The sounds of flyover country

Chicago lies in the middle of what coastal power brokers refer to as “flyover country,” that vast expanse of nothingness between New York and Los Angeles. Before L.A. (itself a vast expanse of nothingness) usurped Chicago’s spot as the nation’s second largest city, Chicago proudly embraced its identity as the also-ran of U.S. culture. And it still does. Even with the numerous big-name artists who have called Chicago home, the music industry’s oily tentacles only occasionally slither around the city’s streets. In a sense, Chicago is a bit of an oasis, a place where hard-working artists can thrive without inhaling the industry’s toxic fumes of desperation on a nightly basis. Each year, Chicago musicians release noteworthy albums; here are a few from 2005, in no particular order. 

The Narrator, Such Triumph (Flameshovel) Such Triumph’s messy collage cover accurately reflects the manic crash of ideas on its 12 tracks. “New Blood/New Weather” opens the album with quiet restraint and pretty strumming before the band leaps headfirst into indie-rock abandon around the 1:30 mark. Such Triumph’s propulsive dynamics keep listeners guessing, and even the album’s quieter moments strain to hold back an urgency that seems ready to come loose at any moment.

Robbie Fulks, Georgia Hard (Yep Roc) Robbie Fulks has spent his career staying ahead of the alt-country curve, writing challenging, genre-defying music—and making it look effortless. Georgia Hard is his most ambitious album yet, mostly because some of its tracks (“Leave It To A Loser”) sound like easy-listening country from the late ’70s—the very sound alt-country’s founding fathers rebelled against. But Fulks is a gifted songwriter, and Georgia Hard’s numerous bright moments manage to out-alt alt-country.

Russian Circles, Russian Circles EP (self-released) No other rock band in Chicago may be able to keep up with Russian Circles. Since the group started playing out this year, it has routinely stolen shows with its enthralling instrumentals. “Instrumental” and “enthralling” rarely commingle in a sentence, but not since Don Caballero’s glory days has a band pulled it off so well. The trio performs a careful balancing act, ably mixing elements of math-rock, metal, punk, and indie rock into a forceful package. Russian Circles’ debut full-length has an excellent chance of being one of next year’s best albums.

The Ponys, Celebration Castle (In The Red) The Ponys had a big year, landing a slot at Lollapalooza and playing big shows around town with bands like Dinosaur Jr. and Bloc Party. Extra attention came with the release of the group’s second album, Celebration Castle, a rollicking blast of tuneful rock that would have fit in perfectly at CBGB in the late ’70s. Even though The Ponys seem inspired by yesteryear, they’re not another retro-minded group whose novelty wears off 10 minutes into their set.

Troubled Hubble, Making Beds In A Burning House (Lookout) Troubled Hubble’s fourth album became the group’s inadvertent swansong just five months after its release. Shortly after a performance at New York’s CMJ New Music Marathon in September, the band abruptly announced its breakup. Making Beds certainly offered no warning with its infectious indie rock, especially on the sunny opening track, “14,000 Things To Be Happy About.” Troubled Hubble’s farewell show at Schubas at the end of September was a sad goodbye for one of the area’s most promising bands.

Waco Brothers, Freedom And Weep (Bloodshot) It’d be easy to wallow in Waco Brothers complacency—ho-hum, yet another great record—if the band weren’t so good. Freedom And Weep is another installment in a long line of stellar country-punk albums, which Jon Langford and co. could probably make in their sleep. Considering the title, it’s no surprise this one shakes with post-election fury, but it never does get weepy.

New Black, Time Attack (Thick) Electro-rock has all the markings of a future cringe-inducing fad; it’s only a matter of time before a glut of used Bravery CDs besieges Reckless like so many Mighty Mighty Bosstones discs. At least New Black doesn’t pillage the musical legacy of Ian Curtis or Gang Of Four, like some wealthier bands have. Time Attack’s jagged synth-rock shakes with uneasy energy and a nearly palpable sense of foreboding on this relentlessly catchy sophomore album.

The City On Film, In Formal Introduction (Grand Theft Autumn) If nothing else, Bob Nanna (a.k.a. The City On Film) is prolific. The body of his former band, Hey Mercedes, was barely cold before Nanna jumped full-bore into this former side project. Over the years, Nanna had become associated with hooky, melodic post-punk, but he tones things down for the most part on The City On Film’s full-length debut, opting instead for understated, mostly acoustic pop and showcasing skills only hinted at on previous albums.

Devil In A Woodpile, In Your Lonesome Town (Bloodshot) Devil In A Woodpile sounds like it stepped into a time warp sometime in the ’20s and wound up stranded in modern-day Chicago. The group plays antique-sounding Americana using instruments like harmonica, washboard, clarinet, jug, kick drum, upright bass, and guitar. But it isn’t shtick; it’s an unironic dedication to craft. No band copping an affectation could pull off this sound so well.

The Tossers, The Valley Of The Shadow Of Death (Victory) With a move to the indie big leagues of Victory Records, The Tossers have seemingly buckled down, and In The Valley Of The Shadow Of Death reflects that discipline. The six-minute “The Crock Of Gold,” for example, spends half of its time brooding like a mournful ballad before jumping into a more familiar, fevered pace. In The Valley shows The Tossers coming into their own, and it bodes well for what lies ahead.