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Mira Mira ringleader Charlie Williams is a “post classical” pianist who mixes dreamy, chilling, and sometimes downright icy reflections on *Midnight For You*. “Breathe” is the most beautiful, and the title track could be likened to something by Sigur Ré¯s (only sung in English) while “Everything Is Happening” and “So You Want To Be Atlas” are more confusing and schizophrenic in nature. (www.miramusic.org)
– Andy Argyrakis

When a group summon more than a handful of established guest artists to appear on their debut, they’re just asking to be outshined. Yet for hip-hop duo Modill, this plan actually pays off. On Midnight Green the group’s cool, calm, and collected MC Racecar deftly trades verses with the best of ’em from Chicago’s very own Diverse to Dave from De La Soul. Meanwhile K-Kruz’s hazy, lo-fi productions equally complement all parties involved. (www.modill.com)
– Max Herman

Channeling a bit of ’70s-era Chicago with a little contemporary country, as heartfelt as Nick Peraino & Blue Moon Risin‘s music is (“Sold My Tears” and the earnest opening number, “States Away”), their eponymously titled, self-released full-length still leaves much to be desired. The lyrics are far too literal and the overall blandness is difficult to get past. Perhaps if they injected equal amounts sincerity and innovation they could truly stand out. (www.nickperaino.com)
– Dean Ramos

It’s a shame singer/percussionist Jessie Wehrle’s voice isn’t front and center more often on The Pomes At The Adelphi, as her pipes are clearly the group’s best attribute. Cuts like “Charing Cross” and “Cass Blues” come alive when she’s at the helm, whereas other tracks remain at best blase when her bandmates control the mic. Many of the dozen eclectic tunes are also slightly distorted, making those numbers that don’t showcase Wehrle all the more challenging. (www.thepomes.com)
– Jeff Berkwits

The Pralines lay down a late-’60s folk-influenced rock sound that calls to mind The Byrds and early Pretenders on Song Of The Day Cafe. Not many bands mine this sort of post-British Invasion territory, and that alone makes this a refreshing listen. The band is sweet and garage-ish at the same time and would be fun for fans of this kind of guitar-strummy music. (www.pralinesmusic.com)
– Mike O’Cull

The West Side’s Project Mayhem may be new to rhyming, but on the Reefa And Rhymes mixtape, Easy Paper, Cashus Clay, and Young Lennon sure don’t sound like rookies. Despite the mixtape’s title, this is not another hip-hop release dedicated to smoking green. Although, under the influence of reefa, this trio coolly details their everyday street smarts with the occasional burst of sensationalism. And by often spitting over catchy instrumentals of radio hits like “I’m A Hustla,” Project Mayhem prove mass appeal is on their mind. (312-933-9016)
– Max Herman

The self-titled EP from Chicago-based Model One, the follow-up to their 2003 debut, shows a surprising maturity level rarely found in a band this young. While they would settle quite comfortably on modern college radio between an alt-pop and a retro-rock track, Troy Zimmerman’s lower-range vocals are refreshingly whine-free, instead alternating between Cure-like melancholy and heart-felt proclamation. (www.modelone.com)
– Carter Moss

Rowdy rhymers Real Rolling Real may call south suburban Richton Park home, but they sound more like they’re from the actual South. Even as their essence isn’t entirely crunk, on Hi-Fi Steel their bass-heavy beats, raucous deliveries, and dirty South drawl sounds reminiscent of Mystikal and sometimes even Three Six Mafia, which is not a bad thing at all. (708-283-1893)
– Max Herman

Transport Enya beyond her new age settings and Vanessa Carlton past her teeny-bop phase and that’s a proper picture of Katherine Schell. The 2005 International Songwriter winner weaves glorious piano arrangements and an angelic voice throughout Emptier Streets, anchored by the poignant “Come To Me” (tracing her brother’s bout with Leukemia). Sure, the key pounding and pensive lyrics can all blur together, but the singer-songwriter’s crystalline pipes are undeniably glorious. (www.katherineschell. com)
– Andy Argyrakis

It’s hard to imagine another band blending Chicago pride and Irish joy as agreeably as the Sharky Doyles. On Back Of The Yards raucous ditties like “Ryan South” sing the praises of local landmarks, while tunes such as “Kings Of The One Eleven” and “Rakes Of Mallow” – the latter a bagpipe tribute to the late Eddie Hrebic – radiate a zesty Gaelic zeal. It’s been said that on St. Paddy’s Day everyone’s Irish: the same holds true while listening to this disc. (www.sharkydoyles.com)
– Jeff Berkwits

Any doubts The Sleepers could maintain the manic energy of their self-titled, four-song demo on a full-length disc are demolished on Push It Nationwide. Having three back-up vocalists helps powerhouse singer Tommy Richied keep this hard rock party going, while lead guitarist Tony Manno sparks the wild jamming on “I Will Destroy You” and “Lonely.” (www.thesleepersonline.com)
– Terrence Flamm

Singer-songwriter Linda M. Smith is heavily folk/rock influenced and conceptualized on her third album release, Artemisia, an album based on the life of 17th-century Italian painter Artemisia Gentileschi. Smith is a decent singer and delivers her fans a beautiful, gentle song cycle in the Suzanne Vega/Natalie Merchant mold. Fans of lyric-based acoustic music should seek her out. (www.lindamsmith.com)
– Mike O’Cull

Stuck Underwater combine the might of Metallica with the peculiarities of Primus. While occasionally incoherent on tracks like “So What’s The Question,” it’s touches like vocalist Chris Shern’s trumpets on “My Great Obsessions” and “Wicked Abortion” that save this self-released, four-song EP. Definitely for the more left-of-center speed metal fans. (www.stuckunderwater.com)
– Dean Ramos

The Timeout Drawer‘s third release, Nowonmai, offers eight lengthy, instrumental mood pieces built on electric guitars and various keyboards. The trio sometimes drones on a bit, so adding guest musicians was a good idea. “Bursting With Tears, I Commit To Destroying You” is the most adventurous cut, while “Blue Eyed And Filled With Horror” comes across like a countercultural “Bolero.” (www.timeoutdrawer.com)
– Terrence Flamm

More or less a place holder between four full-lengths and projected fifth recording, B^Sides is a collection of 26 unused Travel recordings from 2000 to 2002. Listening to it in a single sitting is akin to an evening at an avant garde coffee house, with relatively straightforward poetic garage rock songs intertwined among cut-and-paste lyrical and otherwise experimental sonic excursions. While the latter can veer toward being a tad too artistically precious, they are counterbalanced by those instances (e.g. “Erasing” and “How I Know I’m Still Missing”) where great rock songs are threatening to burst through at any moment. (www.darrencallahan.com)
– David C. Eldredge

Of all the live hip-hop bands in Chicago, none have drawn as many comparisons to The Roots as Treologic. Upon listening to their new album, Thank You, Lenny, this comparison doesn’t really seem that outlandish. But while both bands possess a heavy jazz foundation, Treologic’s vibe is considerably more upbeat. Their jazzy and soulful brand of feel-good hip-hop can at times be predictable, but they’re going to get hands clapping regardless. (www.treologicmusic.com)
– Max Herman

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