Around Hear Page 2
Although technically proficient, Finneus‘ Superstar & The Ballerina may be a bit too testosterone-fueled for some, due in no small part to ’70s/’80s vocal stylings of bassist Dave Bucher. Blues-tinged in some areas and metallic in others, Finneus even incorporates a little ska. Despite this bucket of influences, the end product leaves a rather bland and trite taste, wanting for something a little more flavorful. (www.finneus.com)
– Dean Ramos
Anhedonia is a medical condition defined as the inability to experience pleasure from normally pleasurable life events. It’s also the name of a 12-song CD by The Graduate, and an ironic one at that. Each song, produced to a shimmering polish, yearns to induce emotion, if not outright aural pleasure. “Better Company” nails the emo vibe with tambourine, chiming guitars, and soft/loud rock contrasts. And it’s clear, even on the short “Interlude” track, these guys from Springfield take pleasure crafting pop rock tapestries. (www.myspace.com/thegraduaterock)
– Jason Scales
Chicago rock trio The Great Perhaps are hoping to stake their claim in the crowded alt-rock arena with the recent release of their debut LP, We Won’t Be Sitting Down. Lead singer Blake Sloan’s voice is a unique mash-up of Isaac Brock and John Fogerty, and the band’s laid-back guitar rock would make a decent opener for either band. Instrumen-tally, the group can hold their own, but not much more, so for now they need to be carried by Sloan’s vocals and personality. (www.myspace.com/thegreatperhaps)
– Carter Moss
Throw in a banjo, a mandolin, and a violin and somehow the standard rock band becomes far more interesting. Haywood Yards pulls this feat off nicely. Combining classic rock with gypsy bluegrass flourishes, the quintet’s self-titled debut album gives off a Gogol Bordello vibe, yet less outrageous. Mike Semrad’s phrasing brings Black 47’s Larry Kirwan to mind, while Adriene Gregg provides sweet harmonies along with a sinewy violin. (www.haywoodyards.net)
– Janine Schaults
Cellist Alison Chesley, a transplanted Californian by way of Northwestern University’s music program, takes on a daunting task and largely succeeds. Recording under the name Helen Money on a self- titled, 11-track debut, Chesley composes experimental rock instrumentals using multi-tracked cello progressions played through a guitar amp and supplemented by simple guitar strumming. It’s perfectly mixed on “I’ll See You In Hell,” with most tracks resulting in trippy, dreamy explorations and a subtle, haunting beauty. (www.helenmoney.com)
– Jason Scales
Only two bands truly distinguish themselves on Windy City Records’ 21-song Hostage Radio: Winter Compilation 2006. That’s saying a lot about those two bands, but it’s also a commentary on the rest of the tracks. “Seep” by Soul Fix rocks the hardest, while Raised On Zenith‘s “You Found Out” proves to be the most sophisticated. As a side note, at least two bands sound like dead-on Red Hot Chili Peppers cover bands: Slinky Styles with “Custom Reality” and Black Top Vinyl with “Army Hat.” (www.hostageradio.com)
– Jason Scales
JT & The Clouds sound like the latest Americana band out of Memphis, cranking out their Southern country-tinged rock and soul. So it’s surprising to learn they’re actually from Chicago. A hint of some of that infamous Chicago blues does ooze through at times, but not nearly often enough. JT Lindsay’s Jack White-influenced story telling and falsetto combined with The Clouds’ full and constantly changing roots rock provides for some real soulful fun on half the disc, but the rest of it falls as plain and uninspired. (www.jtandtheclouds.com)
– Carter Moss
Two singles from Lacona‘s nine-month-in-the-making full-length, Pantomime, showcase a band at odds with its own sound. “35/Half Of 70” sounds like an outtake from Kenna’s 2003 New Sacred Cow, with its woozy synths and tub-thumping percussion, while “President’s Day” goes the alt-country route with a lilting slide guitar. Each single is paired with a B-side that fails to complement its accompanying song, though they excel alone. “Stuck Up” kicks off with a breezy “My Sharona”-ish drum beat, and “Wet Snow” ends in a polyphonic spree of bells, horns, and percolating guitars. (www.laconamusic.com)
– Janine Schaults
New Aesthetic‘s revved-up songs on their five-song live.love.breathe.eat.bleed.dance. play.ROCK could compete with O.A.R. and OK Go for air time. Lead vocalist/guitarist John Florek and Dan Puccini are particularly impressive, but there’s an assembly-line feel to the way these songs were created. The slower “Lost & Found” finds the band trying a different approach. (www.newaeatheticmusic.com)
– Terrence Flamm
Patchwork adds a whimsical touch to the slacker rock on its latest effort, the six-song Work And Worry. Lead singer Jeremiah Nelson evokes Paul McCartney or Ray Davies on the vaudeville-styled love song “Laura Lee,” and the energetic “A OK” moves to an irresistible beat. Patchwork occasionally lingers too long, like adding a three-minute coda of meandering synthesizer to “Chasing Down The Sun.” (www.myspace.com/patchworknoise)
– Terrence Flamm
Category: Around Hear
