Around Hear: September 2013

When you’ve got enough band members to field a baseball team, the music could easily go in nine different directions. Fortunately, Chicago Loud 9 avoid that trap on its invigorating, 10-song jazz/rap/rock debut, cLOUD9 LP. It takes a bit to warm to the album’s unique assortment, but by the time tracks like “Almost Let It Get To Me” and “Chill Wait” kick in – both featuring pitch-perfect brass vying with razor-sharp vocals – it’s impossible not to wish for extra innings. (chicagoloud9.com)
– Jeff Berkwits

Only a garage punk band hell-bent on having a good time would name its album Goddamn, I’m a Handsome Man! Fortunately, that’s exactly what Chicago-based trio The Fur Coats has in mind, and this four-song EP lives up to the ridiculous title. What each song lacks in musical creativity (no more than two chords per song) and melodic vocals (they’re mostly half-spoken/half-sung), the band makes up for in pure energy and fun. Since they don’t take themselves too seriously, you don’t have to either. Just enjoy the rock ‘n’ roll romp. (thefurcoats.bandcamp.com)
– Carter Moss

It’s a mouthful just describing guitarist Mehran‘s latest project: a flamenco-flavored, almost completely instrumental prog-rock concept album about a utopian society living thousands of miles beneath the surface of the earth. (Whew!) Nonetheless, the nine tunes on Subterranea are surprisingly solid, with memorable melodies and, especially on “Into The Abyss” and “Desert Moon,” extraordinarily atmospheric moments. Despite one misstep (a strained take on Beethoven’s “Moonlight Sonata”), it’s a gorgeous excursion.(mehranguitar.com)
– Jeff Berkwits

The Reserve pursue a blend of hard rock and punk on its new EP, Shades Of White, that’s not far removed from Nirvana. Lead vocalist/guitarist Jon Babin and guitarist John Birchfield lead the attack on the energetic but catchy “Chuck” and navigate various tempo shifts on the elaborate “Slide” with help from bassist Steve Somogyi and drummer Kyle Biba. The spooky, fun arrangement on “White Lines” shows yet another side of this inventive band.
(reverbnation.com/thereserve11)
– Terrence Flamm

Haters gon’ hate. Much the same way Jason Mraz dismisses anyone too uptight to be down with his gratingly happy-go-lucky pop, Matt Ryd seems unfazed by any artistic expectations heaped upon his singer-songwriting self. Ryd ‘Em Cowboy regurgitates clichés like “don’t know where I’m going/don’t know where I’ve been” under the guise of a lack of self-awareness, but the rather professional nature of these three polished ditties hints at something more contrived. (mattryd.tumblr.com)
– Steve Forstneger

“Goodnight Sun,” the opener on State And Madison‘s 10-track album Tar & Feather, resembles the children’s bedtime classic Goodnight Moon because of its lush lullaby qualities. This tale about a depressing breakup is not for toddlers, but for those who can appreciate nuances of lyrics, vocal delivery, and chiming electric guitars. It establishes the beautifully haunting sound of a band ready for a wider audience. Carefully crafted pop rock songs dominate, showcasing Nickolas Blazina’s engaging crooning abilities (even if some choruses get a bit too repetitive, as on “Dearest Restless”).
(stateandmadison.net)
– Jason Scales

Stonewave recently crashed into the Chicago rock scene with its eponymous 11-track debut of aggressive, yet melodic, rock channeling early Alice In Chains (the power chords and vocals are a dead giveaway). Throughout the album, the foursome does an excellent job of varying its sound while staying true to its identity as honest, no-thrills rock ‘n’ roll. What the songs (and by extension the songwriting) lack in depth, memorable hooks and passionate vocals more than balance it all out. (stonewaveband.com)
– Carter Moss

Upon first listen, folks could be forgiven for thinking Tensei Two is the score to an old blaxploitation flick. Whether reveling in the trumpet of “Plazzio’s Revenge” or the sly percussion/keyboard interplay of “Low Key,” Simple X and Midas Wells (performing as Tensei) have crafted a haunting six-song jaunt that, through an inspired blend of vintage elements and hints of modern electronica, is a mesmerizing mélange of soul, funk, and jazz. (soundcloud.com/tensei)
– Jeff Berkwits

Given the name, the aggressive sound of Two Ton Anvil isn’t a shock; what is unexpected is the band’s consistent quality. “Loyalty” and “Your Daze” are both standouts, yet all 14 cuts on Coming Home are incredibly powerful. And make sure to listen closely to this formidable foursome’s reasonably faithful cover of The Police’s “Synchronicity II,” in which they insert some fresh Chicago references. Pound for pound, it’s some of the best metal mayhem around. (twotonanvil.com)
– Jeff Berkwits

The opening three cuts on White Mystery‘s third full-length, Telepathy, drip with venom, courtesy of Miss Alex White‘s caterwauling and Francis Scott Key White’s four-limbed assault on the drums. This leads one to expect a full platter of mosh-pit stirring, raging punk rock that one can hear most anywhere by anyone. And then the titian-coifed siblings dramatically ease the tempo on fourth cut, “The Prophecy,” ushering in a level-headed production balance with Francis’ drums retreating back from full-on assault to allow more interplay with his sis’ fretwork. This, in turn, gives the duo a wide range of musical options to explore, which they wisely exploit, resulting in a satisfyingly robust group of songs. Alex’s wonderfully fuzzy guitar turns and double-tracked vocals give “Live To Hunt” a dangerous edge while the duo recall early synth-laced Mission Of Burma (complete with shout-outs to Iggy Pop and Elvis) on “Break A Sweat.” The gingers reach back to an “I Want Candy” beat on “Dirty Hair” and close on the disc’s apogee moment, “San Francisco Dream.” (whitemysteryband.com)
– David C. Eldredge

Category: Around Hear, Columns, Monthly