Around Hear Page 2
Sebastian Dior‘s attempt at innovative/experimental pop R&B falls a bit short on God Complex. When not slightly dull or clichéd on such tracks as “Things Can Change” and “Fallen Nature,” he slightly irritates on cuts like “Questions” and “The Martyr.” While he definitely should be commended for wanting to try something fresh and new, Dior’s execution can use a bit of sharpening. (www.sebastianworld.net)
– Dean Ramos
Home Alive captures Down The Line‘s energetic live performances at Schubas in October ’07. Live, their blend of Americana, folk, and acoustic pop rock sparkles and snaps with a resounding ring. Shimmering harmonica bursts add a sharp pop to “Change Your Mind,” and their imaginative interpretation of “Everybody Wants To Rule The World” sounds as fresh and as their brisk originals “Last Call and “Here I Am.” (www.downthelineband.com)
– Patrick Conlan
Though the band’s name is loosely derived from the “Dune” series of sci-fi novels, there’s nothing futuristic about The Duncan Fishspeakers‘ full-length debut, Buy The Hook. It’s filled with 14 eclectic yet relatively old-school hard rock numbers influenced by such acts as the Red Hot Chili Peppers, Rush, and Steve Vai. “Relationship Command” offers a powerful prog-rock vibe, while the in-your-face guitar assault of “Face Of The Revolution” is appropriately expressive and impressive. (www.fishspeakers.com)
– Jeff Berkwits
Ester Of Ashland cover an impressive stretch of musical ground on Sorry For You. Mild freak-folk mingles with a touch of low-slung country and hints of bluegrass, while the withering vocals contrast with the aching guitar and swaying melodies. The tender, delicate “Moonshine Lullaby” is built from a simple guitar line and Sarah Holtschlag’s sweetly plaintive voice. The steady rhythm and dusty twang in “Tripwires” tingles with an otherworldly vibe. The variety of instruments – organ, uke, singing saw, and washboard – add texture to the deceptively complex arrangements. (www.myspace.com/esterofashland)
– Patrick Conlan
Any boss would be impressed with the type of effort put forth by The Employees on the band’s 13-track album, See The Shadow. Opener “Another Summer Day,” an optimistic take on long-distance relationships, sets the tone with chiming guitars, non-threatening (soothing, even) vocals, and a theremin for special breezy effect. The songwriting is mature, and the band makes all the right rock moves: “7-2 Bend” with its competent lead-guitar stylings, “Pocket” and “Polyester Pants” with vocal harmonies, and “Come In Here” with Frampton theremin noodling. (www.theemployeesband.com)
– Jason Scales
Keefe Jackson’s Project Project draws together 12 musicians for some extended adventures in free form jazz on Just Like This (Delmark). Jackson, a tenor saxophonist and bass clarinetist, composed most of the music and is a featured soloist on the title track as well as drummer Frank Rosaly’s “Wind-Up.” Most of the band members get some time in the spotlight, as the music flows from way-out experimentation to more traditional arrangements. (www.keefejackson.com)
– Terrence Flamm
It’d be great to say bassist Michael Manson somehow broke fresh ground with his adult contemporary CD, Up Front, but sadly that isn’t true. He offers an appealing take on Boyz II Men’s “End Of The Road” plus some notable fretwork on originals “Bring It On” and the title track, but all in all the 13 songs (which include two shortened reprises) add nothing new to the smooth jazz idiom. (www.michaelmanson.com)
– Jeff Berkwits
Singer-songwriter Paul Manousos plays piano and guitar, writes hooky, classic rock-influenced songs, and has a strong and listenable singing voice to top it all off. His latest CD, Common Thread, goes down smooth, like an undiscovered Van Morrison/Beatles album and is impressive from the first spin. Dig “Don’t Cry” and “Spell I’m Under” to start. (www.myspace.com/paulmanousos)
– Mike O’Cull
Reflective of the 14-musician “army” and “quartet offensive” supporting him, the songs on Cameron McGill‘s third release, Hold On Beauty, are richly layered, intricately produced pop confections that, while occasionally bouncing toward a McCartney-like music hall/vaudeville yin, wisely rebound to a more grounded Lennon-like yang. While one can quibble whether it’s the production or McGill’s own phrasing/less-than-clear diction that oft’ gets in the way of his lyrics, evidence of near-perfect music equilibrium is clearly heard in opener “Depression Glass” and closer “XO Hurts” – the latter’s coda, “When you’re in love you know you won’t listen,” resonating long after the CD ends. (www.cameronmcgill.com)
– David C. Eldredge
The four veteran musicians comprising Chicago’s Readysuits were ready for a fresh start when they started writing the post punk tracks that make up their self-titled debut EP. The guys’ maturity oozes through every nook and cranny of the songwriting and production. They’ve developed a sound with the fun and urgency of the Arctic Monkeys, but the patience and diversity of Band Of Horses, which most brilliantly comes together on the moody “Spies.” (www.readysuits.com)
– Carter Moss
Category: Around Hear
