Maps & Atlases new album, Beware and Be Grateful, gets better with more repetition. At a first listen, the record stands precariously close to being sonically overwhelming. The diverse, unconventional sounds—looped vocals, shimmering synths and intermittent piano work—collide head on with the band’s traditional set of instruments.

However, after multiple journeys through, the listener starts to parse the music’s diverse elements, and can appreciate the multilayered and loaded tracks that comprise Beware and Be Grateful.

Just as infectious as they were on their debut LP, Perch Patchwork (2010), the Chicago indie rockers provide bubbly tracks that float along a gentle stream of music, but something darker, something sinister lies beneath the murky waters.

Beware and Be Grateful, even in its title, seems to serve as a cautionary tale of the pitfalls of love with a Benjamin Button-like affinity for reverse chronology in telling its story.

The album kicks off with the “Old & Gray,” a track with an air of desperation thanks to singer Dave Davison’s vocal work that channels the sound of Bon Iver’s Justin Vernon à la For Emma, Forever Ago. The dramatic end to the song, which features only Davison’s desperate singing, a taut underlying guitar riff and the intermittent swelling of piano in short spurts, is both disorienting and exciting in its unpredictability. “Old & Gray” also gives way to Davison’s impressive lyrical styling, in which he aptly gives idiomatic phrases heartbreaking literal context: “And our writing on the wall is under three coats of paint/In an apartment we don’t live in anymore.”

If “Old & Gray” speaks to the jaded loss of love that comes with age, then the upbeat “Bugs” and “Be Three Years Old” highlight a rambling, youthful imagination. Yet the overarching feelings of spoiled innocence and heartbreak remain constant. The two tracks also carry definite parallels to the sounds of Vampire Weekend, until the breakdown in “Be Three Years Old,” where Davison’s distorted, distant vocals evokes the style of Cage the Elephant frontman Matt Shultz in “Around My Head.”

“Old Ash,” is notable for its epic and dominating drum beat—reminiscent of Japanese taiko war drums played slowly—that bears some tribal flavor.

Beware and Be Grateful may sound dense and complicated at the outset, but first impressions can be deceiving. The record requires some perseverance on the listener’s end, but those who give the music time will be rewarded with a rich, satisfying sonic experience.

Purchase Beware and Be Grateful at Kungfunation.com

Maps & Atlases -- “Remote & Dark Years”

www.youtube.com/watch?v=IqQ9i5m_pEk

Second: Cat Fight, the latest from Chicago’s Lasers and Fast and Shit, may just be the musical equivalent of base jumping. At five tracks and a hair under 10 minutes in length, the band plow through frenetic, metallic-tinged punk rock that straddles the line between danceable and rage-worthy.

It’s commendable when a band lives up to their name, and Lasers and Fast and Shit do just that on Second: Cat Fight. To say the band’s tunes are fast is an understatement – no track on the EP comes within 15 seconds of the three minute mark.

Yet the songs don’t feel rushed because LFS seem to know their strengths are concise, rowdy and careening moments that are all about fat, crunchy guitars, bullet train rhythms and distorted, hardcore screams.

And within this context the band still play it pretty melodic. The album’s production is quite clean, which really works to separate them from the lofi trendiness that would have been an obvious approach. This results in a few moments that are actually quite bouncy like the ascending, skank-able groove of “Airports,” that also works to spread the gospel that airports are, in fact, “BORING!”

“Detroit City Lions of Mexico City” kicks off with skintight snare hits alongside warbling bass before opening up into an unnerving set of freight train riffage. Meanwhile, the coked-up jam “Cat Fight USA,” which seems to come from the prospective of one pissed off pussy, alternates between OFF-like guitars and stoner metal breakdowns.

It’s hard to argue with output like this when it’s coming from a band called Lasers and Fast and Shit, which is why I won’t even try. For those in need of chaotic energy bursts that aren’t short melody and fun, pounce on Second: Cat Fight.

Pre-order the physical copy or purchase a digital copy of Second: Cat Fight at Hewhocorruptsinc.com

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LASERS AND FAST AND SHIT
9:00 p.m. Sunday, March 25.
The Burlington
21+. $5.
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• • The Tribune’s Howard Reich explores the possibility of both the Center for Black Music Research and Chicago Jazz Ensemble finding homes at other Chicagoland universities such as Northwestern and DePaul, if Columbia College decides to withdraw funding.
• • Gapers Block’s Ricardo Villarreal talks about divisions in Chicago’s hip-hop scene with local artists and music bloggers, including King Louie, Chief Keef, Chandler London, The WHOevers, and Andrew Barber of the blog Fake Shore Drive and Alex Fruchter of the blog Ruby Hornet.
• • Rocker Scott Lucas talks politics and Local H’s new album, Hallelujah! I’m a Bum, with the Sun Times.
• • The Tribune also featured a report on the new “Squared Roots” festival that will replace the Old Town School of Folk’s annual “Folk & Roots” neighborhood fest. The new event, which takes place July 20-22, will feature folk music and craft beer and will make use of the school’s indoor facilities.
• • WBEZ music critic Jim DeRogatis pans Andrew Bird’s new album Break it Yourself.

While some are merely inspired enough by a locale to write a song, Shawn Rosenblatt, better known by his psychedelic pop leaning moniker Netherfriends, took from both the inspirational and experiential for his latest record, Middle America.

You see, nearly two years ago Rosenblatt set out on a very ambitious project where he aimed to play a show and record a song in all 50 states. And wouldn’t you know it, he actually did it (and yes that meant flying to Alaska and Hawaii). So, Middle America is far more than just a collection of songs about the central and mid western portions of the country.

The record documents Rosenblatt’s journey through America’s heartland with songs like “St. Louis, Mo,” “Des Moines, IA” and “Omaha NE” to name a few. But he’s often self-referential and writes about the seemingly ridiculous goal he’s set out for himself. On “Madison, WI,” Rosenblatt sings, “I was 23 years of age / writing 50 songs in 50 states / leaving your house was a big mistake / a mistake that I needed to make,” in a tired drawl.

And yet while on previous releases, Netherfriends has often been grouped in with psych-pop groups such as Animal Collective and the like, Middle America finds Rosenblatt embracing the blue collar-ness of middle America with more folk and alt-country leanings.

“Bloomington, IN” features airy guitars and galloping drums over a seemingly uptempo refrain of, “Everybody, Everybody wants to have a good time,” while the ode to Rosenblatt’s hometown, “Chicago, IL,” maybe the most edgy of the bunch as it’s lead by crooked-yet-expansive guitar hook.

That’s not to say Rosenblatt has completely abandoned his psychedelic roots. “Fargo, ND” opens with dirty tribal drums before shifting to dreamy keys, and “Columbus, OH” begins with dense echos before turning into quite the funky little number.

In the end, Rosenblatt has crafted Netherfriends’ best effort yet with Middle America because of it’s accessible and organic sound, clever wit and ambitious nature.

Purchase Middle America at Netherfriends.us

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NETHERFRIENDS
8:30 p.m. Thursday, March 1.
Double Door, 1572 North Milwaukee Ave.
21+. $7 donation.
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Change. It’s the central conflict and inspiration for Chicago indie rock band Young Jesus’ first full-length album, Home. Encompassing a wide variety of sounds—from the airy acoustic, folk beginning of “News” to the gritty, ‘90s garage rock of “The Greater Boulders” — Young Jesus’ musical diversity accentuates singer/guitarist John Rossiter’s impressive narrative thread.

The opening track, “Family and Friends,” embraces the listener with the gentle tempo of its acoustic guitar, but frantically builds to an aggressive and energetic climax. The singing rapidly transitions from sultry and soulful to frenzied and passionate in a matter of seconds. Rossiter employs a similar tactic in the album’s most sonically impressive track, “News,” which begins like a campfire sing-a-long. However, with Arcade Fire-like intensity, the song transforms into elegant discord with its visceral screaming backed by its upbeat guitar riff and constant crash of cymbals.

The most interesting aspect of the album is its major character, David, who makes appearances in four of the 11 tracks. His introduction comes in “David,” a hauntingly beautiful ballad about his dreams, love and innocence lost at the hands of a woman named Eloise.

“Away” provides the turning point in the story arc, and speaks to the delusions of idealistic memories. Calling to mind a Holden Caulfield-like fear of change, the surreal and complex track draws from its vivid imagery of a grotesque realization of “memory lane.”

David makes his triumphant return in three of the last five tracks, and Rossiter blurs the uncertain line between him and his character. In the final track, “Home,” he croons, “I am David. I am David/ I am Eloise, I am jaded!” It’s a fantastic story that comes full circle, drawing a sharp contrast between the first and last tracks—“Family and Friends” and “Home.”

Places and people may change, which is the root of the anxieties apparent in Young Jesus’ lyrics. David represents fears, vices and the person Rossiter doesn’t want to become—“half-Cain, half-Abel,” as he puts it in “David.”

However, family and friends—true friends—stay the same, and, in turn, anchor him. Rossiter, in “Home,” optimistically concludes, “I am happy, I am sound/ I’ve got my family and my friends.”

Purchase the digital version of Home at Young Jesus’ Bandcamp.

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YOUNG JESUS
6:30 p.m. Saturday, February 25.
Subterranean, 2011 W. North Ave.
All Ages. $10.
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Would it be weird to compare Bully in the Hallway to a twinkie? Because that’s what I’m about to do. If you’re familiar with that sweet treat, then the cakey outer shell is the Chicago band’s uber-melodic and accessible take on the Fugazi-like freneticism, and the creamy inner filling is their penchant for arena-rock hooks and jagged guitar work. Then when working in unison, it’s pretty damned delicious.

It’s hard to deny how effortless it sounds for Bully in the Hallway to bring such a raucous rock style to a level of maturity. Most of their songs race along at a high tempo, but the harmonies are clear and accented and never feel amateurish or immature.

Take “Golden Bones” for example. It rips ahead at a furious pace that’s part punk guitar bounce but easily digestible. The song then carves out an anthemic chorus that’s just ripe for a crowd singalong.

In fact, that maybe one of Bully In The Hallway’s strongest assets. They have a real knack for the catchy when it comes to constructing a chorus. “Life Is Money” offers a simple refrain of “Don’t spend in one place/ Don’t spend it all,” that still fits even though it’s encased in driving, Mission Of Burma-styled riffs.

“You Got Me!” is an instant highlight with its deep, galloping drums before vocalist Matt Simon enter with a take on a frantic David Byrne delivery, and “Magnanimous Corpses” powers along with crooked riffs and a staccato, shouted chorus that’s head-bang ready. But not every track is a high powered attack as “Walk of Shame” showcases the band’s tongue and cheek side with an Americana swing and a flare for the dramatic.

With Crooks and their Castles, Bully in the Hallway manage to craft a version of melodic punk and hardcore while not letting their love of alternative rock and big hooks go to the wayside. And instead, they combine them for a record that’s equally fun as it is energetic.

Purchase the digital version of Crooks and their Castles at Bully in the Hallway’s Bandcamp.

LISTEN: Bully in the Hallway – “Life is money”

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BULLY IN THE HALLWAY
9:00 p.m. Friday, January 6
Subterranean, 2011 W. North Ave Ave.
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The Paver’s newest EP Bad News has all the noir qualities of a Frank Miller story—disillusionment, negativity, angst. Even the record’s cover, a black-and-white photo of core band members Billie Howard and Jesse Giallombardo standing ominously in front of an old station wagon, has a larger-than-life, comic-book-pane-quality to it. It’s fitting given how richly illustrated their sound is.

Bad News is a wash of punk, metal, post-rock, goth, baroque pop, and even chiptune. That’s not to say it isn’t cohesive; a strong sense of darkness and anger sizzle on each track. But to crucify this music to one genre is nearly impossible.

Take opener and record highlight “Why” (listen below). It begins with a classic, chugging metal bass line followed by a torrent of screaming. But in the chorus Howard’s howl morphs into rising, operatic refrain that’s just as catchy as it is unexpected.

Both the succeeding songs have organ tones that would be at home in a Castlevania game. “Hush,” ironically, is an interesting blend of punk yelling and metal screaming that reminds me of a weekend home with my parents. “Everyone Knows You’re A Bore,” another stand-out track sung by Giallombardo, features a baroque, sea-shanty-style repetition of the song’s title that digs itself into memory.

The concluding tracks “Leaves and Rust,” a blender-full of distorted bass and shredding strings, and “Copper Mine,” another Giallombardo dredge-fest, explore similar territory. “Copper Mine,” in particular, introduces some eerie, gothic elements yet again making The Paver a hard band to nail down and Bad News a sort of amorphous, shifting monster. Its features might be hard to discern but the fangs and claws are apparent.

The Paver —Why?

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THE PAVER
9:00 p.m. Friday, December 2 (Record Release)
Panchos, 2200 N. California Ave.
21+. $5 to $7.
Tickets available at Ticketweb.com.
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While some bands mature in the lyrical sense or through the mood of their music, The Gorilla Press seem to have matured sonically on their sophomore effort, A Natural Thing (Unnatural To Me). That’s not to say the band has lost a sense of adventure, but rather the Chicago outfit have moved past the solid exercise in mid ’90s alt-rock that was their 2008 debut. A Natural Thing instead finds the band crafting a rich and layered melodic palette that aims equally for freshness and familiarity.

One thing for sure is that The Gorilla Press aren’t afraid to wear their influences on their sleeves. A Natural Thing is riddled with references from grungers Pearl Jam and Silverchair to moody The Bends-era Radiohead to the tenderness of The Decemberists. But what The Gorilla Press do differently is take those bit and pieces from their influence pile and piece them in a way that’s hardly derivative.

“On Fire” opens with a frantic urgency before finding sturdy footing among a bubbling rhythm. Later the song opens up into a melodic starburst that begs for choral support. It’s that type of shaping – bringing an expansive Arcade Fire-like vocal cue and inserting it at the end of a ragged rocker – that The Gorilla Press do so well.

The band show off their ability to groove with the ghostly funk of “Kneejerk,” while “Possibilities” finds the band going for fuzzy garage rock but the riffs are clear and not jumbled.

They also aren’t afraid of dabbling in more epic-like territory with the two-parted “Whale In The Sea.” Beginning with some melancholy dream pop that rises among delay swells, “Part 1″ gives way to the more aggressive “Part 2,” which offers dark keyboard strikes, a gritty double guitar breakdown and vocalist Chris Kang’s scratchy snarl.

Not only has the band matured musically, but they have never sounded as confident as they do on A Natural Thing. The result is a record that finds The Gorilla Press at their most comfortable while still not afraid of coloring outside the lines.

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THE GORILLA PRESS
9:00 p.m. Thursday, December 1 (Record Release)
Schubas, 3159 N. Southport
18+. $8.
Tickets available at Schubas.com.
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Anatomy of Habit’s self-titled debut might be the most un-metal metal album I’ve heard. In fact, calling it metal is probably a stretch. What it is, however, is a dark, moody and often haunting record that culls together a variety of sounds of the psychedelic, ambient and industrial sort. And that unwillingness to be boxed into a particular genre or any kind of strict categorization works to make Anatomy of Habit a bold and compelling debut.

A warning for fans of the four-minute single: You won’t find any here. No, Anatomy of Habit‘s two tracks, “Overcome,” and “Torch,” are both over 15 minutes long and are obtuse and difficult on the surface. But further investigation reveals much more as vocalist Mark Solotroff’s (of Bloodyminded) terrifying croon slash spoken word weaves its way through a sea of noisy percussion and droning guitar work.

“Overcome” opens like a predator stalking its prey – slow but sly and careful. Solotroff’s monotonic vocals hover over the clinky rhythms and repetitive, warbling guitars. A slight variation that includes eerie guitar picking takes hold until shortly after six and a half minute mark as menacing, grinding riffs pummel for a short moment as if the predator attacks. But the piece simmers down shortly thereafter. Finally, the real build up begins with a scratchy, distorted seque that leads to the song’s prog-metal coda.

And speaking of animals, Anatomy of Habit‘s second piece, “Torch,” is a different one altogether. It begins with a bleak hum filled with abstract cymbal play, which takes on a terrifying feel as demented ramblings about flesh, sternum and lungs seeps in. The trudging tempo gets more power via slow-burn fuzzy guitars before the chugging metallic riffage finally takes center stage. The song eventually breaks down again into a cacophony of demonic howls and bone rattling beats.

Yes, Anatomy of Habit isn’t the year’s most sunny album. In fact, it’s quite the opposite. But the moody tension and and sense of horror the band creates is extremely impressive. There’s no doubt that Anatomy of Habit have crafted one of the year’s most intriguing debut LPs from a Chicago band.

Download Anatomy of Habit at the band’s Bandcamp.
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ANATOMY OF HABIT
10:00 p.m. Saturday, December 3
Lincoln Hall, 2424 N Lincoln Ave
18+. $13 advance/$15 at the door.
Tickets available at Lincolnhallchicago.com.
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