Local CD Reviews

A slick, full-color press kit accompanying a three-song sampler by a band with a nondescript name can mean only one thing: Chicago’s Ash Avenue wants to be the next Matchbox Twenty, The Wallflowers, Gin Blossoms, etc. With a paint-by-numbers adult-alternative sound, this five-piece is certainly on its way to completing a tired, but always-selling package. The three bland tracks on this sampler basically blend together, so all Ash Avenue needs now is a memorable song. (www.ashave.com)
– Joseph Simek

Bee play summertime, shiny, modern pop focused on Nicholas Markos’ jangly, shimmering guitar and winsome melodies on Overground Breakthrough (Tie). “Birdy Deluxe Super-star” has the makings of a radio hit with its organic guitar tone and slippery melody. Chiming keys and layered production turn the antiseptic “Spinning Around In Circles” into an oddly pleasant, droning pop song. (www.tierecords.com)
– Patrick Conlan

Singer/keyboardist Leslie Bowe covers affairs of the heart on his full-length, Through My Eyes, with help from a top-notch back-up band. His soulful vocal style works well on the romantic pop of “It’s You” as well as the melancholy “I’ll Be Waiting.” The smooth jazz approach seems odd for the politically charged “Mr. Man,” so Bowe wisely added a more effective acoustic version featuring just himself and guitarist Dan Shields. (www.lesliebowe.com)
– Terrence Flamm

Four LPs under its belt and Cats & Jammers is still going full force with its pop-almost-punk. From Wholelottagoddamn‘s opener, “Rock And Roll Invasion,” to the last track, an “anthem murder (power) ballad” called “Stabitty Stabitty Stab Stab Stab,” this Chicago three-piece covers a wide range of topics from government propaganda to a healthy obsession with women’s tennis. Front on the witty pop shtick all you want, but this time around the songwriting is surprisingly good. (www.catsandjammers.net)
– Joseph Simek

The Collection, a new side project headed by Plane vocalist Edgars Legzdins, aims for an off-the-cuff spirit on its 27-track debut, Love Will Never Be The Same, but sounds self-indulgent instead. Half the CD is wasted on dead-end snippets, phone messages, and cornball schtick. Legzdins rewards those patient enough to wade through the debris with catchy rockers like “You’re A Rat” or the faux Beach Boys pop of “Anna Taylor’s B-Day Song.” (www.myspace.com/thecollection)
– Terrence Flamm

Sometimes (Green Jelly, Spinal Tap) a band parodying heavy metal pull the gig off better than the bands they mock. It is evident by the absurd costumes Cealed Kasket sport on the photo of their self-titled release they aren’t completely serious: Songs like “Fuckin’ Murder You” (“I’m gonna rip your arm/put it in my display case/then I’ll put somethin’ in the hole where your arm was/but don’t worry, it will be cool”) quickly confirmed those assumptions. But being stupid never stopped us from loving Turbonegro! (www.cealedkasket.com)
– Trevor Fisher

The Chicago Drop Volume 2 is an encouraging glimpse into the local underground hip-hop scene. In general, the 11 bands bands (Bad News Jones, Heiruspecs, Treologic, Abstract Giants, Small Change, Planets Audible, Star People, Know Boundaries, Tabakin, Dynamic Vibrations, and Dumate) provide well-produced and at times intricate compositions of mellow and confident hip-hop. Stand outs include “5ves” by Heiruspecs and “Integrity” by multi-instrumentalist/rapper conglomerate Abstract Giants. (www.thechicagodrop.com)
– Jason Scales

Christian Collin And Molasses are playing the music of Elvis, Buddy Guy, and Jimi Hendrix. Many an attempt at the modern blues rock tune has lead to persona depictions that sound like the pitiable ramblings of a poser. Sounding authentic against the fire of an electric guitar and the ever presence of the genre’s predecessors is nearly impossible. But on Molasses Disaster Collin and his band achieve the unachievable and initiate a resurgence in blues rock that rivals that of Stevie Ray Vaughan’s. (www.molassesdisaster.com)
– Angie Maldonado

The Complexx is a curious collection of several bands and styles that originate from a single man – Kevin Branigan. As the band Radius, Branigan masquerades as a stylized electro-buzz outfit that undulates from swirling, jangly pop to super-charged, high-gain guitar fuzz on “No Regrets.” Prince Apology’s “Never” is a mix of house beats and swooning vocals. (www.myspace.com/complexx)
– Patrick Conlan

Burn Rome Burn‘s music on Bottle Boy is an immediate attention grabber thanks to the band’s use of guitar and fiddle as competing lead instruments. The approach works particularly well on energetic songs like “Nothing’s Changed,” although the slow, mysterious “Mermaid” could use a more compelling arrangement. “Bombs Away,” a melodic pop tune, is reminiscent of Dexy’s Midnight Runners’ “Come On Eileen.” (www.burnromeburn.com)
– Terrence Flamm

Merging the assorted sounds of ’80s power ballads, lighterless amplified tracks, and the lead vocals of a blues-influenced Sinead O’Connor, Eyes Of Blue Sky – the second CD from Faceless – praises the righteousness of a greater power. The five-member Christian rock band promotes the significance of perseverance in existence with every track on Blue Sky. And, religious advocating notwithstanding, who couldn’t use a daily dose of keep on keeping on? (www.facelessmusic.com)
– Angie Maldonado

The Fource make good use of two-part harmonies and Americana arrangements on their full-length effort, HitchHikin’ Through Life. Bob Kramer’s harmonica augments the homespun ambience, and he’s just as impressive playing guitar and mandolin or backing talented vocalist/guitarist Jerry Catalano. Occasionally, the “life’s a journey” sentiment unintentionally approaches the folk satire of A Mighty Wind, so it’s good to hear The Fource having fun with the the C&W flavored “‘Til Something Better Comes Along.” (www.thefource.com)
– Terrence Flamm

Nate Halvorson‘s collection of original songs on The Rose Hill Jubilee isn’t helped by his weak and unsupported vocals. His wordy lyrics are too often rushed and suffer (even when slowed down) from poor enunciation throughout. This is a shame because, rote drumming aside, they overshadow and mask what sounds to be fairly accomplished playing. (www.nateh.org)
– David C. Eldredge

Although the three rough-and-tumble tunes on Ideogram‘s sampler – “Sorry For Something,” “About You,” and “Hard Times” – brim with energy, they’re also utterly banal. Guitars wail and drumsticks flail, yet in the end there’s nothing original. The five band members certainly know how to hammer on their instruments; next time they’ll hopefully hammer out some fresh ideas, too. (www.ideogrammusic.net)
– Jeff Berkwits

How does a local indie rock band stand out in today’s crowded indie rock arena? Ask Mark JigGsaw, who sat down to write a “poetic” indie rock album. His result is Zero Generation, the debut LP from his band JigGsaw. While none of the 10 tracks screams “hit single,” JigGsaw did capture at least some original and memorable rock. And with tracks like “Swimming In A Sea Of Alcohol” and “A Fair Warning To An Underage Lover,” it might even be considered poetic. (www.playing-field.com)
– Carter Moss

Frances Mai-Ling is a gifted pianist whose playing flows beautifully throughout her 10-track Chronology. She’s not as adept at writing lyrics, and her vocals still need some work, but Mai-Ling’s experience composing scores for independent films and theater shines through on the delicate instrumental “The Understatement.” A portion of the proceeds from Chronology will be donated to the American Stroke Association. (www.mai-ling.net)
– Terrence Flamm

Religious-minded couples planning to get hitched might want to check out Love Said by Jay Mathes. His six acoustic guitar-based songs cover both the romantic and spiritual aspects of matrimony. The lyrics are sometimes awkwardly phrased, but Mathes is a solid singer and guitarist, especially on “To Be” and “No One Makes Me Happier.” (jaymathes@jaymathes.com)
– Terrence Flamm

Despite the sonic complexity of Midstates‘ sophomore release, Boxing Twilight, which features multiple layers of synths, guitars, and other instruments, there is an oft-jovial feel that makes this album rather pop friendly. In fact, don’t be surprised if you hear songs like the spacy-yet-feel-good “Don’t Ask” on your favorite hit TV dramas like “Grey’s Anatomy” in the near future. (www.midstatesmusic.com)
– Max Herman

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Category: Around Hear, Monthly