The Flat Five profess pop in unforgiving world

The Flat Five has existed in its native Chicago over the past decade as a diversion for some of the city’s craftiest vocalists. First came yearly holiday programs, then occasional club residencies and now, finally, a debut album titled “It’s a World of Love and Hope” that lets the rest of the world in on the group’s bountiful sense of pop cunning and harmony.

Of course, the quintet’s near mythic status in the Windy City means little to Lexington audiences. Some of its singers have visited over the years, though — the most prominent being Kelly Hogan, a remarkable stylist who has sung here alongside Neko Case, Andrew Bird, Alejandro Escovedo and Jakob Dylan. Additionally, Casey McDonough and Scott Ligon have performed locally as part of the current NRBQ lineup.

But enough history. Approaching The Flat Five as an unknown is just fine. Slip on “It’s a World of Love and Hope” and you’re immediately drawn into a wonderfully askew pop world. Sure, much of the album’s inherent quirkiness comes from the fact it is devoted to the curious tunes of Chris Ligon, a Chicago songsmith (and elder sibling to Scott Ligon) who isn’t even part of the group. His material beams wide-eyed innocence on the surface, but there are waves of subversive disturbance in some of the story lines that The Flat Five quickly capitalize on.

Take “Buglight,” a dizzy jazz-pop confection with a male-female call-and-response chorus (“zip zip, boom boom”) that illuminates a character fascinated by the summer symphony of flying insects meeting their kamikaze demise soaring into backyard bug zappers. Vocally, it’s as traditionally constructed as a swing-inspired work by the Manhattan Transfer. Lyrically, it’s like Spike Jones meeting David Lynch.

Further off the curb, and far more sobering, is the Frank Zappa-esque “Blue Kazoo,” a romance that goes terribly (and literally) South. The verses are stoic and despondent, but then a bongo-savvy, harmony-rich refrain detonates a reality check (“Money makes the world goes ‘round if you have it, but what if you find yourself down in Peru?”).

There are traditional elements to “It’s a World Full of Love and Hope,” as well. “Almond Grove” sports the kind of dour life circumstances that defuse the album title. But the chorus, depicting happiness that will never be realized (“I would rather wake up in your arms… but this can never be”) is subverted by harmony that eventually surrenders to an old-school chanting of “la la la.”

That’s ultimately the appeal of The Flat Five and why the group may be one of the most satisfying discoveries of the fall. Through Ligon’s songs, it explores the obstacles of an unforgiving world. But when its voices are raised, the end result is obvious: Pop conquers all.

This story was originally published October 25, 2016 at 5:40 PM with the headline "The Flat Five profess pop in unforgiving world."