Never Enough - Dead Set on Destruction (Organized Crime Records)

Reviewed by Mark Oster

"Dead Set" is a compilation of singles and live tracks from this Baltimore hardcore act's first two years, along with a half dozen new songs. For relatively short songs (the 27 song disc weighs in at a shade under 49 minutes), the writing is fairly complex, changing tone at a surprisingly torrent pace, though never straying away from a very well defined hardcore sound. The vocals are a fairly high pitched, fast paced shout, with dark lyrics loaded with metaphors. The tone of the vocal content is accented by grinding crunchy guitars and offbeat snare shots. The changes are marked with half time beats and more pulsated rhythms. Worth checking out for any fan of traditional hardcore.

Originally posted in Issue 2.2, March/April 2005

Light Fm- This is the Beginning of My Golden Age

Reviewed by Theresa Killebrew

Once there was this band called the Rentals. They featured Matt Sharp from Weezer. They sang a song about a guy named “P” who was apparently kinda cool, and they used a Moog. Or they abused a Moog. Don’t get me wrong, I love the Rentals, but for the last nine years, at the sound of a moog, the Rentals are the first thing that comes to mind.

Then along came Light FM. They are a bunch of purposely geeky looking guys who write upbeat fun songs about suicide, loss, grief, heartbreak and death. They use a Moog, and several other synthesizers and keyboards. They also use regular old acoustic and electric guitars, a Texas instruments and a speak and spell, horns on a couple songs and a Theremin (ok, I admit it, I have a crush on any guy that uses his hands well enough to make a Theremin work).

This might make it seem like it should descend straight from eighties pop bliss, but it doesn’t. They employ all of these instruments without allowing any particular one of them to define the music, and although the melodies remain up tempo and danceable, it never sounds silly. The lyrics tend toward the lighthearted, one of my favorite lines being “When I die I’ll find a place in heaven where the amps all go up to eleven”. Even so, they always stay just outside the box, and just inside the lines of classy and thoughtful, giving up the facts in a straightforward manner and skipping much of the judgmental aftershock.

Catchy melodies paired with very serious, sometimes difficult lyrics about the things people deal with while coming of age is what made bands like Weezer so great to begin with. Light FM write songs about the trials of actually being a *gasp* grown up after all that, and how some of us inevitably end up heartbroken, screwing over our friends, barely making it, or not making it at all. The record still manages to find a comfortable place for all of this.

Sometimes Josiah Mazzaschi’s vocals sound a bit like Jimmy Eat World singer Jim Adkins, and occasionally he takes on the rasp of a Billy Corgan fan. Overall though, he can sing, with a pretty wide range for a guy. Light FM are compared to the Cars frequently, but I think it’s more because you would expect to open the liner notes and find that Ric Ocasek produced the album. Keep that in mind, guys, when all that “One Tree Hill” exposure starts to payoff.

Originally posted in Issue 2.2, March/April 2005

Hollow Ground - Cold Reality (Organized Crime Records)

Reviewed by Mark Oster

A twelve and a half minute morsel of metalcore from Winnipeg, Yeah, they have metalcore in Winnipeg, and they're actually pretty damn good at it. This is a flat out assault. Rhythmically precise, big guitar sound, and a roaring front man. The treat lies in the melodic guitar lines that they slide in beneath the fury. They're brief, but they compliment and cut through the aggression simultaneously. There's some very cool call and response in some of the choruses between the frontman and a chorus of background bellows. The performance on this is really quite stunning, these guys will get a lot of respect from the metal audience stateside, tight rhythmic breakdowns, great tone, and great balance. Organized Crime consistently makes me feel like a chump for not being more into the hardcore/metal scene with the quality of the albums they send me, and this is no exception. As always, if this type of thing is what you like, you will most certainly be into this.

Originally posted in Issue 2.2, March/April 2005

Far Rad - This Candy's Gross (Johann's Face Records)

Reviews by Mark Oster

Great band name, great album title. Let's get that out of the way out front. Now to the matter of reviewing the actual material, not quite as easy, to my less electronically trained ear. I would agree with a Fischerspooner comparison, only with more human personality, both to the music itself and the lyrical content. It's a fascinating listen, alot of it sounds like they took samples from old video games, a fact they seem acutely aware of on "8 Bit World" which actually contains a Justin Bailey reference, and seems to be about Mike Tyson's PunchOut! (On a side note, I think it's about time for a new Mike Tyson video game...I'll let your imagination run from there.) The music is comprised of the aforementioned electronic video gamey sounds layered 2-4 deep behind a mechanical dancey drum beat with spoken, shouted and sometimes sung (mostly on a Queers cover contained within) humorous and repetitive rhythmic vocal patterns, which remind me of older Dead Milkmen. Definitely unique and addicting, I would say an item of great interest to the more adventurous listener or fan of punk electronic.

Originally posted in Issue 2.2, March/April 2005

Crap Engine - Self Titled (Fresh Produce Records)

Reviewed by Theresa Killebrew

Right now in Chicago, we are all about shaking our booties. There’s a very strong contingent of bands most willing to help us out with that. A better portion of them are coming straight out of the Ice Factory collective. With Velvetron leading the way, the boys of the Ice Factory are exploring the more danceable aspects of almost every genre. With Crap Engine, Seth Vanek and Justin Petertil are revisiting the golden era of Glam tinged garage rock ala David Bowie partying with Iggy Pop. On the stronger tracks, like Break the Silence, Petertil captures perfectly the rock and roll affectation of glam anthems like Fashion. His chiding, rock talk vocals slide easily into a slick croon on the bridge. The occasional falsetto and sharp barky shout moderate his almost grating vocal style. On the twelfth track, Write my Songs, they take shots at the american corporate system in an interesting take on the traditional punk format. The fifteen song album clocks in at just under 40 minutes, the perfect length for a dance party. Guitar, Bass, drums, some interesting keyboards and other instrumental oddities unlisted in their scant liner notes, lyrics about the rock and roll lifestyle and a new dance craze just waiting to happen guarentee that you will listen to this record like an aural drug. Though tough at first, it stays with you. It’s true though, I am one of the haters, my boss walked past my desk the other day and asked what I was listening to, and all I could do was hand her the CD case. Maybe that accomplishes just what they want it to, but their name makes me blush.

Originally posted in Issue 2.2, March/April 2005

Shot Baker - Awake (Underground Communique)

Reviewed by Mark Oster

It's a shame that the way the word "punk" is thrown around, there aren't more bands like Shot Baker out there. It's a shame there aren't more bands throwing the punches musically rather than pulling them in an artsy fashion. And it's a shame bands that drape the word "punk" around them like some sort of promotional robe only try to fashion themselves to the part, rather than bother with the musical or lyrical value behind it. But that's the way it is now, and right when you're about ready to lower punk rock's coffin for the seventy fifth time, an album like "Awake", Shot Baker's debut, lands in your grubby paws, and you have to postpone the funeral again. The first thing that comes to mind is early Dropkick Murphy's (before they signed to Epitaph, lost McColgan and started to suck) if they had come from Chicago, with their dark melodies, and harmonized "oh's" a la Naked Raygun. No frills here, just straight forward aggression fueled punk rock, snare shots on the off beats, thick, driving guitars, and raspy, soulful vocals (but still singing, mind you, quite melodically, even). 15 tracks, and 45 minutes of straight ass kicking. Sounds like a pretty generic description, doesn't it? Fine, I challenge you to listen to this album and disagree.

Originally posted in Issue 2.1, January/February 2005

The Ponys - Laced With Romance (In the Red)

Reviewed by Mark Oster

Okay, so it's January of 2005, and we're just getting around to reviewing one of Chicago's big winners of 2004. Give us a break, we're tiny, sometimes we have to wait until one of us goes and buys the album. Better late than never though, right? Anyway, if you aren't familiar with The Ponys, they're comprised of members of the Guilty Pleasures, the Mushuganas, and Happy Supply, and they're worth every bit of hype you've heard. I'm sure you've heard that plenty of times about the multitude of post punk and/or garage throwback acts we've seen on the national and local radar over the last half decade, but The Ponys are definitely one to take note of. Think Mudhoney, if they were trying to make people dance. On Laced With Romance, there's an abundance of fuzzed out guitar tone with straight, hard hitting drum beats and moving, slightly grooving (hey, I'm a poet and didn't know it) bass lines keeping the tunes rolling along. The songs are fun, front man Jered yelps with a Robert Smithlike squeak to his voice. His repetitive melodies leave plenty of room for simple but effective guitar leads and electric organ hooks. This album is definitely a must if you are at all intrigued by modern post punk/60's style garage. If you're reading this and still don't have this album, we haven't left you much time to say you liked them before it was cool, and for that we apologize.

Originally posted in Issue 2.1, January/February 2005

Midwest Blue - Alarm Clock (Johann's Face)

Reviewed by Mark Oster

This four song EP from the suburban 5 piece is their first on Johann's Face and third overall. For me, guitars take center stage on this album; the songs are marked by dueling leads on their verses and powerful, overdriven chords on their choruses. The dominant guitar work is laid upon upbeat, punk drumming and complimented by well crafted, melodic basslines and leadman Sam Swanson's throaty, poppy vocals. This guitar driven emocore will most easily remind a listener of Bob Nanna's Hey Mercedes. In this city, that is certainly an asset. At fifteen minutes long, Alarm Clock seems to server as a teaser for their first full length for Johann's Face, and if you're into Hey Mercedes, Saves The Day, and the Vagrant set in general, you may enjoy being teased.

Originally posted in Issue 2.1, January/February 2005

Dag Juhlin - Into the Woods (Self Released)

Reviewed by Theresa Killebrew

Google the name Dag Juhlin and fifteen pages of actual Dag Juhlin related links come up. That’s fifteen pages of Chicago Music History, which translates to about 20 years. The last 12 of those years were spent creating Into the Woods, Dag’s solo Debut. Well, that is, when Dag wasn’t busy playing guitar for Poi Dog Pondering or for garage rockers the Goldstars or fronting local legends the Slugs. He also writes music for the local theater scene, and serves as the Sound Opinions comical Poet Laureate. I think Dag may secretly write stand up comedy as well, given the hilarity of his live show. Secretly, or in his magazine parody The Tri-County Sampler. He has recently returned from a tour with John Wesley Harding and Scott McCaughey. That’s a pretty impressive resume, but then, Dag is a musical genius. He plays the guitar like no one else on the planet. People have invented names for the way he plays, like “grip it and rip it”, but I prefer Dag’s own description, “chugging…loose limbed showmanship.” When Dag is onstage, it is impossible to take your eyes off his hands. How does he do that? Into the Woods is full of sweet guitar melodies that stop just short of a full on attack when he plays them live. Nice touches like piano and violin add warmth and depth, and Dag is lyrically a master of metaphor with a penchant for storytelling. Although his lyrics lean toward a certain sentimentality I tend not to love, I reach for this album every couple days. The opening track, “Man in the Mirror” should already be in regular rotation on Chicago’s WXRT (93.1). The fact that it isn’t feels sometimes like a testament to Clear Channel’s growing control over what used to be Chicago’s Finest Rock. Aside from "Man in the Mirror", “I am Ready” and “Little Black Glasses” (perhaps for rather obvious reasons) are my favorite tracks. If you have the chance, I highly recommend that you take any opportunity to see these songs performed live, it is an evening well spent. To purchase Dag things, please visit his website at www.DagJuhlin.com.

Originally posted in Issue 2.1, January/February 2005

Red Eyed Legends - The High I Feel When I’m Low - Gold Standard Laboratories, 2004 (GSL86)

Reviewed by Sean Silver

With the rejuvenation of the “rock & roll scene” so prevalent on the FM dial nowadays, it’s nice to hear plain old dirty rock with no false pretenses (see The Darkness and Jet), and Chicago’s Red Eyed Legends are just that: dirty guitar rock with no excuses, no exaggerated sense of self-importance, and completely devoid of the virtually inescapable Chicago indie crowd aura of music hierarchy. They’re not reinventing hair-metal and not stealing Iggy Pop tunes hoping the teens won’t notice. What REL have done is made a record that takes obvious influences (Fugazi, Shellac) and weaves a sound that is often imitated and almost duplicated, but never done quite right. The High I Feel When I’m Low gets it right.

REL's debut EP kicks off with the rollercoaster-like guitar of “Hamilcus (indoor version),” which segues directly into what is essentially the same track, but this time it’s the “super-indoor version,” which samples the distinct guitar theme of the former, but is virtually unrecognizable as the same song. On songs like “Locked In” and the title track, Chris Thomson’s scream / yelp is eerily reminiscent of the late Bon Scott fronting early-day Fugazi (minus Mackaye’s self-anointed indie crown), but with the snotty arrogance of Johnny Lydon.

Most of the seven tracks include some sort of extended instrumental interlude, like the closing of “Red Mustache,” which exposes the true ideals and influences of the band: driving guitars that meld sleazy guitar rock with the punk / art that REL seem careful not to delve too deeply into. Just when you think some of these songs are going to combust into an all-out New York punk-scene disaster, something ropes it all back together making this EP a perfect sample of REL’s strengths. The lyrics are almost secondary on these songs; what makes the record is what’s going on behind the words.

RIYL: Fugazi, Shellac, The Hives (minus the sing-a-longs)

Originally posted in Issue 1.3, November/December 2004

V/A - Organized Crime Records Sampler (Organized Crime/Lifeline Records)

Reviewed by Mark Oster

12 bands, 13 songs, a little under 24 minutes, yeah, that's punk as all hell. From start to finish, hard, heavy, and angry. Artists include Plan of Attack and the Killer, whose latest are reviewed here, Plan of Attack seems a little more at home on this hardcore dominated compilation. As I say with any sampler/compilation, worth a listen to see what you might be missing out there, especially given the price tag (el zilcho). For example, of the 12 strong acts, anthemic hardcore from Modern Life is War, the raging hooks of Never Enough, and a complete aural assault by xDiscipleX AD piqued my interest enough to keep my eyes open for more. Take a listen yourself and see what grabs you.

Originally posted in Issue 1.2, September/October 2004

Textbook - Smoke 'em If You Got 'Em (Next to Ex Records)

Reviewed by Theresa Killebrew

In the early summertime, and the early fall, one of my favorite things to do is find a great, upbeat record, pop it into the car stereo and take a good 50mph cruise up and then back Lake Shore Drive just before the sun decides to set. I like to turn the sound way up and roll down the windows and lose myself in the sound of happy guitars and the sunshine warming up the lake. This record makes me miss my car. It was actually recorded in 2000, but was recently picked up by Next To Ex/Boss Tuneage Records to go along with upcoming release, Used. Located in the UK, Boss Tuneage is an interesting story on their own, and I suggest you check out the website. The band features former members of Not Rebecca/Woolworthy and the Smoking Popes. Now, if you know anything about me, than you know that I have a certain affinity for the Smoking Popes. It's not an obsession, more like a keen affection. So I was very pleased to find these boys had an instantly pleasing sound, warm and inviting, like LSD at sunset. They initially reminded me of Jimmy Eat World, not Bleed American, older Jimmy Eat World. That is alright by me. It's true that this is another emo pop band, but after listening to this record several times, I can hear so much more. That might be due to the variety of it's members. It's just too hard to figure it out I think, just know that the singer is Dave Lysien of Not Rebecca, and it is his voice that gives the band it's consistancy. I think I would probably listen to this quick record once through on the way up, and hit repeat on track 9, Grainbelt, for the trip back. Anyone wanna go for a drive?

Originally posted in Issue 1.2, September/October 2004

Sleepwalker Defense - Weddings and Funerals(EP-self released)

Reviewed by Theresa Killebrew

I spent many manic adolescent hours chasing the likes of Apocolypse Hoboken, the Vindictives, both with and without Ben Weasel, and the Bollweevils around the Chicagoland underground scene. They are days I remember with a misty sentimentality unbecoming to a punk show. There are many moments on this quick four song E.P. that take me back. Never mind that Sleepwalker Defense is comprised of my favorite musicians from the Bollweevils and John Brown Battery, and that they are still playing hard ass punk rock. They are all grown up now, and so is the music. Well, I mean, for punk. The best thing about it though, is how much the lyrics have matured, and the melodies have filled out. Gone are the days of sloppy craftsmanship carried by driving aggressive ambition. Sleepwalker Defense has consructed traditonal Chicago punk band songs that incorporate a little of everything we love about indie rock, without loosing the ability to make you jump around like a 16 yr old. The opening track, Medicine, is by far my favorite. It instantly caught my attention with a rhythmic intro and that familiar driving bass. I find myself humming it on the train and in the shower. The band sounds tight, and they get along. I hope this means that we will be hearing from them for a long time coming.

Originally posted in Issue 1.2, September/October 2004

Plan of Attack - The Working Dead (Organized Crime Records)

Reviewed by Mark Oster

Plan of Attack is pissed off. From their thankless blue collar jobs to the current presidential administration, there's alot getting on their nerves. And I'm just getting that from a quick glance at the CD booklet. Then I start the CD: Pure old-school hardcore fury. Nothing like an economic downturn and a Republican president to give politipunk a swift kick to the groin. Aside from the aforementioned terrific CD cover, The Working Dead unleashes 18 tracks of fast and hard guitar driven fury. Few of the no frills tunes clock over 2 minutes long, but they don't need to get their point across (thankfully, printed lyrics are included). The subject matter is primarily frustration with the futility of middle class life, but some political and even scene commentary emerges as well. Like any music, punk and particularly hardcore is always alot more effective if the rage is genuinely motivated, The Working Dead proves this once again to be the case. Plan of Attack turns back the hardcore clock 15 years and should serve as a reminder of what the form is supposed to mean. Recommended for fans of Black Flag, Minor Threat, and all those that followed.

Originally posted in Issue 1.2, September/October 2004

New Black - self titled (Thick Records)

Reviewed by Mark Oster

Sometimes a band can get caught up trying to do too many things and in the process, loses sight of what defines them. Such is not the case with New Black. The boldly named band's debut recalls more rock acts of the last twenty years than than Badresa.com has bandwidth to name, but all along, they are able to keep their own very distinct personality. Co-vocalist Patti Gran sounds like a slightly more girly Kim Gordon in sultriness, but also unleashes the occasional Siouxsie screech for emphasis. Complimenting the female counterpart, male vocalist Liam Kimball conjures Black Frances in tone and among others, Husker era Bob Mould and even Tim Kashir in attack. Sometimes sharing the lead, and taking near equal turns of taking it themselves, the two provide good foil for one another, creating some extremely memorable vocal hooks and melodies that truly grow on you with each listen. Behind them, drummer Nick Kraska provides the band's backbone with Kimball's bass, at times danceable in an (International) Noise Conspiracy fashion, at times driven in traditional punk fashion, at times showcasing a traditional garage type grind. Weaving and sitting on this backbeat, Gran's slightly beefy, overdriven guitar fills in the empty spots and give New Black their predominantly garage pop feel. Tying the whole album together and not allowing the band to deviate too far from their own personality, Rachel Shindelman's slightly eerie ever-present keyboard provides the band with a unique color. I think I've given plenty of "if you like"s within this review, but this is a worthwhile venture for anyone who enjoys a dirty indie/indie-pop sound but is tired of the same old same old,

Originally posted in Issue 1.2, September/October 2004

The Killer - Better Judged By Twelve than Carried By Six (Organized Crime Records)

Reviewed by Mark Oster

Right now I'm fantasizing about someone purchasing this album thinking it's the current hype machine flavor of the month, "The Killers". I would love to see that buyer's reaction. But this is The Killer, singular, and they are here to play some dark tinged metal. I'm not the biggest metal fan in the world, but The Killer's impressive command of dynamic and, particularly, tempo are enough to get my attention. The five piece boosts a rhythm intensive sound serving as a back drop to the hoarse throated bark-growl of the vocalist. Precision drumming and a heavy barrage of D-tuned guitar chords (very light on the lead) makes it difficult to avoid throwing yourself into the nearest object let alone involuntarily nodding along. Not something I would buy on my own, but this album would make a metal fan VERY happy.

Originally posted in Issue 1.2, September/October 2004

Gasoline Fight - Useless Piece of Weaponry (Thick Records)

Reviewed by Mark Oster

The latest chapter in the incestuous scene of this city brings us Gasoline Fight, featuring former members of the Traitors, Small Brown Bike, Sweep the Leg Johnny, and Peralta, Elements of these former acts certainly peek through in the new band, but I write that only knowing the roster, a blind listen would not reveal this distinct band's background. It is intelligent punk rock, which can be expected from it's forbearers, aggressive and complex, spending most of it's time at a breakneck pace, but agilely slipping into half timed breakdowns. The vocals are chilling; growled, barked and shouted, heavily motivated by the tremendous reality of bassist/lyricist's Francisco Ramirez's battle with Leukemia, and the pain, stress, and confrontation with mortality resulting from the illness. His bass, coupled with Scott Anna's furious drumming drives a rumbling rhythm section over which Scott Flaster and Stan Wood (also the project's producer) lay emphatic guitar textures. The guitar riffage is reminiscent of Drive Like Jehu in it's intricateness and intensity, and provide a biting backdrop for the vocals. At five songs and thirteen and a half all-too-brief minutes, the album is somewhat of a tease, but if you're into Jehu, post-you name it, and cutting edge aggressive punk/hardcore, you probably should be checking this out.

Originally posted in Issue 1.2, September/October 2004

The Atari Star - Prayer and Pretend (Johann's Face Records)

Reviewed by Mark Oster

This is the third full length from Atari Star, and regrettably, the first one I've heard. In fact I didn't know alot about this band before receiving the record. I had heard of them, but that's about it. So I was pretty surprised when I found out it was fronted by Marc Ruvolo, a staple of the Chicago rock community with a resume that has few peers: No Empathy, The Traitors, founder of Johann's Face Records. I was suddenly very excited to give this a listen, and was surprised, pleased, but surprised, by what I heard. While elements of Ruvolo's punk past leak through on the Atari Star, it's hardly the defining element of their sound. Prayer and Pretend presents a different texture with each passing track, running a gauntlet that includes angular, aggressive, melodic, gentle, sonic, and introspective. Throughout this, the band manages to adhere to a sound marked by well crafted guitar tones, melodic bass lines, and Ruvolo's recognizable upper to mid-range dry, yet powerful, vocals. Ruvolo's lyrics are mature, sometimes simple, sometimes enigmatic, always engrossing, encouraged by some very catchy hooks. Each listen presents the consumer with a new aspect to appreciate, the wide ranging color of the sound is well layered and demands close attention. Everything is well laid out by producer Greg Norman of Albini's Electrical Audio Studios (the invisible hand of Steve Albini is also present on track 7: a cover of Shellac's "Copper"). Grown up punk rockers like myself will welcome this album like an old friend that has grown with them, conniseurs of indie rock will appreciate the diversity and craftsmanship Prayer and Pretend presents. Recommended for fans of Modest Mouse, Fugazi, and punk tinged indie in general.

Originally posted in Issue 1.2, September/October 2004

If You're Frightened of Dying (Rec Records)

Reviewed by Theresa Killebrew

2004 is proving to be a great year in which to love music and live in Chicago. While two or three noteworthy songs can make a compilation well worth its price, especially when coupled with the added bonus of having the means to discover other new bands, this Rec Records 2004 release If You're Frightened of Dying is worth it's weight in platinum. Featuring tracks from the Ghost, and Brian Moss side project Hanalei, Long Distance Runner, Rescue and longtime Chicago survivors Tubring, the compilation pleads the case for diversity in music, literally, right on the liner notes. Patrick and Brandon, the masterminds behind Rec Records, have included a compelling letter to music fans in Chicago and everywhere. What is their brilliant idea? "We want to bring you music without baggage."

I'll take it. Although leaning toward heavier influences including Fugazi era punk and some pretty intense death metal vocals, the cd has strong tracks in several indie styles, from a spicy Pogues-like world punk offering by Tubring, to a Seattle early 90's era throwback from Divide by Zero. There's a little "screamo" and some straight up metal and the ladies are represented too. This compilation smartly plays to a commonly held and accurate belief that music lovers are not bound by the limits of one genre. A quick glance at an indie record collection will reveal this to be the truth. It's a good representation of what's going on in Chicago right now, and a good way to maximize your listening time in the car.

Originally posted in Issue 1.1, August 2004

V/A - Quincy Shanks Sampler #5 (Quincy Shanks)

Reviewed by Mark Oster

Well, 6 of the tracks on here feature 3 of the bands already reviewed, so I won't sweat that, though it's I do have to say that this CD is worth holding on to (they are handed out at most shows where a QS artist is performing) on account that Blackprint's "Juliette's Window" may not come out anywhere else, to the best of my knowledge. Another unreleased treat on this comp is "Subclass" from Littleman Complex, fronted by local superman Ryan Durkin of HeWhoCorrupts, a minute long blast of punk fury. As with any comp, this is worth a listen, you may not like everything, but there's probably a tune in there to make the couple of bucks you throw down for it worth your while.

Originally posted in Issue 1.1, August 2004

The Rutabega - These Knotty Lines (Johann's Face/Patsy Presents)

Reviewed by Mark Oster

As I write this, it's less than 24 hours from launch time. I just got a couple albums from Johann's Face on Friday afternoon and I had to go over to Badresa's house so I could get a review of These Knotty Lines in before we went live. This is the sophomore effort of a band that started out as the solo project of South Bend singer/songwriter Josh Hensley, but has expanded to include another two full time musicians as well as a slew of guest musicians. At it's heart beats some of the finer lo fi indie acts of the last twenty years, the Shins, Lou Barlow, Pavement, etc.. Masterfully textured, the melody's borrow from the aforementioned influences and many more to create something that's unique and beautiful all it's own. Verbally (Such as on the lead track "44": The wind tore the roof off of every man's wife/thank god 'bout time it was leaking anyway/crickets crawl into that space/where I can be famous and you can famous/we'll all be famous sitcom stars), I'm not really all that sure what they mean, but they stroll poetically through melody. Anyone who likes to scout singer/songwriters will really dig Rutabega.

Originally posted in Issue 1.1, August 2004

Pelican - Australasia (Hydra Head)

Reviewed by Mark Oster

Post-rock grew some jaws and Australasia was released. This full length debut from Chicago's instru-metal pioneers manages to be heavy and musically beautiful at the same time, not something that is all that rare in modern music, but at the degree that Pelican achieves both, they are left with few peers. 6 tracks long, with 3 weighing in at over ten minutes, it's very easy to get lost in Australasia, but it's an adventure you won't mind taking. I recommend this for fans of Neurosis, Isis, and the Melvins, but that seems restricting. Anybody that considers themselves even vaguely students of rock compositions should give Pelican a listen. You'll be glad you did.

Originally posted in Issue 1.1, August 2004

...For All I Care - Nyssa

Reviewed by Mark Oster

For All I Care's debut EP is only 5 songs long, in that mere 5, they cover more ground than many bands cover in 15. Though the minor keys of the tunes lends themselves to a predominantly dark color, there is some optimism to be found. Backed by a tremendously strong rhythym section, front woman Melissa Heckart sounds simultaneously sultry and spacey, singing over well placed guitar ambience. With a command of musical dynamics and melody, you can try to pigeonhole For All I Care into one of the billion sub genres out there. But you can't, it's just good music, heartfelt and real, it should be exciting to see what they come out with next. Recommended for fans of the Gits, Belly, and the Pretenders.

Originally posted in Issue 1.1, August 2004

First Class - Somewhere in the Grey (Johann's Face/Patsy Presents)

Reviewed by Mark Oster

More hooks than a bait shop, First Class is a high energy four piece out of the city. Their debut ep Somehere in the Grey rips through six songs in less than twenty minutes, tightly performed by the band and captured by Dan Precision of Bombshelter Studios (formerly of the legendary 88 Fingers Louie). I'm glad they chose to record with Dan, because he knows as well as anyone how to highlight the aggression in addition to the melody of this melodic punk act, and it sticks to you like glue as a result. Fans of NOFX might dig this album, as well as fans of Taking Back Sunday and their ilk, as long as the concept of punk hooks with teeth doesn't scare them.

Originally posted in Issue 1.1, August 2004

Faction of the Fox - s/t (Quincy Shanks)

Reviewed by Mark Oster

Boy, was I surprised to push play on this one. A Quincy Shanks release, I was not expecting a rap album. I'm the last person in the world that's going to claim to know anything about rap, so my frame of reference is pretty limited. But they use some unique samples, all over the board really, one sounds like a theme to a childrens show, another a like a spy movie, and yet another like a lounge album. They serve up a delivery, that to my untrained ear, recalls something similiar to the Beastie Boys. Everything I've read about the group suggests that this was a "just for the hell of it" kinda thing by some vets of the Chicago punk scene. It sounds like they had a great time putting this together, and it's a pretty entertaining listen.

Originally posted in Issue 1.1, August 2004

Dr. Killbot - Supersonic Hellbeast

Reviewed by Mark Oster

The long awaited debut from one of the city's most bizarre acts. Drawing from influences ranging from They Might Be Giants to the Misfits, Killbot plays a brand of music they have dubbed electro nerd, self releasing an album with songs about radioactive monkeys, trash talking between pc and mac owners, and frightening baby dogs. The Killbot live act combines elements of sketch comedy with their musical performance, and their recorded release follows suit, be it built into the songs or on tracks by their own. The instrumentation is all encompassing, with appearances by accordions, slide whistles, banjos, and a didgeridoo, in short, one of the most colorful albums you're going to come across. Recommended for fans of the Dead Milkmen, They Might Be Giants, and Atom and His Package.

Originally posted in Issue 1.1, August 2004

Decibully - City of Festivals (Polyvinyl)

Reviewed by Mark Oster

Let me set the record straight right now. I find the modern brand of crybaby emo extremely one sided and flaccid. Even the most recent work of Death Cab for Cutie and Postal Service, which has every hipster reviewer on the planet cumming themselves, doesn't do anything for me, whiny emo with some whistles and bells. But I love this Milwaukee septuplet's "City of Festivals". Combining the shoe gazer element that defines the aforementioned breed of emo with a C&W instrumentation that includes, but is not limited to, banjo, acoustic guitar, Rhodes organ, and harmonica, Decibully crafts songs that drip with genuine emotion and create exciting soundscapes that haven't been done dozens of times already by so many of their peers. The vocals remind me of alot of Jeremy Enigk in it's flourishes and tones, and is frequently backed by an angelic sounding chorus behind him. If you are impressed by Death Cab and Postal Service, then you should check these guys out, if you aren't, but dug Sunny Day Real Estate and Promise Ring (a couple of Decibullies hail from a later incarnation), I would recommend checking this out.

Originally posted in Issue 1.1, August 2004

Canasta - Find the Time

Reviewed by Theresa Killebrew

My friend Matt Priest is the front man of this band. My friend Colin plays the drums. As a matter of fact, I would happily call all the members of this band friend. I have to get that out of the way, because I am sure that someone who isn't friends with the band should be reviewing their debut E.P. I just have to do it though. I would rather listen to Canasta then anything on the radio, anything on MTV, and most music I go to see at shows. I think it would be this way whether I knew them or not. Matt's heavily stylized vocals have been compared to Rufus Wainwright, Geddy Lee of Rush, and the Decemberists. The six members of the band bring an eclectic range of influences, from Belle and Sebastian and Brian Wilson, to Autechre and Hungarian folk music. Somehow they fuse it all together into consistently great songwriting and my favorite night out at a show. Their dedication to the craft of making good music is apparent in everything they do. Each individual instrument's part, violin, piano, electric piano, guitar, bass, drum and frequent trombone is meticulously written and equally important to each song, making Canasta a fun test of the true music lover's ear. It costs five dollars to experience their E.P. and it's a worthy investment.

Originally posted in Issue 1.1, August 2004

Bluebottle - Bet It All On Red

Reviewed by Mark Oster

Rock and roll, for the fun of rock and roll. I've always had a soft spot in my heart for bands with this philosophy. Bluebottle is like a party (literally, there's at least a half dozen members at any given time, with multiple guitars, horns and keyboard) that takes you on a tour of modern rock music. I like dropping similar bands in my review, but my list for Blue Bottle would be so long, Badresa would have to buy extra bandwidth to carry it. They're prog punk in the truest sense of the word, rapidly, even suddenly on a couple of occasions, changing directions. Rock, punk, hardcore, "emo", there is definately something in there for everyone. An addictive CD, with a promise that they will only get better.

Originally posted in Issue 1.1, August 2004

Black Print - Movement (Quincy Shanks)

Reviewed by Mark Oster

The debut EP from the proverbial local supergroup pieced together from John Brown Battery, the 4-Squares, the South of No North, the Hitmen, and the Fighters, amongst others. This album tells me everything that I grew up loving about punk rock in this city is still alive and well: the musicianship, the melodies, and the abandonment of cheap tricks that usually mark the genre. Lead singer Everett is somewhat low in the mix, which I would imagine is intentional, you can still hear his extremely gravelly, but melodic voice cutting through the intricate dual guitar parts. The songwriting itself is elaborate, alternating driving aggression and heavy, but gentle melodies. I've had the pleasure of catching these guys live a few times, and if you frequent the Fireside, you should probably climb aboard this train. Recommended for fans of Seaweed, Hot Water Music, and 88 Fingers Louie.

Originally posted in Issue 1.1, August 2004

The 4-Squares - Steve's Hamper (Quincy Shanks)

Reviewed by Mark Oster

The date on the back of the CD says 2002, but this most recent release from the vetaran 4-Squares takes me at least 5 years farther back than that, in more ways than one. Chord-heavy melodies distorted in a fashion that recalls early Chicago punk heroes like Naked Raygun or, more accurately, 8-Bark, shake hands with very early hardcore styled vocals. The vocals are difficult to understand, but the barked rhythyms serve nicely as a centerpiece to the torrent melodies created behind them. This album isn't for everyone, modern punk fans will be disappointed with it's rough edges, and modern hardcore fans will lament the lack of an all out assault, but make no mistake, there's no lack of aggression or melody here. If you dig early Hot Water Music, 8-Bark, or Rise Against, you may want to check this album out.

Originally posted in Issue 1.1, August 2004