Local CD Reviews
“Around Hear” is a monthly feature where a stable of IE writers review albums sent to us by local musicians. If you are interested in having your CD (must have a minimum of three songs) reviewed and are Illinois-based, mail it and any other media materials to 657 A W. Lake St., Chicago IL, 60661. Everything that meets the aforementioned guidelines will be reviewed in the order received. This may take several months.
There’s simply no neat way to summarize what Algernon sounds like on Familiar Espionage, though the instrumental troupe drops hints of indie rock (“Eraserhead”), jazz (“Transmission Received”), and classical chamber music (“Mission Protocol”). The highly unusual but surprisingly well-blended mix falls somewhere between the ongoing hipster appeal of Tortoise and the random but deft ramblings of Brand X (Phil Collins’ overlooked ’70s experimental jazz act). (www.myspace.com/algernonmusic)
– Andy Argyrakis
Ted Aliotta doesn’t sing as much as offer emotion-filled inflectional phrasings on the 10 originals comprising Groove Machine. The songs more often than not sound like televangelist musical interludes exhorting one to “just think love,” “go towards the light,” “stand together for the cause,” etc. But then “Beer” – all about “the legal high” that’s “the best buzz” – inexplicably finds its way into the mix. Weird. (www.tedaliotta.com)
– David C. Eldredge
Pop rockers American Taxi sound like they’re aiming for the “TRL” crowd on their upbeat EP, Runaway Songs. While the trio’s standard sound is no doubt radio-friendly, some of the catchiest tracks here also have the most lyrical depth. Such is the case with “Dead Street,” a powerful look at addictions that consume modern society from alcohol to TV. (www.myspace.com/americantaximusic)
– Max Herman
Rookie MC Astonish has ascended quickly in the Chicago hip-hop scene, thanks in part to a strong push from his established Molemen crew. But beyond the quality beats provided by his crewmates on From Now Until Forever, this Chicagoan has a voice and flow that’s not easily forgotten. Astonish is the rare rhymer who sounds convincingly heated yet not overly agitated. Though his braggadocio can become overblown, when he vents about financial woes or explores the hustler mentality, you want to listen. (www.myspace.com/astonishmusic)
– Max Herman
Chicago’s Blueblood might just be a blues band trapped in a punk band’s body. Their Have Mercy debut EP is chock-full of the under-three-minute fast-paced songs of a garage band, but Des Enfants’ vocals are much more suited for soulful blues. The real problem is they never quite figure out how to effectively mesh the two sounds, coming closest on finale “The Faster We Lived.” (www.myspace.com/bluebloodworldwide)
– Carter Moss
Bongripper offers an intricate pot-smoking soundtrack on its latest CD, Hippie Killer. The 10 lengthy instrumental tracks – most notably “Reefer Sutherland” and “The People Mover” – broadly paint a moody stoner metal landscape with atmospheric guitar-effect experiments wedged between. The band plays to its psychedelic strengths, but rare vocals used on “Terrible Bear Attack,” an uptempo break from the hypnotic sludge, are unintelligible, angry, and might kill your warm-and-fuzzy buzz. (www.myspace.com/bongripper)
– Jason Scales
Ari Brown plays a tough Chicago tenor sax and has performed and recorded with many major figures, including Lester Bowie, Elvin Jones, B.B. King, and Lou Rawls. His jazz contains hard bop, post bop, and avant-garde influences but still remains direct and listenable. Brown is never overly complex and is always full of emotion and vibe, which makes Live At The Green Mill (Delmark) almost as much fun as being there watching it go down. “Richard’s Tune” is outstanding, but Brown and his band carry each song over the goal line. (www.delmark.com)
– Mike O’Cull
Expect a follow-up to Canasta‘s last LP, We Were Set Up, later this year. In the meantime, the band has released a collection of remixes called We Were Mixed Up. For a chamber pop band, this Chicago outfit should be applauded for taking the risk. However, the music rarely lends itself to some of these electronic dance versions, and with more than 100 minutes of music (and often multiple versions of the same song), the album borders on overkill. (www.canastamusic.com)
– Joeseph Simek
Learn The Hard Way is the latest onslaught from veteran punkers The Copyrights. Most of their high-speed songs rail against conformity and boredom, though a few, like “She Turns It Up,” celebrate the joy of finding companionship amid the frustration. “Charlie Birger Time” honors a 1920s-era gangster. “Switchblade” and “On The Way Out” evoke The Clash and Dead Kennedys respectively, but The Copyrights seem to have picked up most of their inspiration from the Ramones. (www.myspace.com/thecopyrights)
– Terrence Flamm
The best way to describe Destroy Everything‘s Freedom Of Speech Means Talk Is Cheap is probably the Midwest’s answer to Operation Ivy/Rancid. Possessing all the aggressive, anti-capitalist values a good DIY band like this should have, the first six tracks are nothing short of punk rock gold (especially cuts like “Dickhead” and “No Punk Intended”), but after awhile, it becomes difficult to differentiate one song from the next. (www.destroyeverything.com)
– Dean Ramos
Category: Around Hear, Columns, Monthly
