but still . . .

The Blu-Ray comes with commentary by director Matthew Vaughn, behind-the-scenes features, and is loaded with BD Live and BD Touch bits.

Film: ** Features: ***

Also Available . . . Don’t be fooled by the title, but The Best Of Soul Train really isn’t. Sure, you get hits by artists such as Marvin Gaye, Barry White, and Sly & The Family Stone, but it’s really nothing you haven’t seen before. You would think that with the long history of “Soul Train,” they’d be able to go a bit deeper, but apparently not.

– Timothy Hiatt

IE: A lot of people might see your gentle solo album as an extreme reaction to My Morning Jacket’s classic rock gusto. Is it?
Carl Broemel: I definitely don’t think of it that way. There are lots of things about MMJ that embrace the quiet and gentle, so I see it as more complementary than reactionary. I’m just a pretty mellow guy most of the time, and that’s where these songs came from.

IE: Were you able to spend as much time on it as you’d have liked?
CB: Yeah, and I think it came together as it was meant to. It took a long span of years [five], but only about 40 days of actual work to make.

IE: How old are some of the songs? Why are they not My Morning Jacket tunes?
CB: Some of the songs are over six-years old. When I joined MMJ, the band dynamic was already kind of established. Jim [James] writes the songs, then we all help him get them to speak properly. I think that is a system that really works well.

IE: Will there be time for a solo tour? Will you get lonely?
CB: Ha ha, yes I think I will be lonely. I actually had a moment of panic recently while waiting backstage: “What the hell am I doing?!” It is a lot more frightening to do a solo show in front of 20 people, than a band show in front of thousands.

IE: Jim released an EP as Yim Yames. Couldn’t you have come up with something to top that?
CB: There is no way to top that! Just so you know, I was actually born with the name Snowy Bramble, but changed it to Carl Broemel for my solo project, which is by far the easiest moniker to spell and pronounce I could think of.

My Morning Jacket play Charter One Pavilion on August 17th. ATO Records releases Carl Broemel’s All Birds Say on the 31st. Q&A by Steve Forstneger.

We all remember the consternation when Sergei Makarov took home the NHL’s 1990 rookie award at age 31. An age mandate was added (the Makarov Rule) and, incidentally, an Igor Makarov will be trying to make the Blackhawks this fall. Anyway, the Grammys has endured similar bouts of hand-wringing and finger-pointing over its Best New Artist trophy, one that — apart from the Milli Vanilli fiasco – saw a win for Shelby Lynne’s sixth album in ‘99. Last year was the final straw, apparently. Tired of Mix 101.9 listeners who sneer “Well I’ve never heard of them,” a prior nomination in another category (but not a win) won’t preclude a newbie nod. This is the Lady Gaga Rule, because despite five noms last winter, the phenom was denied eligibility as BNA because her debut single scored a nomination the previous term. Can you imagine? I. Know! Now she can’t follow Arrested Development, Hootie & The Blowfish, Adele, and (last year’s winner) the Zac Brown Band directly into the dustbin.

No Inferiority Complex Here

In keeping with their “haven’t watched ESPN in seven years because of Yankees/Red Sox overload” attitude, our Midwestern bretheren don’t think Lollapalooza and Pitchfork fests are enough and have thus entrusted North Coast Music Festival to alleviate their flyover-country misgivings. On Labor Day weekend – when no one has anything going on, ever – Jam Productions invites you to Union Park for the ultimate jam, starring The Chemical Brothers, Umphrey’s McGee, Nas with Damian “Jr. Gong“ Marley, Paul Van Dyk, Moby, De La Soul, The Disco Biscuits, and more. Pretty soon, you’ll never need to go to a club show ever again because of festival season. And if you so much as look at the calendar to see when Coachella is next year, it’s over and we’re taking the kids to my mother’s. Visit Northcoastfestival.com for discounts and such.

Taking Stock

One of the biggest misconceptions brought out of the ’90s was that in order to pay homage to Woodstock’s legacy, you need to hire Fred Durst and Limp Bizkit to start burning things down. That standard almost came into play again this year; fortunately the Nookie monster has canceled his tour to find out where (if any of) his fans are left. All the better, because if you want to relive the summer of ‘67 in style, why not head near a stage in a field starring Grateful Dead alumni Tom Constanten and Bob Bralove on the 27th and 28th at Vasa Park in South Elgin? Others in attendance include Mr. Blotto, Terrapin Flyer, This Must Be The Band, Cosmic Railroad, and Juniper Mays, who’ll have a special medical tent arranged in case of any bad drugs or accidents caused by fits of nu-metal rage.

Summer’s Over – Forever

Live music has mimicked the spastic rise and fall of unemployment figures over the past 18 months — things are great! things are awful! — making us wonder if the stats mirror reality or an over-analytical computer program. Investors dumped Live Nation shares like Mel Gibson in mid July, jittery about the facts of a dry concert season. Lilith Fair (despite IE’s overbearing efforts) nearly merited its own cancelation, while sluggish sales and a handful of actual cancellations (including the postponed U2 tour) led to an 11-percent decline in stock price. For his part, super-agent/Ticketmaster-honcho Irving Azoff chided “shortsighted” investors during a shareholder meeting, though Live Nation CEO Michael Rapino expressed hope that it’s just the down economy giving them grief. The morale is, go to shows now because there might not be any to go to tomorrow.

Just Rock It

Forty years ago, Herbie Hancock infuriated jazz critics by straddling an acoustic-jazz/rock-fusion fence. A Chicago-reared piano prodigy, he joined Miles Davis’ band at the exact wrong time (as far as conservative fans were concerned), going electric and throwing away his gifts under the influence of heathen rock ‘n’ roll. Where did it all get him? Today he’s . . . Santana. Back in June, he followed up his shock Grammy win for River: The Joni Letters with The Imagine Project — duets with Dave Matthews, Jeff Beck, John Legend, Seal, Pink, Chaka Khan, and Susan Tedeschi. Few of them will be along when he comes home to play Symphony Center on the 21st, probably because no one knows who the real Herbie Hancock is anymore. And don’t be surprised if he covers “Smooth.”

– Steve Forstneger

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

“I felt that there was nothing that went behind the scenes showing how human the process of making art is: its mistakes, conundrums, miracle moments, etc. I wanted to discover the artists behind the art, showing the human side, and thus making the arts more approachable for people,” says Elysabeth Alfano, host and executive producer of the new 30-minute arts TV show “Fear No ART Chicago,” which airs quarterly on WTTW-Channel 11 and posts new, smaller segments at www.fearnoartchicago.com.

Alfano knows firsthand about her topic. “In my art gallery and with my clothing company, I saw that while not everyone followed fashion or collected art, everyone was fascinated by the life of the artist and what was going on in the studio.”

Not that they’d actually venture inside. “I found with my art gallery that most people were afraid to come in,” she says. “If they hadn’t studied art history, didn’t have money, or didn’t feel educated about the exhibit, they felt intimidated. This show aims to bridge the gap between the public and the arts and deconstruct any sort of wall that separates the two.”

She says her varied background has come in handy — including a stint teaching marketing for the visual arts at Columbia College (one of the show’s sponsors). “All previous experiences prepare you for the next experience,” she explains. “My public speaking while teaching at Columbia College was very helpful to me for what I do now. I produce ‘Fear No ART Chicago’ on the smallest of budgets, so I don’t have time for many takes. I have to get it right out of the gate. ”

The show is not produced by WTTW; instead, Alfano does everything herself. “I pound the pavement looking for underwriters and sponsors,” she says, noting that she recently added a single intern to her staff.

The first show included segments on fashion designer Lauren Lein, the chefs at Moto restaurant, and local musician Nicholas Barron. Alfano is “very open” to new music, and performers can send their links to elysabeth [at] fearnoartchicago.com.

Alfano adds that local media plays a vital role when it comes to local artists. “If we want art in our community, it is up to us to make it so,” she says. “That means local media covering local artists. Otherwise, people won’t know about the arts, won’t be able to support the arts, and the arts will disappear.”

THE NEW, SLIMMED-DOWN NUDE HIPPO: “Big Fat Nude Hippo” had a great run on cable TV from 1997 to 2007, where it evolved from a sketch comedy show to a magazine-style talk show. In 2006 it was picked up by NBC.com, where short segments “aired” on the station’s Web site for a year.

Now, the show is back on NBC.com, where new segments are regularly posted NBCchicago.com and www.nudehippo.com. “The first big difference that you may notice is how we no longer have a studio portion with magazine-style reports,” says producer Tony Lossano, who now stays behind the camera and does double duty as morning show producer at WLIT-FM 93.9. “We are refocusing our field reports to be more like a reality format with strong personalities rather than just a bunch of feature stories done like if we were on a newscast. ”

Only not as serious. “My team is not pretending to have ethical standards; they are there to show you something awesome and will entertain you in the process,” he adds.

That team includes longtime contributor Amy Zanglin, as well as Ashley Lobo, Gina Ferraro, Nick Rosario, and Pogo. The last is the show’s music contributor, who plans to include acts such as Matt & Kim, Drive-By Truckers, Frightened Rabbit, The Big Pink, and Minus The Bear.

Lossano says he’s a fan of the Web TV format. “We now cover the things that we want, when we want, without the pressure of filling a 30-minute timeslot once a week. However, we average around three new segments a week — and they can be seen wherever the interweb reaches.”

ODDS N SODS: The final nail in the Reader’s coffin could be the firing of longtime editor Alison True earlier this summer. (Full disclosure: I wrote under True for many years at the Reader.) Apparently True was the one trying to keep the paper local and relevant, despite being the hatchet man for cutbacks after the weekly’s sale to Tampa-based Creative Loafing in 2007, that company’s bankruptcy in 2008, and its sale to the Atalaya Capital Management hedge fund in 2009. We wish True — and what’s left of the paper — well . . . Local content has also been suffering in the electronic-media world, where WGN-AM (720) program director Kevin “Pig Virus” Metheney continues to jettison local angles, as does Window To The World Communication’s WTTW-Channel 11 — which canned some 30 people in June as part of a $3 million budget cut. Note to bean counters: Chicago audiences have always preferred local talent addressing local issues, and can smell bullshit from miles away — even when it’s holed up in remote ivory towers.

– Cara Jepsen

As a child in New Orleans, Tovi Khali didn’t quite know what she wanted to be when she grew up, until she first glimpsed inside Bourbon Street blues clubs. “I’d be outside watching the singers and I knew I wanted to do that,” says Khali. “If it weren’t for the blues, I wouldn’t be doing what I’m doing.”

Appearing: August 8th at Rumba in Chicago.

What she’s doing includes performing her own brand of funky, soulful blues at Chicago clubs and events, composing emotional, nuan-ced songs and writing spoken-word pieces. Her journey from NOLA to Chicago colors much of her performance, from the tinge of longing, to the deep-down anguish that pours out of her soul. As a Katrina survivor, no matter what genre Khali is singing, the blues is never far from the surface.

“I was sneaking into blues clubs and singing by the time I was 14,” she says. “I’d perform with the bands and drink Drambuie afterwards,” she recalls. Her gift for commanding a crowd came even earlier. In grammar school, she often played class clown, and when her teacher put on Elvis and Beatles videos to occupy the class, Khali learned to sing the classic tunes. “I’d sing ‘Jailhouse Rock,’ only nobody was laughing,” says Khali. “One girl said, ‘Your voice sounds just like a record,’ and my teacher came in and said, ‘It sure does: You’re entering the talent show.’ Khali won the talent shows, writing contests, and every local competition that she entered. She began slipping into the blues clubs after her mother refused to let her attend a performing-arts high school. By the time she finished a public education, she decided that she would develop her talent on her own, in Los Angeles from 2000 until 2004 “to polish myself,” she says. “I wanted to find out if I could measure up. I took voice lessons, artist management lessons, and I performed all over L.A. paying my dues.”

She crafted her individual sound by mixing funk with New Orleans, spoken word, and blues. “Nobody could figure out how to label us. I named my band Je Na Sais Quoi — meaning ‘I don’t know what,’ because I got tired of hearing that people didn’t know what to make of me.” Her 11-track CD, Tovi Khali The Official Bootleg, reflects this genre-bending tendency. The tunes move from jazzy soul on “Time” to groove-focused funk on “Smoke Signals” to Delta-flavored blues on “Love Thing” for a Bourbon Street gumbo.

By the time she arrived back in her hometown in 2005, she had perfected a sound and stage presence enough to perform at the same club she snuck into as a child. She sang with Dwayne Doopsie, Prince Of Zydeco, as well as at the ultimate local showcase: The New Orleans Jazz & Heritage Festival. “I sang Ray Charles’ ‘Night And Day’ and the crowd went wild. There’s nothing like that kind of adrenaline.”

Khali was also invited to perform at the French Quarter Festival and to undertake the coveted role of MC at The Old Opera House on Bourbon Street. Buzz surrounded her and doors were opening. Then Katrina hit.

“Katrina really devastated me. Not only did the levees break but so did my emotions. Music has saved me,” she says. Khali was living in the French Quarter when the hurricane hit but she had no evidence that it would not be like the dozens of other hurricanes that she had weathered. “I’ve been through many hurricanes and my family never evacuated,” she says. “I knew something was wrong after Katrina because nobody came out to pick up and clean up and come together as a community. It was just really quiet. It was eerie — there weren’t even any birds.”

Khali found refuge in a French Quarter hotel “built like a fortress.” She and her boyfriend stayed there for two days after the hurricane and a day after the levees broke with no water, electricity, and little food. Miraculously, they escaped on a chartered bus (for people with immediate needs; her boyfriend suffered from asthma and was forced to share an inhaler) that somehow made its way to the hotel with water flooding the streets.

“People were running to the bus, crying for help, beating on the bus. The bus driver was weeping, the whole bus was weeping. I saw a baby floating face down in the water, buildings crumbling, the water swishing up above us. I couldn’t believe what I was seeing.” Khali and her boyfriend were dropped off at a small Houston airport. They cried uncontrollably when they read the newspapers and realized that they had just escaped death. “People we were with the day before didn’t make it,” she says. “Survival changes everything. Nobody was better than anybody. Everybody was on a level playing field. Katrina did not discriminate .”

The only possessions that Khali managed to salvage were her guitar, some clothes, and her CD. She received grief counseling to cope with the nightmares of devastation but her music provided the real therapy. “I write about what I feel and I don’t put everything in heavy metaphor. There are some things that I just put out there because that’s my truth and I don’t play my audience as stupid. My gift is not singing or performing, it’s reaching people. There’s nothing like getting up there and singing your song and having people respond.”

– Rosalind Cummings-Yeates

So I paid $18 to see The Big Four broadcast in June. The idea of going to the movies to watch a metal concert was a bit strange and spending nearly $20 to do so was plain dumb, but I had to. My gut tells me this thing eventually comes to The States (Slayer drummer Dave Lombardo agrees; read my interview with him this issue), but there’s also the possibility it won’t. What if Metallica puss out? If you were James Hetfield or Lars Ulrich, would you risk getting blown offstage by Slayer every night (exactly what happened in Bulgaria)? Would you want to face the fact, night after night, you aren’t the best Big Four band, just the most popular?

Hence why I sat in a stuffy Evanston theater (Cinemark is obviously trying to save some bucks by decreasing A/C frequency), eating popcorn (with M&M’s mixed in!), drinking iced tea (work the next morning; no caffeine after 7 p.m.), and watching heavy metal.

It was a strange scene. Lucky for you, I packed my notebook. Below are the kind of observations you can only get from a credited, highly regarded member of the music press.

• Not one person yelled SLAYEEER all night. Unacceptable.

• Joey Belladonna literally has not changed his hair style since 1984. Are we supposed to be excited about his return to Anthrax? A whopping four years after his last one?

• Dave Mustaine looks worn out and beaten down. Haggard. His face, to quote “Seinfeld,” looks like an old catcher’s mitt. Fell off the wagon? Doubtful. Endgame would be much better if that were the case.
• How in the world does Kirk Hammett fit into pants that tight?
• Why in the world does Kirk Hammett wear pants that tight?
• Very few people in Evanston like heavy metal, apparently.
• Lars Ulrich is a douchebag.
• Mustaine sounded fucking lousy.
• At least Dave Ellefson is back. Wonder if he considered asking the soundman to turn Mustaine’s vocals down in his monitors.
• Jeff Hanneman hates you.

Now some Big Four-themed lists. Who doesn’t love lists of shit, right?

BIG FOUR BEST FOUR
1. Megadeth Rust In Peace
2. Metallica Kill ‘Em All
3. Slayer Reign In Blood
4. Megadeth Peace Sells . . . But Who’s Buying?

BIG FOUR WORST FOUR
1. Metallica St. Anger
2. Megadeth Endgame
3. Megadeth Risk
4. Metallica Reload

BIG FOUR UNDERRATED FOUR
1. Anthrax The Sound Of White Noise
2. Megadeth Youthanasia
3. Slayer God Hates Us All
4. Slayer Diabolus In Musica

HIGH ON HIGH ON FIRE: I finally own Blessed Black Wings and Death Is This Communion on vinyl. Very excited. Yes, they are reissues. No, I don’t give a shit. All three High On Fire Relapse albums (Blessed Black, Communion, and Surrounded By Thieves) are available again on wax. Each is a double-LP packaged in a special “gatefold LP Stoughton ‘tip on’ jacket.” I have absolutely no idea what that means, but shit looks real sharp. Sounds real sharp, too, of course. Various color options are available depending on which pressing you snag, but beware: Only 1,500 copies of Thieves were pressed . . . You’re an idiot if you missed HOF at Lincoln Hall back in April. They killed. Luckily, our society gives idiots second chances. Matt Pike, Jeff Matz, and Des Kensel will plunder Chicago again in October, this time as part of Riot Fest. The punk-centric festival branches out more and more each year, and besides HOF, the 2010 version also includes Corrosion Of Conformity (albeit the original, hardcore, three-piece lineup of Mike Dean, Reed Mullin, and Woody Weatherman). An official schedule wasn’t available as of press time, but Riot Fest goes down October 6th through 10th. Check www.riotfest.org.

OUR CITY IS BETTER THAN YOURS: It’s been proven: Chicago heavy metal is the most awesome heavy metal in this country. Forbes — where I go for all my headbanging headlines — recently compiled a list of the best musical cities based on 10 specific genres. The mag interrogated a bunch of expert types (journalists, producers, musicians, etc.), and they confirmed what Chicago heshers already knew: We rule, boners.

MOSH-WORTHY: Shadowgarden Ashen (Napalm); Witchery Witch Krieg (Century Media); Early Man Death Potion (The End); Hammers Of Misfortune The Bastard/The August Engine/The Locust Years/Fields/Church Of Broken Glass (Metal Blade); Aaron Aites, Audrey Ewell Until The Light Takes Us DVD (Factory 25).

MOSH-WORTHY LIVE: Torche, Yakuza Arkestra (Wicker Park Fest 8/1); Drug Honkey (Empty Bottle; 8/1); Slayer, Megadeth, Testament (UIC Pavilion, 8/20); Bible Of The Devil (Glenwood Arts Festival, 8/21); Enthroned, Destroyer 666, Cardiac Arrest (Reggie’s, 8/25).

– Trevor Fisher

As James Brown famously shouted, “This is a man’s world!” As far as the music business was concerned, he was right — until 1975, that is. That was the year Joan Jett and Sandy West teamed up to form the first successful all-girl rock band, The Runaways. Along with guitarist Lita Ford, bassist Michael Steel (the first of many involved with the group and eventual member of The Bangles), as well as lead singer Cherie Currie, The Runaways took the testosterone-fueled rock world head on; and while they might not have come out on top, they certainly held their own.

The Runaways chronicles the formation and early success of the band, as seen through the eyes of Jett and Currie. After approaching producer Kim Fowley with their idea for an all-girl band, the three recruit the rest of the members based in large part on their look and type, rather than playing ability. Thus, Currie is brought in to be the Brigitte Bardot-meets-David Bowie member.

From there, the film falls into the standard biopic formula: kids form band, band becomes successful, band members become drug-addled, band breaks up. The film pulls it off a little better than most, simply because of the performances of the three leads.

As Fowley, Michael Shannon hits the manic/obsessive/control freak vibe just right. Yeah, he’s a dick, but not enough to make you wonder why anyone would pay attention to a word the guy says. Dakota Fannning does well in the challenging role of Currie — a daring leap for a 16-year-old.

But it’s Kristen Stewart who’s perfectly cast as Jett. Her stoner demeanor and slow deliveries make her the ideal choice to portray the legend, and she pulls it off masterfully.

However, the rest of the band gets short-shrift. After forming the group, drummer West basically disappears from the film, while Lita Ford is reduced to popping up every now and then to bitch at Currie for being the most visible member.

Then there’s Alia Shawkat (Arrested Development, Whip It) completely wasted as the bassist named Robin. Since no one named Robin ever played in The Runaways, one can only assume that the character is an amalgamation of all bassists. Not surprising, though, as the film is based on Currie’s book Neon Angel: A Memoir Of A Runaway and co-produced by Jett.

The Blu-Ray special features are nice, with commentary by Jett, Stewart, and Fanning that gives perspective as to what actually happened (a surprisingly large amount of the film did, according to Jett) and what didn’t. You can also watch the film with “movieIQ” turned on, which gives details about everything happening in every scene — from who’s who to what music is playing.

Film: *** Features: ***1/2

Chicago Blackwawks: 2010 Stanley Cup Champions
Warner Bros.

While the majority of the world has moved on, we here at IE are still pretty geeked about the whole Blackhawks-winning-that-big-cup thing. In fact, our editor is still driving around town with a full-sized Blackhawks flag out the window honking at everyone he passes. A 49-year drought will do that to a person.

So it’s no surprise that whenever a new commemorative magazine, DVD, poster, or chotchky is released, we’re on it like fur on a weasel.

Chicago Blackwawks: 2010 Stanley Cup Champions might be your standard-issue season wrap-up video, but it’s extremely well made and features everything you could possibly want to relive about a championship season. It takes you from the opening game, to the most confusing winning goal in Stanley Cup history.

The DVD also includes behind-the-scenes features on the locker room celebration, the victory parade in downtown Chicago, and the drafting of Jonathan Toews and Patrick Kane.

Yeah, we’re homers, and this kind of thing is chum to the sharks, sue us. We’re just enjoying it while we can. Remember, this is Chicago — it might be another 49 years before it happens again.

Film: *** Features: ***

– Tim Hiatt

Chicago’s Fullerton Avenue wasn’t named after him. But Leo Fender would not have succeeded without him. In the mid-1940s, as a seasoned artist and working musician with a budding interest in electronics, George Fullerton became friends with Fender. The two men eventually became business associates after Fender enlisted Fullerton to sign on with the fledgling guitar and amplifier company. With his artistic sense and natural ability to translate ideas into practical processes and machinery on the shop floor, Fullerton contributed to the creation of several of the most important musical instruments of the last 60 years, including the Telecaster, Stratocaster, and the Precision Bass. Fullerton first reported to work at Fender in February 1948, after performing several years of freelance work for its founder. He became vice president in charge of production in 1959, and from that early era through the 1960s, he remained a rocksteady figure. Along with Leo Fender he retired from the company in 1970.

His son continues to work there; sadly, Fullerton passed away in 2009, but his legend lives on in every American-made Fender that has the Tele or Strat name on the headstock.

Alfred
Music
R.E.M. Guitar
Songbook

One of the most prolific songbook publishers in the world, Alfred Music Publishing has finally released its R.E.M.: Guitar TAB Anthology, the authentic guitar fakebook features what the company says are the “band’s greatest hits of alternative rock.” R.E.M.: Guitar TAB Anthology brings you 25 career-spanning songs from the ground breaking Athens, Georgia band, including their biggest modern-rock hits such as “Losing My Religion,” “The One I Love,” and “It’s The End Of The World As We Know It (And I Feel Fine).” This band- approved collection is presented in full notation and TAB, with chords and vocal lines included. Many of the titles come from R.E.M.’s later years, which begs the question – will there be a companion book from the Murmur/Reckoning era? Other titles include “All The Right Friends,” “At My Most Beautiful,” “Daysleeper,” “The Great Beyond,” “Supernatural Superser-ious,” and “Until The Day Is Done.” Guitar TAB Anthology songbooks are widely available for $24.99. Fans can pick up a copy at their local music retail store, or purchase online at Alfred.com.

Hottie Inc.
5th Anniversary Hottie Amplifier

The amp that’s made from a toaster has hit its 5th birthday. To celebrate their nickel anniversary, American manufacturer Hottie Inc., makers of Hottie Amps, has introduced its latest guitar speaker, the 5th Anniversary Hottie Custom Amp. Hottiess are solid-state units fitted in vintage American toasters and powered by 9-volt batteries. They use a 6-inch Jensen MOD speaker and have an output jack to drive an external speaker cab. Hottie Amps will power any 4, 8, or 16-ohm speaker cabinet. The 5th Anniversary Hottie Custom Amp is now available for $379. The cost of a toaster and the medical costs you’d incur on your own are higher.

– David Gedge

At Linder Avenue Recording in Roselle, producer/engineer Travis Brown blocked out dates with his project Saline to record material for their debut . . . Drummer Hannah Ford laid new tracks for the Bellevue Suite (above) single “Just Love” to be re-released later this summer; Dom Palmisano engineered.

At MILLION YEN in Chicago, seminal Chi-town hardcore outfit Vic Bondi and Articles Of Faith recorded an EP for Jello Biafra’s Alternative Tentacles label with engineer Jeff Dean . . . Juno Award-nominated, Toronto-based producer/engineer Jon Drew recorded Noise By Numbers (Screeching Weasel, Methadones, River-dales, The Bomb) for Asian Man Records . . . Local punks Anxiety High worked on their second CD with owner Andy Gerber.

UPTOWN RECORDING in Chicago now offers space for youth birthdays. Children will be given a hands-on, kid-friendly overview of a fully operational commercial recording studio. After the brief tour, the birthday boy or girl will be transformed into the lead singer of their own band with friends participating as back-up vocalists, musicians, or even helping in the control room. Each guest will receive a personalized souvenir recording of the song featuring a group photo printed directly on the disc. Kids and adults are invited to come dressed as their favorite rock star. Call (773) 271-5119.

2BU Studios in Lincolnshire, a recording and video-production studio for kids, celebrated one of its own rock stars. Rob Kleiner, who manages 2BU’s recording wing, recently had one of his songs selected by music superstar Cee-Lo Green. to be featured on the Twilight Saga: Eclipse movie soundtrack.

“If you listen closely you can hear my whistling in the background of the song,” Kleiner pointed out to a recent group of campers, who were recording their own song at the studio.

BACKTHIRD AUDIO in Aurora forked four days over to The Hyrax. After 32 hours and a large order of sesame chicken, the band about finished their first full-length album . . . Randy and Audra Miles have been in and out recently to record vocals for a Christmas-classics CD due this December.

The secret society of Chicago-based studio nuts, EARS (Engineering And Recording Society Of Chicago), The Recording Academy, and the P&E celebrated in July at JOYRIDE STUDIOS in Chicago.

Despite the suggestive title, Soft Speaker’s Stranger In The Alps wasn’t recorded in Western Europe or even on a German-themed bender heading up Lincoln Avenue. Mike Lust recorded the drum and bass parts at PHANTOM MANOR RECORDING; Joe Daley handled the other instruments at LOW ORBIT; and owner Carl Saff at SAFF MASTERING polished it off. All rooms are in Chicago.

At FAIRVIEW RECORDING in St. Charles, Dead Mans Wake recorded It Comes To This, which they then took to MASSIVE MASTERING in Schaumburg . . . Ceiling Stars likewise used multiple shops on their latest album. All The Fallen Parts was mostly recorded and mixed by Jonathan Schenke at E.S.S. in Chicago, though mixing and additional tracking occurred with Dan Dietrich at WALL2WALL RECORDING, also in Chicago. Further, strings were engineered by David Osborne at THE LOFT . . . Schenke likewise assisted with some tracking, mixing, and mastering on Caw Caw’s Bummer Palace (Trust Tapes). The rest was handled at INFRASONIC SOUND in Los Angeles . . . Mike Hagler mastered Dan Wallace’s self-recorded Den Of Maniacs at KING SIZE SOUND in Chicago.

Condolences to acclaimed Chicago-based producer/engineer Harry Brotman, whose wife Helen passed away suddenly in July.

IE: Are you gearing up for the England/ Algeria game?
Paul Weller: Yeah. I’ll watch with me girlfriend tonight. Just be home.

IE: You’ve never written a World Cup song, have you?

PW: No, I’ve never been asked. I wouldn’t mind having a go at it.

IE: It seems like they’re usually kind of iffy. And there’s a lot of pressure if the whole world’s got to like it.

PW: Yeeeeah. There’s a song on my new album called “7 & 3 Is The Striker’s Name” – that would be a good song. I could rewrite the words.

IE: What’s an album release mean to you these days? Excited, relieved, unsettled . . .

PW: No, I’m very very happy with it. It’s a mixture between excitement and nervousness because you want people to hear what you’ve been working on, but nervous about what people think of it and how it’s received. But every record’s important to me. Doesn’t matter how many I make — they’re all important.

IE: What makes Wake Up The Nation what it is?

PW: Well, it’s 16 tracks but it’s also only 40 minutes. Very short, concise songs. I think only one runs four minutes. There’s quite a lot to take on, a lot of information, but because they’re such short bursts hopefully it’s the sort of thing someone listens to all the way through and then wants to start again.

IE: When you’re putting that many compact songs together, how much stressing goes into making sure 16 two-minute songs don’t sound like 16 two-minute songs?

PW: It’s like any record, really. You could have carried on and added another six songs, but we knew when we were happy with it. We’re constantly compiling the songs and trying to get a running order — at least once a week — and you begin to see after awhile whether it’s finished or whether it needs more or different kinds of songs.

Paul Weller – former frontman for iconic British bands The Jam and Style Council — released his 10th solo album, Wake Up The Nation (Yep Roc), in June. Q&A By Steve Forstneger

On the Monday after Blues Fest, Out The Box Records invited a select group to view a rough cut of White, Black & Blues at Film Row Cinema. John Anderson’s film honors Chicago Blues Reunion members Barry Goldberg, Nick Gravenites, Harvey Mandel, and Corky Siegel, as well as other artists like Michael Bloomfield, Paul Butterfield, and Buddy Guy, whose devotion to the blues had a huge influence on some of rock’s biggest stars. It drew an enthusiastic response from the audience and, afterward, the four members and blues legend Sam Lay (also featured in the film) came onstage for a revealing Q&A with Anderson. Later, Anderson related how with support from Out The Box Executive Producer Timm Martin, he filmed the Chicago Blues Reunion in concert at Park West in 2008 and began collecting the musicians’ fascinating tales of traveling to black neighborhoods as youths to experience the blues. Anderson, who was nominated for a Grammy for his work directing Brian Wilson’s Smile, plans to have White, Black & Blues completed by October, in time for the 2011 film festivals. See Thisisandersonproductions.com and Otbrecords.com for more information 

– Terrence Flamm

Give Me One Ping, Vasili

After what France pulled in the World Cup (and qualification), Chicago’s a laughingstock? Apparently more than a couple people in the electronic-music community — especially in the international sphere – think it’s more than a little odd we don’t have a concordant festival celebrating our role in house and industrial. (Line-dancing not so much.) Defying a century of unassertiveness, the Europeans are bringing Sonar Festival to us. A cornerstone of Barcelona’s music scene, Sonar will debut here September 9th for three days in cahoots with Tennessee-based AC Entertainment (the Bonnaroo people). According to the Chicago Tribune, Sonar hosted single-day events in New York and D.C. last year, though Chicago’s centrality (and nearness to Detroit, where electro still kinda rules) probably altered the organizers’ course. Chicago Cultural Center will host the “Sonar By Day” portion, including free films, panels, and interactive exhibits. The nighttime bookings have yet to be settled, though clubs like Metro, Congress, and Pritzker Pavilion are thought to be involved; Barcelona’s Sonar 2010 features Roxy Music, Air, LCD Soundsystem, Chemical Brothers, and Hot Chip .

Death As A Career Move

Cursory online analysis doesn’t provide many answers, but it’s thought “death as a career move” was inspired by Emily Dickinson’s posthumous canonization or maybe historical revisions for a wartime President who stomped on the Constitution and abolished an evil institution without really having a plan to competently implement such a measure. Whatever. The point is Michael Jackson’s estate – a year from his tragic death – has actually prospered in his time away. It shouldn’t be surprising, but still is: logic dictates that everyone and their unborn grandchildren bought Thriller or a Jacko hits compilation, but grief-fueled album sales don’t tell the story. The chief element, like with Elvis Presley, is Jackson’s no longer around to fritter away several continents’ worth of wealth. Once allegedly $500 million in the red, the prospects for MJ’s children to lead comfortable lives without lifting a finger have greatly increased. With the impending, multimedia licensing orgy, he’ll have plenty left over to settle impropriety lawsuits in the afterlife.

Emerging Emergence

Timing is everything in summer: T-ball games, weddings, family picnics, who gets the car when, Home Depot (only if there’s time) . . . All we and thousands others have to say after a huge exhale is, “Thank Almighty they scheduled the Metal Mergence Conference (July 16th) on a different day than Lilith Fair,” even if it was the same weekend. The fourth-annual conference/concert swarms upon Reggie’s in the South Loop, promising networking among graphic artists, record labels, booking reps, and a pro Q&A panel hosted by Ari Lehman, who played Jason in the original Friday The 13th movie. Bring your demo, ask some questions, then stick around for a beastly bill including Souls Demise, Lair Of The Minotaur, Earthen Grave, Mindwarp Chamber, Falsefaced, Malas, and Lehman’s First Jason.

– Steve Forstneger

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

Local radio stations began jettisoning their high-priced talent in the late 2000s, when the new Portable People Meter ratings system showed that big names were no longer pulling in the big numbers. Now, it seems the days of the high-priced, well-loved, hyper-local radio personality are long gone.

Here’s what some of Chicago’s former favorites were up to at press time.

Kathy & Judy (Their top-rated WGN-AM (720) show was dumped by the Tribune Company in May 2009): Even after 20 years on the air, Kathy O’Malley and Judy Markey don’t have a Web site, although you can still get old podcasts on WGN’s. An unofficial Facebook fan page keeps girlfriends abreast of appearances and other news (last year they told “Girlfriends” at Columbia College that they were given a lot of freedom at WGN until their final months on the air — and that they doubted they’d return to the airwaves). Oddly, you can still order K&J paraphernalia from WGN — where it’s on deep discount.

Johnny B (Cut loose three months early by Emmis Communications-owned WLUP-FM (97.9) in November 2009): In December, Jonathon Brandmeier launched a scathing video takeoff on Jon Lajoie’s “Everyday Normal Guy,” called “Johnny B — The Unemployed Radio Mo Fo,” which had him rapping about “the motherfucking PPM” and slamming the industry with lyrics like, “Hey monkey push a button and play another song/Talent on the radio just doesn’t belong/Enjoy the crap while you can ‘cuz it won’t last long.” Despite speculation he’d land at WGN, we haven’t heard much since the amazing video that showcased the new, unmuzzled Johnny B — whom we hope gets a cable TV or satellite-radio show. The Fond du Lac native doesn’t Tweet or blog, but you can see the vid and join his e-mail list at www.johnnybontv.com.

Steve Dahl (Removed by CBS Radio-owned WJMK-FM (104.3) in December 2008): Dahl’s collecting $1 million-plus per year through the middle of 2011 from CBS, which agreed to let him launch a daily podcast from his basement studio last year. He bankrolls the 90-minute show, which employs much of his old staff and is about to hit 3 million downloads. “I’m making a significant personal investment to keep myself available to my fans during the two-and-a-half years that I’m off of radio,” he said in an e-mail interview. The show can be heard at www.dahl.com — which is full of Tweets, blogs, apps, bells, whistles, and ads. Former sideman Julian “Buzz” Kilman occasionally appears on the show but has no full-time home (www.buzzkilman.com). On a recent DahlCast, The Stever complained about the editor of his weekly Chicago Tribune column. “Every once in awhile they get irritated with me, because I didn’t go to J-school, you know, ” he said. “And it’s at the Tribune and it’s bankrupt and they’re laying people off left and right and there’s some disgruntlement there, so every once in awhile I think he [the editor] gets mad and takes it out on me . . . I’m doing the best I can for $400 a week.” Hard to hear when so many journalists are out of work and he’s pulling in the big bucks for not broadcasting. Still, Dahl is the most plugged-in of the lot.

Mancow Muller & Pat Cassidy (Fired by Citadel Broadcasting-owned WLS-AM (890) in February): While Pat Cassidy returned to all-news WBBM-AM (780), Matthew Erich “Mancow” Muller continues to syndicate his morning show to scores of markets, ranging from Corpus Christi to Macomb. On his Web site (www.mancow.com), you can access podcasts, see wacky video, and read his Tweets. But not without starting the video promo for his radio show: “This is my country. When you cut me, I bleed red, white, and blue. I want to bring back common sense to America. I want to bring back truth and cowboy logic. I’m Mancow Muller, American badass.” We prefer “Cow’s Notes,” where there are badass gems, like “The right answer is inevitable when your thoughts are positive, constructive, and loving.”

Eddie, Jobo, & Erica Cobb (Jettisoned by CBS Radio-owned WBBM-FM (96.3) in November 2008): Eddie and JoBo continued to collect an estimated $1.5 million each from CBS until their contract expired last summer. With nary a podcast, Web site, or blog to their name, they resurfaced to cover a show for WLS’s Roe Conn in March. Eddie Volkman is on Twitter and Myspace (which says he’s 42), but Joe Bohannan is AWOL. Co-host Erica Cobb immediately landed a gig as a morning co-host on Denver’s “Alice” 105.9 and recently appeared with her husband on NBC’s “The Marriage Ref,” where the judges debated her decision to continue using her maiden name. The couple won a trip to the Caribbean and parting words from host Tom Pap: “At the end of the day, Erica, you win!” In more ways than one. In June, Eddie & Jobo started hosting Saturday nights from 7 to 9 p.m. on  Citadel Broadcasting news/talk WLS-AM (890). They’ve also been doing TV commercials since getting fired.

Melissa Forman (Canned last summer by Clear Channel-owned WLIT-FM 93.9): Still off the air, Forman filled in for Jeanne Sparrow as host of WCIU-Channel 26’s “You & Me This Morning” earlier this year, and there’s speculation that she’ll return to the Weigel Broadcasting-owned station in some capacity. In the meantime her Web site has audio and video demos as well as a blog (www.melissaforman.com).

– Cara Jepsen

The blues had a baby and it called her Shemekia. Nursed on her father Johnny “Clyde” Copeland’s legacy of throbbing, funk-filled blues and groomed on the nuanced belting of Otis Redding, Sam Cooke, Mahalia Jackson, and O.V. Wright, Shemekia Copeland represents the greatest contemporary blues hope since Stevie Ray Vaughan. At 31, she’s a mere toddler by blues standards but with five critically acclaimed albums and a voice filled with enough power and poise to inspire a royal title, she stands firmly positioned to steer the blues back into pop-culture visibility.

Appearing: July 10th at Old Town School Of Folk Music’s Folk & Roots Festival in Chicago.

“My main goal in life is take the blues in a new direction,” says Copeland, “I want to see it go further.” Copeland appears uniquely equipped for the task. She started performing regularly at New York’s legendary Cotton Club by age 9 and released her debut record at 19. Raised in Harlem during the birth of hip-hop, she absorbed the beats and rhymes but preferred listening to classic soul. She also loved to hear her father perform his crisp, Texas blues. The influences of all of these genres can be glimpsed in Copeland’s vocals, which combine an MC’s swagger with a soul singer’s emotion, poured into the blood and guts of the blues. She easily melds the music of three generations to create blues music that’s catchy and still rooted enough in tradition that it appeals to blues lovers as well as people who never listen to the blues.

Copeland’s current CD, Never Going Back (Telarc), demonstrates her capacity to leap over narrow expectations with 12 of the most polished and diverse songs of her career. From a graceful Joni Mitchell interpretation to riveting originals, the album delivers all that blues could and should be. The opening track, “Sounds Like The Devil,” slams into a slow rhythm paired with Copeland’s assured belting for the perfect contemporary blues lament about bogus politicians and preachers: “I ain’t got health care/Lord it ain’t fair/I can’t even afford to die/they say they treat us all like family/but it sounds like the devil to me.” On the funky “Dirty Water,” Copeland’s voice shimmies like the Mississippi itself and on the title track, she calls up the fervor of a young Etta James but with more control. Her cover of Mitchell’s “Black Crow” packs a surprising wallop, with the singer gently layering blues over the jazz undertones.

“For me, it’s about the lyrics,” says Copeland. “I have to be able to jump into the music and be a part of the song. I got tired of avoiding religion and politics [in my music]. As I get older, I feel I have the right to say what I want to say. I’m 31, I’ve done my share of living and I know what’s going on. When I first came out I was 19. I hadn’t even voted.”

Copeland’s love of great songs and their most pivotal interpreters appeared early; she can remember listening to classic soul songs over and over, the way other children constantly watch the same movie. “I remember feeling things when I listened to music,” she says. “I can remember hearing Otis Redding, Mahalia, and Sam Cooke for the first time and listening to them over and over for months. Her father wrote her little songs and she sung them around the house. Johnny Copeland declared that his daughter would be a singer when she was still an infant, but it wasn’t until she was a teen that she became convinced.

“I do believe that I was destined to be a blues singer, but at first, I thought it was crazy to get on stage in front of people,” she says. “I thought I’d be a psychiatrist — I wanted to help people.” It wasn’t until her father’s failing health when she was 16, that she realized that it was time to take up the torch. “I realized that this was what I was supposed to do. Now I help people with my music.”

Indeed she does. From the motivational anthem of “Rise Up,” where she instructs, “When life hits you like a truck/ you gotta rise up,” to the healing acoustic blues of her father’s “Circumstances,” which she interprets with rousing spirit, Copeland’s music serves as a road map guiding listeners through life’s challenges. It also provides a convincing demonstration of the genre’s ability to grow with changing times. “I’d like blues to be played on mainstream radio,” says Copeland. “I’d like to see blues on the regular pop charts, not just the blues charts. I’d like it to do as well as all the genres.”

Ultimately, it’s up to music fans and music-industry leaders whether blues accomplishes all of those objectives, but Copeland is determined to do her part. “I want listeners to know that they’re listening to my life. I want them to feel the passion that I have for this music.”

– Rosalind Cummings-Yeates

Experimentation is great in heavy metal. New sounds, new techniques, new styles . . . if done right and with the band’s roots in mind, results can be great. Even spectacular. (Read the Nachtmystium review in this month’s “Spins.”)

But sometimes it’s just as great to get the “same old same old” from a band. Cardiac Arrest don’t experiment. They don’t tweak. They don’t indulge. They don’t overreach. They play death metal. Death. Fucking. Metal.

It’s a style that, like every musical style, has changed during the years — for better and worse. Doesn’t matter to guitarist/ frontman Adam Scott, bassist David Holland, drummer Jim Deabenderfer, and guitarist/vocalist Tom Knizner, though, because they’ve apparently more or less ignored everything after Autopsy released Severed Survival in 1989 and by doing so have become one of the unique groups in modern-day death metal. So the Chicago (South Siiide!!) group’s new album, Haven For The Insane, isn’t noteworthy because it’s light years beyond 2006’s Morgue Mutilations or 2008’s Cadaverous Presence; it’s noteworthy because it’s the 13-year-old band’s first widespread, international exposure, thanks to a new partnership with Ibex Moon (Archeron, Incantation, Asphyx). And if I can be biased (and it’s my goddamn column), I couldn’t be happier. Adam, Tom, David, and Jim are four of the best, most loyal, most dedicated dudes in metal. Any opportunities and accolades received as a result of Haven and signing to Ibex Moon aren’t only deserved, they’re overdue.

The band (a must-see live act) perform at Nite Cap July 9th; July 23rd at the Central Illinois Metalfest in Urbana; and August 25th at Reggie’s. Deabenderfer recently talked us through the last few years.

Mosh: What’s been the biggest advantage, so far, being on Ibex Moon?

Jim Deabenderfer: I would say there is a certain type of support that John [McEntee, Ibex founder) is able to provide that others won't. For example, Clawhammer PR, the company that works Ibex Moon, we work with them directly now in addition to anything the label is doing. So we don't do our own press releases anymore. We're able to funnel some of the press through them and Ibex. The biggest, most obvious difference aside from the support we're seeing and the fact we don't have to do as much work, is the amount of reviews, just the quantity of reviews for Haven before it even came out, versus the total for Cadaverous ever. It's not because the record is that much better; it's not because [former label] Epitomite didn’t send them out. I think the reputation of [Ibex Moon] precedes itself. We’ve definitely experienced people saying, “Well, it’s on Ibex, so I gotta get it.”

M: Walk me through the timeline for Haven.

JD: Usually we have one or two song structures left over from the previous record, and once we finish the summer festival cycle we start writing. So this would have been 2008. We had written a few songs right around the time Cadaverous came out and then continued writing through the end of 2008. “Haunted Remnants” is the one oddball song. That was actually the first song we wrote with Tom when he joined in ‘06. It was actually on a compilation prior, but we felt the song fit on [Haven]. We felt we had a lot riding on this record, so we were a bit more stressed out. So when it came time to do mixing we took some time off. And when it came time to [finishing mixing] we took our time ’cause we didn’t have a deal and weren’t under the gun. Then we got busy as we always do in the summer, and finished the mix right after the summer. Mastering was done in October, and right around that time was when John started to express interest.

M: So is it weird to support songs on tour that are well more than a year old now?

JD: Oh yeah. We talk about it all the time. We actually discussed playing some of the brand-new material, but you have to consider a concertgoer’s perspective where yeah, they want to hear new stuff, but a lot of people are going to be hearing Cardiac for the first time. So on this tour we’re doing just one song off of [Morgue Mutilations], one song off of Cadaverous, and everything else is off of Haven ’cause that’s the one we think people will know most.

M: Was the bonus DVD the label’s idea?

JD: John wanted to put something out. I’ve always wanted to do some video stuff, and I’ve been sitting on footage for years on certain things. The idea came from John, and we talked about a couple different ways to go with it. The guys were kind of wary at first, because they didn’t want it to be stupid. Once they saw what could be done they were more open to it, and we are already excited about doing one for the next CD. I think in underground death metal, especially, you see bonus DVDs and kinda go, “Ehhhh.” We wanted to really step up the production value, at least from the standpoint of presentation to the point where, yeah it’s bonus and a freebie, but just because of that doesn’t mean it has to be substandard. I wanted something that can be a discount DVD, a $10 DVD, by itself. I wanted something that would stand alone.

M: The tour name Campaign For Death Metal Purity has been the subject of some conversation. What exactly does it mean?

JD: The press release is pretty over the top, but it’s all in good fun and tongue-in-cheek. It’s meant to be that way ’cause that’s where death metal was way back. A lot of the feedback we’re getting is from some of the younger people who don’t understand some of the joke of it. On one hand we take this music seriously, and all of us come from the background of the older style of death metal — which was before you take sweep picking, which is a lead [guitar] technique, and used it for riffs. I love some of those bands, but some of them take it way too far where the song structures are so ridiculous there is nothing to latch onto. Death metal — the way it was originally conceived — was a raw, in-your-face, aggressive thing, not “mommy look how fast I can play with my calculator.” So basically it’s just a call to arms to anyone who never turned their back on that style. It’s trying to remind people about what the style is about. It has nothing to do with any particular bands, it’s just that there’s certain people out there, for whatever reason, who aren’t listening to the right stuff [laughs].

QUICKLY: Two of Chicago’s finest have new material ready to be unleashed. Kommandant’s five-song EP Kontakt (Planet Metal) comes out this month. I haven’t heard it, but have a sneaking suspicion, being Kommandant and Planet Metal, that it rules. 2008’s Stormlegion was, to borrow a line from former IE scribe Mike Meyer, like listening to a chopper crash. It’s a ferocious record that’s even more so live. Kommandant are one of the most intense live sets around . . . definitely not for the faint of heart. Or people scared by giant knives.

Deadnight frontman/guitarist Mike G. recently gave me a sampler with two new, ripping songs, “Wardogs” and “Riders Of The Black Winds,” both now available on Myspace. The blackened thrashers are currently searching for and negotiating with labels interested in releasing the Riders Of The Black Winds EP and “Storm Of Sorrow” 7-inch. Hopefully both will be out this year with a new full-length in 2011 . . . Whichever label puts out Deadnight should also scoop up Nethervoid. The pig-head toting, Bible-burning Iowa City outfit was supposed to release a 7-inch of “Become Bone” and “Torch The Temple” (the latter can be heard on Myspace) earlier this year, but the label went tits up, leaving two glorious slabs of blasphemous black metal homeless. If you catch the band live (do it) ask guitarist Visigoth — Iowan for Adam — for the CD version, which is spray-painted black and wrapped in a Bible page.

MOSH-WORTHY:
Perversor Demon Metal (Hells Headbangers)
The Ocean Heliocentric (Metal Blade)
High Spirits “Running Home” b/w “Let’s Rock” 7-inch (self-released)
Enemy Of The Sun Caedium (The End)
Armour Armour (Hells Headbangers)

– Trevor Fisher

For a good part of film history, the western genre always seemed curiously out of place. Not because it wasn’t worthy subject matter, but because the execution never seemed right. The settings, old-timey enough to be sure, but too clean, too pristine to be believable. The heroes and villains were clearly defined, creating the cliché of the bad guy in the black hat, and the good guy in white (and with a surprisingly large collection of neckerchiefs).

Yet in the early to mid-’60s, the “Spaghetti Westerns” changed all that. Financed by Italian producers, shot mostly in Spain on modest budgets, and sporting a cast of either fading Hollywood stars or young up-and-comers, the western suddenly looked real. The good guys were nowhere near virtuous, and the bad guys were just downright nasty. Not to mention, the old west was suddenly dirty, and I mean grit under the nails, sand in the shorts dirty. Exactly what you’d expect in a world without indoor plumbing.

Of all the Spaghettiers, it was director Sergio Leone that rose to the top, thanks in no small part to his casting of a young sprout by the name of Eastwood for his “Man With No Name” trilogy. A Fistful Of Dollars, the first film in the series and itself a remake of Akira Kurosawa’s Yojimbo, finds Clint playing two rival gangs against themselves for control of a tiny town, all because there’s money to be made. The second, For A Few Dollars More, pits Eastwood against a rival bounty hunter played by Lee Van Cleefe as they pursue the most wanted man in the land. And finally, The Good, The Bad, And The Ugly again features Eastwood and Van Cleefe (a different character this time, though) with Eli Wallach thrown in as the comic relief, on the trail of some stolen gold.

Now, all three films are available on Blu-Ray in box-set form. While the actual film transfers aren’t quite stunning, they’re awfully close, considering the quality of the original ’60s film stock. Best of all, each film comes jam-packed with special features; so much so that to list them all in detail would make this a two-page treatise. Suffice to say, phone in and get some time off work before diving into them.

Fistful: ***1/2 Features: ****
Few Dollars: *** Features: ****
Good,Bad,Ugly: *** Features: ****

Stones In Exile
Eagle Vision
Funny how things now regarded as classics were not well-received on arrival. Van Gogh was regarded as a hack who never sold a painting in his lifetime, Dustin Hoffman was called “dull & uninteresting” in The Graduate, and Exile On Main Street recieved mixed reviews, with the general consensus being it was too overblown and disjointed.

Now, of course, it’s not only regarded as the Rolling Stones‘ best album (go ahead, argue all you want), but as one of the greatest albums of all time.

Upon its 40th anniversary, the set has not only been remastered and rereleased, but Eaglevision drops Stones In Exile, an exhaustive account of the the album from concept to release. With interviews and musings from all five Stones, as well as thoughts from others such as Martin Scorsese, Exile engineer Andy Johns and more, every aspect of the album is exposed. From the drinking and drug use, the the un-air conditioned environment of Keith’s French estate rented just to set up a studio so they could record whenever the mood struck — it’s all here.

At two and a half hours, it’s a bit much, but if you’re the person who needs to know all things Stones, it doesn’t get more complete than this.

Film: *** Features: **1/2

Also available . . . There’s a pattern emerging with U2: Do a tour, release a DVD. U2: 360 At The Rose Bowl continues the trend by presenting the band’s most recent tour stop at Pasadena’s most famous New Year’s Day destination. For the 360 tour, the band again indulged their grandiose impulses by playing massive stadiums under a giant, claw-like thing. The claw seemed to serve three purposes — hang the circular video screen, dwarf four Irishmen, and generally be a B.F.T. (Big Fuckin’ Thing). The concert footage itself is acceptable, albeit a bit dark and muddy at times, but the special features are many, including two segments on the tour’s opener here in Chicago.

– Timothy Hiatt