Around Hear Page 2

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Rapper Marz may have been born and raised in the hostile streets of Croatia, but on his new album, Against All Odds, he divulges more in his respect for gangstas and his love for dough than his childhood struggle. Perhaps the aptly-titled “Thug Vibe” best describes his sound. With a never-ending arsenal of bouncy, synth-heavy beats, Marz makes great club music, even if his lyrics aren’t as telling as they could be. (www.marz.ws)
– Max Herman

The 1900s pay homage to psychedelic pop bands of the ’60s while infusing their repertoire with light touches of sparkling twee pop. The organic sound is rich and warm allowing the bright, airy songs on Plume Delivery (Parasol) to shine. Swirling keyboards usher in cool, hazy female vocals in the psychedelic carnival soundtrack, “Bring The Good Boys Home.” There’s a hint of sweet folksy twang in the “Whole Of The Law.” (www.parasol.com)
– Patrick Conlan

The Dekalb-bred pop punk foursome Not Eliot should’ve spent more time practicing before recording Sentenced To A Let Down. Like the title implies, the disc is definitely a disappointment, lacking skill in the instrumentation and production. The only saving grace is a comical cover of Chris De Burgh’s “Lady In Red,” akin to Fall Out Boy or MxPx. (www.myspace.com/notelliot)
– Andy Argyrakis

Following in the footsteps of shredding noisemakers such as Shellac, Orange Drink play scrawled, scrappy tunes infused with a post punk ethic, i.e. a healthy disregard for anything that would make the music immediately accessible or pleasurable. Electro-glitch passages, wavering droning feedback, acoustic strumming, incisive guitar lines, and howling vocals are just a few of the elements employed in fabricating The Widomaker (Hemlock). (www.hemlockrecords.com)
– Patrick Conlan

Pie-Eyed Pete comprises seasoned local musicians Peter Cimbalo and Jim O’Donnell (Lost Luggage, Diplomat 6), John Whildin (Odd Man Out, the late great brainchild of *IE’s own John Vernon), Phil Levin (Yard Sale, Million Yen), and John Pirruccello (who has played with Keith Richards and Nicholas Tremulis). On their third offering, Dandelion Wine, PEP deliver nine country rock tunes a la Steve Earle, Joe Ely, and The Dashboard Saviors. Though a little heavy on constantly busy guitar lead, these songs are ready for the jukebox of every roadside tavern from here to Bakersfield. (www.pieeyedpete.com)
– Penelope Biver

On their third full-length, Bang Bang Bang, Alabama-bred Uptown dwellers The Remnants mix a highly satisfying batch of Ramones-esque punk with a dash of Southern-fried soul. While the bulk of these energized tracks exude this trio’s overall jubilance, when they tone things down, like on the melancholy insurgent country-ish “I’ve Been Beat,” their sound fares just as well. With their latest, The Remnants prove they just might be the best up-and-coming punk band in Chicago. (www.theremnantsrock.com)
– Max Herman

If every suburban band were as accomplished as Scenic Route, the local hard rock scene would be renowned worldwide. Totipotent, the group’s debut EP, is extraordinarily forceful, with cuts like “Sipapu” and “Overdriven” providing pile-driver beats even as “This Point” offers a pensive (but no less brawny) guitar and keyboard interlude. All five tunes are compelling, hinting at a future that should be both scenically and sonically promising. (www.scenicrouteband.com)
– Jeff Berkwits

If John Hiatt, Shawn Mullins, and Jeff Buckley morphed their voices together, it would sound something like Brian Sharpe, a Southern California-born transplant to the Windy City. On The Usual Stories & Usual Lies he combines smoky leanings (“Long Island Sound”) with gravely tones (“Last Goodbye”), and an angelic vibe (“Just Like You”) to create a highly satisfying listen. (www.briansharpe.com)
– Andy Argyrakis

Despite spending nearly a decade in Chicago band Pedal Steel Transmission, it wasn’t until Dan Schneider started the solo project The Singleman Affair that he got the attention of U.K. label Poptones and released his debut, Let’s Kill The Summer, overseas. With its lush ’60s folk pop core and psychedelic garnishing via sitar and wurlitzer, Schneider seems torn between melting our hearts and expanding our minds. Ultimately, that’s what makes this record work. (www.cardboardsangria.com)
– Joseph Simek

There’s something unbelievably pure and sweet about Sleeper Car. Shy Me is a beautifully slick album, flush with genuine Southwestern twang, tinged with a touch of alt-country and Americana. The title track is simply gorgeous with its rich layers of instrumentation and heavenly melody, and “Ballad In A-Minor” is equally satisfying, with perfectly strained vocals and a simmering rhythmic pull. (www.sleepercarband.com)
– Patrick Conlan

After just a single listen to Tyler Stephenson‘s six-song Life it’s obvious who tomorrow’s next big Broadway star will be. With sweet covers of “I’ve Got the World On A String,” “Only One Life,” and “On The Street Where You Live,” it’s clear that showtune-esque tunes like these fit this crooner so much more than the adult contemporary fare of “At Last” and “My Funny Valentine.” (www.tylerstephenson.com)
– Dean Ramos

Street Van keep on rolling with their scrappy, rambunctious rock. Reverb drenched guitars hum along slowly before erupting into a spine-tingling coda in the soulful, bluesy ballad “Leaving Trains”; they take a similar approach on the mesmerizing “Second Skin.” Whether they’re celebrating classic cars (“Old 64”) or carefree attitudes (“Happiness”), the Van’s sharp songs sound remarkably fresh. (www.streetvan.com)
– Patrick Conlan

Despite the fact most folks have probably never heard of Vince San Filippo, on Another Space In Time he has inexplicably decided he’s already notorious. Teamed with vocalist Lauren J. Kurtz, The Artist Formerly Known As Vince & Lauren (abbreviated as TAFKAVince & Lauren) offer seven agreeable acoustic numbers, highlighting capable guitar and pleasing harmonies on tunes like “Straight & Narrow” and “Folk Song.” Notwithstanding the oddly narcissistic name, it’s a sweet and altogether solid effort. (www.vincerock.com)
– Jeff Berkwits

Sparse acoustic instrumentation, breathy vocals, and introspective lyrics on “Rumor, The,” the first track on Them Damn Kids‘ 12-track CD, evokes a Cat Stevens-style pop folk sound. Other tracks follow suit with limited percussion and single-string guitar picking or strumming, which belies the fact the band has five members. “Muse” adds a harmonizing female backing singer to the understated delivery, but it’s not enough to raise the blood pressure above “napping” mode. (www.themdamnkids.com)
– Jason Scales

Listening to the ultra-raucous sounds of Tower Of Rome on World War 1, it quickly becomes clear their music will only appeal to fans of grindcore – from this album at least. Their songs do come in quick doses (all under two minutes), but the thrashing, incomprehensible madness of their sound is a tough pill to swallow. (www.hewhocorruptsinc.com)
– Max Herman

The Unemployed, at least on this five-song EP, is Brian Broscoe (drummer Tony Virgilio has since joined the fold), and he pulls off a pretty impressive one-man power pop band. The melodies are sometimes too familiar (“Am I Bitter?”), but they are plentiful and extremely catchy. Weezer is the most obvious influence acknowledgement, borrowing the same bouncy beats and crunchy riffs for “Self Deprecate” that Rivers Cuomo built his success on, but Broscoe adds enough of his own personality to avoid being a mere rip off. (www.theunemployed.net)
– Trevor Fisher

Walking Bicycles have taken off the training wheels for their second EP, Disconnected, careening through eight fresh songs including the grinding, guitar-driven “Desperate” and two separate renditions of the energetic “Welcome To The Future.” Strong vocals – courtesy of effervescent singer Jocelyn Summers – are a highlight, along with dynamic post punk beats. It’s obvious the band are having fun; there’s little question listeners will, too. (www.walkingbicycles.com)
– Jeff Berkwits

Jen Zias presents witty, intelligent interpretations of smooth jazz, sultry swing, and easy listening standards on her self-produced/self-released debut, Take Me With You. “Nice & Easy” benefits from the satisfying thump of upright bass and Zias’ trilling voice as she floats above a playful piano.With its soft, jazzy piano and delicate brush percussion, her original composition, “Can’t I Lie,” sits comfortably among this collection as well. (www.jenzias.com)
– Patrick Conlan

Category: Around Hear