Around Hear

The rapid punk rock of After The Fight‘s debut LP, Basura Solamente, is a punchy, crisp set of 13 songs. “Video Tape Sex” and “Fool Me Twice” are more melodic than other tracks and showcase the band’s high frenzied energy the best. The dual vocals sound strained and out of tune at times, but ATF’s songwriting and forcefulness prove they’ve got talent. (www.afterthefight.com)
— Jill Haverkamp

Awdazcate may be hard to pronounce and not the most obvious name for a hip-hop artist, but it’s the pseudonym Rashawn Childress has devolved since his days with Bon + Nip. His How Dare You !!!! disc may not appear professional with its hand written song titles, but the contents inside are a delightfully diverse trip. “Basically” is an example of tripped out neo-soul while “Hustle” (featuring Phillip Morris) moves with layered raps and old school intentions. (cuddy45@sbcglobal.net)
— Andy Argyrakis

Playing as genuine rock ‘n’ blues as you can get, one thing that Frank Bang’s Secret Stash could use is a little variety in their overall rough-and-raw, down-and-dirty formula. As good as tracks like “Travel South,” Sweetest Things,” and “Cry Out Your Name/As The Crow Flies” are, by the middle of the self-titled disc, many of the songs here begin to melt into one another, making it difficult to tell one roadhouse number from the next. (www.frankbang.com)
— Dean Ramos

In an odd move for a band “lingering in a state of obscurity since 1997,” Cats & Jammers released a “greatest hits” disc. Maybe Propose Toast, with its collection of songs from the band’s past three albums, will jump start this Chicago group’s career. Probably not, but you can’t blame this three-piece for pushing its nerdy, ’60s garage tunes, even if the album contains an almost annoying amount of bubble gum pop and cutesy lyrics. (www.catsandjammers.net)
— Joseph Simek

The City On Film started as a solo project for Braid vocalist/guitarist Robert Nanna, but has developed into a new band with the release of In Formal Introduction. It’s mostly a collection of acoustic slacker songs, but Nanna avoids the pitfalls of sounding overly precious or self-indulgent. “Forgiveness” and “Number 11” have simple, but engaging arrangements, and The City On Film is even more fun on the fast and melodic “For Holly.” (www.cityonfilm.com)
— Terrence Flamm

Every Chicago loft party needs a soundtrack like Far Rad‘s This Candy’s Gross to get the groove just right. The faux-art aesthetic, over-the-top quirk, and unabashed gayness is all shameless fun with its percolating synths and geeked-out video game vibe. The reckless production makes the music always seem like it’s on the verge of collapse and the no-bullshit approach to just making raucous electronic pop makes the music that much more endearing. Say hello to Chicago’s very own Fischerspooner. (No contact info)
— Craig Tiede

Look out Flogging Molly, Chicago’s Flatfoot 56 is coming to get you. These Southside lads sound like a Christian Naked Raygun drunk off Guinness and singing Pogues songs on steroids. These guys sound like Chicago punk rock should: fierce, no frills, and more political than worrying about whether The Exit is more cool than the L & L. To make things even uncannier the singer wears a kilt. Those posers in Flogging Molly don’t even wear kilts. Somebody get these guys a float in time for the Southside Irish parade. It’s going to be a riot. Oi! Oi! (www.flatfoot56.com)
— Craig Tiede

This trio takes a simple approach to retroturn-art punk. The six tracks on Greenlight‘s debut EP, Is This What I Am Here For?, are clear cut, enthusiastic, and eccentric. The vocals are forced and harmonies don’t consistently mesh, but the grooving melodies and happy-go-lucky instrumentation are the band’s focal point, especially on “Head Erased (10110).” (www.greenlightband.net)
— Jill Haverkamp

Denise Hradecky, a Chicago native who has split time in Raleigh, N.C., comes off as a very vulnerable singer-songwriter on a five-song untitled CD. The songs are largely introspective confessions executed with a breathy, beguiling, and fragile delivery. The instrumentation matches the vocal vibe with delicate layers of synth, guitar, and workmanlike drumming. (www.denisehradecky.com)
— Jason Scales

Listening to Helicopters‘ first full-length, How To Fake Fall Asleep, is akin to being a professor scoring a music class assignment in emulating new wave synth-pop circa the 1980s. So score high marks for faithful execution, but lower ones for lyrics/music/songs oft’ times a little too precious and a little too sampled to be swallowed. However, add bonus points for the addition of original Simon & Garfunkel aspirations heard on “Burt Gunplay” and “Across State Lines” and look forward to next semester’s participation. (www.ilovehelicopters.com)
— David C. Eldredge

J+J+J stuff They Hump While We Go Nuts (Johann’s Face) with more of their cutesy electro pop and jumbled dance beats. Random samples slither through tingling electronic bits and sonic fuzz. The insistent rhythms and chanting vocals sound like a friendlier, goofier Atari Teenage Riot, especially on “Skeeball Vs. The Mall”; on other tracks they dissolve into kitsch reminiscent of Pizzacato Five (“Insomnia Is A Sleeping Disorder”). (www.jplusjplusj.com)
— Patrick Conlan

Following successful nationwide treks on the Warped Tour in 2003 and 2004, Chicago-born JaGoFF decided it was finally time to collect their music onto a debut LP. There’s One Born Every Minute showcases this DJ duo’s aptitude for mixing tight techno beats and old-school funk bass lines with a unique vocal collision of high falsettos and Barry White-like basses. And as might be evident from their name, they love to pack each song with morsels of sexual innuendo (see “Bust A Nut,” “Bump That Ass,” and “Interspecies Embryo Transfer”). (www.thejagoff.com
— Carter Moss

The emotionally charged situations presented on Tony Lund‘s The Last Days Of Diresville ring true thanks to his sensitive lyrics and folksy voice. “Try,” a hard-hitting rocker, advises perseverance in the face of frustration, while the acoustic “Welcome To The Past” describes the pain of seeing an ex-girlfriend with someone new. Lund falters when he tries for symbolism on the overwrought title track, but makes up for it with the melodic “Fair Trade” and “True.” (www. tonylunn.com)
— Terrence Flamm

Chicago’s Danny McGuinness evokes earnest folk rock with heavy traces of Celtic influence. Opening cut “Good Rain” demonstrate McGuinness’ strong songwriting and poetic lyrical inclinations prove he is just as viable as his other Irish counterparts of The Frames or the Mekons’ Jon Langford. The rest of his 10-song disc showcases his solo abilities, but only begs the question of how much better he can be next time around with a full band and more textured arrangements. (www.dannymcguinness.com)
— Craig Tiede

Creatively designed to look like an old 45, Mitch And The Polecats‘ latest, What’s Not To Love, reprises the dusty waltzes and smoky blues that once were only available on vinyl. Sharp guitar licks and tingling, twangy harmonica fuel the melancholy that slices through these tracks. “I Been Walking” is typical with the sauntering tempo and crisp guitar. (thehounddog@att.net)
— Patrick Conlan

Although playing pleasant enough pop, unfortunately it seems as if Leslie Nuss‘ primary two influences are Liz Phair and Belinda Carlisle long after both lost whatever edge they once possessed. And while occasionally catchy and even sometimes sexy on tracks like “Drive” and “New York City,” both her songwriting abilities and her voice could use a bit of polishing. (www.leslienuss.com)
— Dean Ramos

The band P #9 (formerly Panic 12:52) don’t do themselves any favors by sticking to the same rote metal sound of the late ’80s. If it’s any consolation, P #9 authenticate their sound with the perfect amount of flange effect on the guitars, (Note to P #9: flange is not the new cowbell — or the new anything for that matter.) The music evokes images of long, flowing manes of metal hair, denim jackets, late nights at your local Guitar Center shredding every blazing Skid Row riff known to man, large bedroom posters of Metallica illuminated by your black light, and raising your righteous devil horns at Durty Nellie’s night after night. On that note, this album’s strong suit is its loyal nostalgia. (csmentek@ yahoo.com)
— Craig Tiede

Perfect Red plays modern, melodic, and aggressive rock in the Pearl Jam/Guns N’ Roses tradition without slavishly imitating their influences on …rebuild the afterworld. The songs here are well written and performed and possess an individual sound that should help PR stand tall in the Midwest rock scene. Vocalist Timm (no last name given) is a rock singer in the classic sense and it’s nice to hear someone who can really sing for a change. (www.perfectredmusic.com)
— Mike O’Cull

Though The Pomes claim the spirit of famed Chicago painter Ed Paschke haunted the recording sessions for their upcoming album, it’s tough to tell from the sole cut offered on the preview disc. “Charing Cross” is certainly ethereal work, with poignant guitars, evocative vocals, and lyrics that speak in part of “rapture and moral decay.” The song is a solid, somewhat Goth-influenced sample that’s hopefully a portent of positive things to come. (www.thepomes.com)
— Jeff Berkwits

Love Life And Be Happy is both Georgie Porgie‘s mantra and the name of his new album. Perhaps never before has a dance album been so positive, from its lyrics to its beats. Give Porgie credit for writing and arranging every aspect of his music, but he duplicates the sunshiny words and disco dance formula on almost every track. Unfortunately, Porgie’s second album ends up being dance music for your mom. (www.musicplantrecords.com)
— Joseph Simek

A precursor to its planned full-length release, the five-song New Music demo from Raluca Agape touches bases of influence ranging from Depeche Mode to The Cure to Rush and then some — oft’ times within the same song. As such, the band displays its well-earned veteran local chops along with all its influential shortcomings. One hopes that the full-length outing eschews the peripatetic excursions — e.g., “space-obsessed” “Brother Willard” — for a much more unified musical vision. (www.ralucamusic.com)
— David C. Eldredge

If there were ever a contest for the most accurately descriptive album title, Roma Saddam‘s The Transient Life could conceivably win. Nine tunes supply an ever-changing atmospheric array, with a roiling guitar wrestling an ethereal voice on the spellbinding “Sulking” and strange processed sounds hovering about “The Needs.” Aimless ambiance dominates a few cuts, even as others churn with rock beats and psychedelic eccentricity. Though at times perhaps too transitory, overall it’s a recording that’s never stagnant or stale. (romasaddam@yahoo.com)
— Jeff Berkwits

Rooster Alley don’t break any new ground on Cock Of The Walk, their 10-tune blues debut, but they sure prove they’ve got the chops to hold their own. Between the guitar rave-up of “Temperature Rising” and the wailing harmonica on “I’m Doomed,” the effort rocks and rolls in all the right places. There’s nothing truly fresh on the disc, but that’s just fine; it’s comfortable music played in a wholly competent manner. (www.roosteralley.com)
— Jeff Berkwits

In the wake of Katrina — and for what once was and what once may still be — the well-seasoned R&B gumbo on It’s My Soul served up by Chicago ace keyboardist Ken Saydak is most welcome indeed. Given his roots, the fact that the vocals are more Bob Seger than Dr. John are in no way an impediment. Rather, were the more idiosyncratic phrasings of opening cut “My Soul” heard throughout, then maybe we’d all be clamoring for second helpings. (www.evidencemusic.com)
— David C. Eldredge

Scale Model is all about cool, swirly, indie pop, which is nothing unique, except they place more emphasis on the instrumental aspect of their band than most of their peers, which is somewhat unusual. It makes the music on Twilight Dim more listenable and balanced. Vocalist Megan Rox is engaging without being overpowering and the band successfully pulls listeners into their musical world, which is also no mean feat. (www.scalemodelmusic.com)
— Mike O’Cull

If you missed the Skill Bill Vol. 2 hip-hop show July 30th at The Note, you’re in luck. A sampler of the acts who performed exists, although a track list featuring song names would be helpful. Led by trio Lyric District, the CD showcases Chicago hip-hop at its best, which includes laid-back grooves and skilled mic swapping from The Pacifics and others. DJs D-Double, 5ifth Element, and MFS One also get their turn. (www.lyricdistrict.com)
— Jason Scales

The songs on Super Mini Trio‘s Three Chords And A Pack Of Lies sound like they were recorded decades ago, which fits the band’s low-fi fun in a country approach. Guitarist/ vocalist Barbara Hale specializes in lonely barfly songs like “Pocketful Of Whiskey,” and is joined by guitarist/vocalist Steve Mend and bassist/vocalist Chris Davis on the traditional “Y’All Come.” Drummer Mark Senser is the fourth member of this ‘trio.’ (www.supermini.us)
— Terrence Flamm

The Katie Todd Band has been all over Chicago amassing positive press and opening slots for Steve Winwood, The Wallflowers, Jewel, and Pete Yorn. And as easy as it was to recommend previous work, sophomore effort Make Some Time For Wasting fails to connect to the same insistent degree. Though cleanly performed and lyrically poignant at times, the majority of the music is much more pedestrian than before, sounding like any post college acoustic rock radio clone with very little room for risk. “Figure It Out” drones with depressing melodies, “Face Down” is a very generic midtempo rocker, and “Oz” is loaded with annoying guitar tones. (www.katietodd.com)
— Andy Argyrakis

For those select few who wondered what Faith No More and School Of Fish might sound like together, Waiflike present the answer on Fifty Pence Piece Of Mind. Overall, the lyrics are simplistic and the grade school rhymes are disquieting, (“You masturbate like a coward” from “What Are We Waiting For Now?”) but when have less than poetic lyrics ever hampered an artist? (www.waiflike.biz)
— Patrick Conlan

xSive (pronounced excessive) perform well-crafted light rock songs, mostly about romance, on 3 Generations Of Rock. The lyrics aren’t as polished, especially on the well-meaning “All American Native” and “Ride On Chicago,” which sounds like it was commissioned by Mayor Daley. “Because Of You,” on the other hand is a smooth, soulful track augmented by keyboards, and xSive cuts loose with some heavy guitar playing on “You Remind Me.” (www.xsivemusic.com)
— Terrence Flamm

Category: Around Hear, Monthly