Chicago Album Cotillion

Local bands play record-release shows in Chicago every week: It’s like a recurring cotillion for new albums making their debut into the world. Here’s a look at how some of this year’s albums by local bands have fared.

CopperShot, Issues (EV)
Familiar faces in the Chicago hip-hop and DJ scene, Copperpot (beats) and LongShot (words) have created an achingly personal album that lives up to its title, but avoids histrionic melodrama. LongShot writes deeply introspective lyrics heavy with social commentary (“Forgive Me,” “Black Fathers Day Theme,” “Culture Pop”)—all of which he explains in song-by-song commentary—but they mostly avoid self-important proselytizing. His rapid flow can sound incongruous with Copperpot’s beats, particularly when the tempos slow down. Speaking of Copperpot’s beats, he favors brassy, Kanye West-style soulfulness, but the songs show versatility, especially in quiet, moodier moments. A number of strong guest appearances enhance Issues, especially spots by local MCs Psalm One and Diverse, but also a quick cameo by KRS One. Overall, it’s a solid debut in what looks to be a boom year for local hip-hop. A.V. Club Rating: B

Eleventh Dream Day, Zeroes And Ones (Thrill Jockey)
Now 23 years in, Eleventh Dream Day can pretty much do what it wants. There’s no pressure to sell albums, the band doesn’t really tour, and none of the members rely on it for money. They can take their time (in this case, um, six years) to write the hooky indie rock that made their reputation. The new album continues that tradition, particularly with the one-two punch that opens it, “Dissolution” and “Insincere Inspiration.” Doug McCombs’ bass remains the band’s secret weapon; his propulsive playing practically carries everything else. But when he locks in with drummer Janet Beveridge Bean, Eleventh Dream Day really fires on all cylinders. Zeroes And Ones finds the band members perfectly in sync, a result of honing their craft until playing together is second nature. A.V. Club Rating: B+

The Last Vegas, Seal The Deal (Get Hip Recordings)
The Last Vegas’ hard-rockin’ shtick can overstay its welcome pretty quickly, but it’s hard to resist being charmed by a song like “Goddamn Fantastic.” The music sticks to guitar-drenched hard rock (replete with solos, of course) with strains of Southern boogie. The style borrows heavily from the likes of AC/DC (“Ain’t A Good Man”) and Motörhead (“We’ll Drink Three”), two bands not renowned for musical adventurousness—which was kind of the point. The Last Vegas follows suit; by Seal The Deal’s halfway point, listeners have heard it all, and will be able to hear the solo coming a mile away. (Okay, the album-closer “King Of The Red Light” is a slight departure.) Still, at 10 songs in 40 minutes, Seal The Deal accomplishes its understood goal: rockin’. A.V. Club Rating: C

Let’s Get Out Of This Terrible Sandwich Shop, Let’s Get Out Of This Terrible Sandwich Shop (Roydale)
Let’s Get Out Of This Terrible Sandwich Shop has the best band name in town, though the moniker ensures a hefty amount of shtick in the music. Tony Mendoza leads the self-described “one-man-band-with-people,” playing a Farfisa organ and singing goofy songs about the bike lane and a sandwich hotline. The eight-song EP also has a couple of skits that are kind of funny, but those won’t warrant repeat listens—which could also be said of the entire EP. It’s probably more entertaining live. A.V. Club Rating: C

The Like Young, Last Secrets (Polyvinyl)
Northern Illinois residents may remember Joe and Amanda Ziemba from Wolfie, a twee-ish pop band whose sunny demeanor bordered on obnoxious. The married couple has taken a bit of a left turn in The Like Young and, particularly on the new Last Secrets. Poppy garage-rock melodies don’t mask the dark cynicism lurking beneath; in fact, they almost enhance it, particularly in bouncy, catchy songs like “For Money Or Love,” “Dead Eyes,” and “Spell It Out.” Last Secrets feels a little long at 13 tracks, particularly after the longish jam “Obviously Desperate,” but its many stronger moments compensate. A.V. Club Rating: B-

Russian Circles, Enter (Flameshovel)
This instrumental trio quickly established itself as a formidable talent with its first show in early 2005. Granted, Russian Circles had been playing together for eight months by that point, but some bands play for a year or two before sounding as cohesive and powerful. Enter, the band’s much-anticipated debut, shows Russian Circles in fine form, creating a surprisingly smooth blend of metal, punk, indie rock, and even prog, though the group generally favors a more bludgeoning approach. Unfortunately, four of the record’s six tracks originally appeared on Russian Circles’ demo, so there isn’t much new material. The older songs have been tweaked, obviously, but new songs would have been nice. A.V. Club Rating: A-

Yakuza, Samsara (Prosthetic)
To put it in the most simplistic, nearly dismissive terms, Yakuza’s “thing” is incorporating strong elements of jazz into what’s otherwise a punishing metal assault. The requisite elements are all present: fleet-fingered guitar theatrics, pummeling rhythms, throat-shredding vocals. But Yakuza specializes in throwing stylistic curveballs, from sudden breakdowns with reverb-y sax to drone-y post-rock interludes. It can all change course on a moment’s notice—“20 Bucks” alternately lurches forward and ambles—but the transitions aren’t always jarring. “Exterminator” simmers at a slow burn, seamlessly switching back and forth between its more intense moments. Songs in which Matt McClelland sings stumble a bit, and the delay and watery reverb on the vocals don’t help matters. A.V. Club Rating: B-