Defined by lead singer Arista Strungys' flame-thrower of a voice, which ignites nearly every Loraxx song with an aggressively fearful passion that should send even the most hardened souls scurrying for cover, this trio follows Chicago's grand tradition of no-nonsense, hide-the-pets, sludgey hardcore punk. Descendents of Big Black, the Jesus Lizard, and Shellac, while also encompassing some of the blunt and hurried industrial force of the Effigies and Naked Raygun, Loraxx is a bass and drum driven act that packs more iron-strength than an urban construction site. The band formed, for all intents and purposes, in mid-1998 when drummer Elliott Talarico hooked up with Strungys and bassist Santash Isaac. Talarico andStrungys, a graduate of the University of Illinois at Chicago, had met when she answered an ad in a Chicago record store, and the two had been trying to get a band underway for a couple years prior. Though Strungys' concrete-pounding voice -- an even angrier Courtney Love, if you will -- will likely be your first impression of the band, what sets Loraxx apart is the tightness and accomplished interplay of Isaac and Talarico. Perfecting the art of giving and taking, Isaac and Talarico aren't afraid to slow down, create a little space, and even master what many have described as a Gang of Four-like funk groove. Of course, it isn't long before Strungys' alarming guitar will arrive on the scene and fry everything to smoldering bits. Loraxx's first album, Canada, was recorded in 1998 with Steve Albini. The work was a collection of some early demos and EPs, and firmly established Loraxx as one of Chicago's most menacing hardcore acts. The album was self-released and paid for by Talarico's brother and Strungys' grandmother. After putting out Canada, Strungys started her own label, Automatic Combistioneer Records, which the band used for further pressings of Canada, and to release its sophomore album, Yellville, in January of 2001. The album found Loraxx expanding its range by placing more emphasis on the mood of the songs. The band added some breathing room to increase the tension in its rhythm-orientated numbers, and Strungys' became a confident enough singer to not always resort to yelling until her eyes pop out. Yellville was again recorded with Steve Albini. ~ Todd Martens