Bobby Evers writesIn Rotation: Ryan Burns

by Bobby Evers

Ryan Burns | The Institute | Self-Released

OK, a folky acoustic guitar EP. Got it. Tell me more. Well, for starters, the young Chicago songwriter, also a member of the band Distant Brothers, describes his own work as "genre-bending Americana songs on his banjo and guitar," and according to his bio, he was an ethnomusicology major, pulling subtle influences from Mande drumming, and traditional Irish music. Track 1 sounds like it might be a cross between something off the Llewyn Davis soundtrack and from the Michigan singer-songwriter Matthew Shelton. Track 2 starts with a banjo that grabs you immediately. An aspect of this release that makes it hyper-local is that each track was inspired by a different work at the Art Institute of Chicago, where the EP gets its name from.

Amelia writesIn Rotation: Julian Leal

by Amelia Right

Julian Leal | Julian Leal | HoZac

Imagine a resurgence in your musical past after your one and only hit made it on American Bandstand in the '80s. This is what Julian Leal from Romeoville, IL experienced when he was approached from HoZac Records to re-release an archive of his songs after a group of avid record collectors dug deep into record bins looking for his debut material or any 45s of his made available in store or online. Julian Leal self-titled debut album came out in 1985 and quivers with the kind of power pop craze that followed the height of new wave.This archive features his debut album and rarities that focuses on the teenage crush vibe with songs as “Catch Her Trill”, “ Roller Skates” and “ Mad About You.” Taking a listen to this album will have you reminiscing of carefree and wholesome times.

scott.brehman@gmail.com writesIn Rotation: The Alibis

by Scott Brehman

The Alibis | Bloom | Self-Released

The Alibis (local Chicago folk-duo of singer/songwriters Eric Quigley and Daniel Robbins) offer their debut album Bloom with eleven tracks of upbeat, poppy folk to accompany a mid-afternoon hike or drive on a warm day with a cool breeze. Definitely an Iron & Wine/Calexico vibe throughout the record, with arrangements including acoustic guitars, banjo, harmonica, maracas, piano, violin (not fiddle), and often-harmonic vocals.

"Bittersweet" is anchored by a hypnotic guitar line that's accompanied by vocals that are grounded during the verses but soar into the choruses. "The Mournful Sound" includes claps and a subtle slide guitar to build a droning rhythm over which the two singers harmonize. Every aspect comes together most hauntingly and beautifully on "City Lights" which is anchored by a pretty, finger-picked guitar. Thematically, just about every song seems to balance a failed relationship with what is perhaps a one-night stand (possibly with the ex-love). Every track coheres to the overall sound but the varied instrumentation throughout allows each song its unique feel.