Around Hear Pg. 2

Beyond boasting solid musicianship, Sam Reicher and Antony Ablan of Chicago-based quartet Blackdog can sing like seasoned vets, as heard on the band’s self-titled debut. Both have robust, gruff voices, which work with whatever sound the band is after, whether slow-churning blues (“Crawlin’ Kingsnake”) or classic rock (“Hey Mama”). Innovation may not be its strong point, but Blackdog makes a good first impression regardless. (www.yourblackdog.com)
– Max Herman

Hard-hitting trio Bruiser taps into feelings of alienation and frustration on its six-song slugfest, Right Before The Stop Ahead. The snarling, vaguely British-sounding vocals and catchy melodies add a pop sensibility to the band’s approach. “Loud Verse Soft Chorus” has an elaborate arrangement that includes keyboards, while “Parasite” rocks with punk intensity. (www.myspace.com/bruisermusic)
– Terrence Flamm

Combining Krautrock-inspired synth minimalism with ultra-mellow dance beats, Chandeliers offers a great electronic escape on its first full-length, The Thrush. From the opening track, “Mr Electric,” though captivating tunes such as “Big League” and “Bamboo,” the nine cuts offer perfect opportunities to by turns zone out, make out, or chill out. (www.myspace.com/chandeliers)
– Jeff Berkwits

The most interesting track on Fierce Atmospheres‘ self-titled, three-song CD is “Nashville Sessions Medley,” an instrumental metal-chops exercise where the band showcases what it can do. This is not so much an endorsement of the musicianship, which is sharp, but an indictment of the vocals, which come across like an Iron Maiden cover band on the other two songs, “Amo-ngst The Shadows” and “Glass Terrain.” (www.myspace.com/fierceatmospheres)
– Jason Scales

Jokr‘s Psycho Sync is a massive conceptual project – a double album that offers an alternative soundtrack to Hitchcock’s Psycho. Jokr runs the gamut with influences ranging from Pink Floyd and The Who to Rodgers & Hammerstein and traditional American folk. The juxtaposition of the leftfield pop of “Oasis Motors” nestled alongside the trippy psychedelia of “Mother, Blood” is as unexpected and surprising as the suspenseful turns from the source inspiration. (www.jokrcode.com)
– Patrick Conlan

Lucid Ground continues to sharpen its songwriting acumen and expand its sonic palette on its latest EP, Conflicts & Tides. Thankfully, the band retains its tough, lean, muscular edge, and Karl Hafner still recalls a mature, more versatile Eddie Vedder. The opening track, “Downcast,” and the anthemic “Embrace” hit with the familiar force of supercharged guitars and Hafner’s soaring vocals, but “All To You,” “Learn To Speak,” and “Follow” show LG can pack plenty of power into slower, more complex arrangements, too. (www.myspace.com/lucidground)
– Patrick Conlan

Minnesota-bred Chicago act The Minneapolis Henrys keeps things friendly on its debut, The Way Of The Albatross. The indie rock group largely prefers an untroubled output highlighted by refined guitar riffs melded with intricate drum patterns and jovial vocals best heard on songs like “The Photograph.” Even when lead vocalist/guitarist Jai Henry veers toward anger (“Stay Away”), the Henrys maintains its cool, making this album ideal for fans of relaxed yet progressive rock. (www.myspace.com/mplshenrys)
– Max Herman

While one can appreciate what Pryce is attempting on Natural History, she unfortunately falls a bit short. With a bit of Kate Bush in her vocals, her music is dreamy, poppy, tragic, and even a bit slinky at times, but getting further into the disc, the songs begin to lose their luster as it becomes difficult to differentiate one song from the next. Natural History would be an exponentially more listenable release if Pryce simply decided to mix it up more. (www.paulapryce.com)
– Dean Ramos

The Righteous Hillbillies is blessed with Southern rock talent in the tradition of The Black Crowes (evident from opener “Black Jack Mama”) and ZZ Top (clearly on “Mexican Rodeo”) during its 10-song, self-titled debut. The ballad “I’m Not Feeling You” tempers the rowdy good time, and slide guitar highlights a catchy, square-danceable chorus on “Cassie.” The production sparkles throughout for the band, which has clearly honed its sound live. (www.righteoushillbillies.com)
– Jason Scales

There’s an appealing minimalism to Thin Cities, the most recent release from Southern Illinois’ Secondary Modern. Whether it’s the folksy simplicity of “Swedish-Made” or the pop purity of “Kings Speaking Prose,” the 13 straightforward rock melodies are neither overpowering nor overproduced. Now and again the effort gets tedious, but generally it’s an amiable excursion. (www.myspace.com/secondarymodern)
– Jeff Berkwits

A pop rock act with blues and alt-rock undertones, Taxi‘s self-released, five-song One Night With Me is often sad and maudlin (“Things I Can’t Hear”), sometimes entirely rockin’ (“Million”), but overall disappointing. While ending on a rather endearing note with the country-esque “Home,” most of the disc is rather dull in comparison, and the whispery, yet sometimes strained vocals of lead singer Brian Petzal leaves a bit to be desired. (www.myspace.com/taxirockschicago)
– Dean Ramos

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Category: Around Hear