Chicago-based performing songwriter Tim Hort has released a distinctive new album with the band, "The Radio Hour." The album, which is also titled The Radio Hour, is a well-crafted and idiosyncratic collection of world-weary songs that have a lasting sense of melody and an appealing sense for introspection. Hort’s hook-ridden songs, with their pensive overcast quality, strive to stand on their own merits and eclectic production.

The Radio Hour features Tim Hort on vocals and guitars, Matt Ulm on bass, Jordan Macarus on guitar, Brahm Fetterman on drums, percussion and guitar and Rich Yeater on piano. (The CD also credits the collaboration of Chicagoans Sean Burke on drums as well Brett Giles, Richard Reeves and Joe Griffin on guitar, and others.)

College Music Journal endorsed Tim Hort as its "Artist and Reportiore Pick" (A &R Pick from CMJ New Music Report) noting the smart, tight melodies and superior production of his songwriting. Chicago’s Illinois Entertainer called Hort’s material "terrifically chilling," and in a later review wrote his work "...could really find it’s way to Top on the Pops. Hort is a fine songwriter and the band grabs the material and runs with it." Hort is fairly new to the recording front and this ’02 release of The Radio Hour is only his second recorded effort.

The new album is probably best described as Adult-Album-Alternative, or a performing-songwriter style, which is personally tainted with dark musings. Its broad influences are not easily categorized. At this early point of release, some listeners have said it is in the vein Pink Floyd (The Wall, The Final Cut or Animals) or Peter Gabriel (Us), some have said Jefferson Airplane, Lindsey Buckingham or Ben Harper, and one listener remarked REM’s Mumur, or Paul Simon in a song like "Boy in the Bubble." The new album also demonstrates growth toward a more personal style since Hort’s first studio project, which was his ’99 hooky pop album "Radio Hour 491."

Hort comments, "When putting together the music for a song for the new album, our recording sessions tended to blend sounds from different production eras – ranging from 70’s psychedelic mood to 90’s feel - without the need or interest in honoring or defining our sound music under particularly genre. The common denominator deals more in the lyrical tone -- with the underlying pensive quality throughout –like a creeping feeling that the pilot light is about to go out."

The album explores a sense of redemption but without remorse, syrup or interest in sympathy. (And it throws in a few references to T.S. Eliot’s Wasteland as a subtle tribute to Hort’s favorite writer.) Sometimes, as in songs like ‘Except of a Dead-on Girl’ or ‘The Killer on the Kennedy’ the lyrical point-of-view is clearly lost or deceptive, and others like ‘Centrifugal,’ ‘Chemistry’ or ‘Missing from the Township’ it is redeeming and reaches out. Hort comments "Either way, it makes for interesting listening with introspective mood or an overcast Sunday morning feel."

The album was mixed in Chicago by Blaise Barton, whose previous engineering credits include Bob Dylan, and artists of local origins like Liz Phair, Sons of the Never Wrong and Ike Reilly. The original analog tracks were recorded at Chicago Trax by Jacob Robinson, along with additional recording at ACME – Chicago, Renwood-Messenger Studios and at Scientific Recording. The album was mastered by Dan Stout at Colossal Mastering - Chicago. The album was released by Setter & Spider Music.

See the web site, "The Radio Hour" at www.TheRadioHour.com, which provides up-to-date information about live shows, retail availability and CD sales, airplay and info about the band. The band is currently scheduling shows and performing in the Midwest to promote the CD release.

More ChicagoGigs.com Artist Pages

Chicago music discussion board