An Epic At Best — There Will Be Rain

Recorded and mixed by Eric Friar at DARC (Downtown Athens Recording Company) in Athens, GA

Produced by Eric Friar and An Epic At Best

Mastered at Chase Park Transduction by Jeff Capurso

Judging by the band’s sense of humor, which is in full display on its website(s), it’s hard to imagine how such whimsical people can conjure up such a brew of melancholy as is heard on this debut album. The Athens-based band has created a lush record of chamber pop that comes off as a more heartfelt, down-home version of Yo La Tengo. There aren’t many laughs on this record, but sometimes just plain old beauty can make you just as happy. An Epic At Best has crafted a fine record of chamber pop that brings to mind a time when the term “indie rock” wasn’t a tired cliche.

The band, made up of Roy Coughlin (guitar/vocals), Robert Gunn (vocals/piano/guitar), James McGaw (drums) and Natalie Roberts (bass), has an interesting sound that is at times ramshackle and other times dreamy. On “Carolina,” a hypnotic guitar riff is complemented by supportive piano flourishes to create a nice sonic bed for the vocals. The somewhat rickety sound on these songs eventually gives way to what can best be described as a tiny Wall Of Sound — as if Phil Spector had been allowed to sit in on the sessions, but only for a few minutes. Vocalist Robert Gunn particularly shines on “Weight Of Words.” He’s not afraid to bare his soul while he’s singing, but his emotion doesn’t get in the way of the delivery, which sometimes can happen — okay, it happens a lot — in the world of emo-related music. In other words, Gunn is able to enunciate with emotion and power.

The production is fairly simple, allowing the songs and performances to speak for themselves. The band has achieved a wide-open sound that has thankfully sidestepped a lot of the trappings of modern recordings, especially in the vocal and drum department, much in the same vein as Doleful Lions or Elliott Smith. The best example of this evasion can be heard on the track “The Color Of My Lungs,” where you get the feel of a band playing together in the same headspace — and not artificially so by way of any Pro Tools magic. This is an ensemble of great depth, true emotion and tremendous musicianship. The songs that make up the record are concise pop gems that work fine on their own while also building momentum from beginning to end. The only thing that might be better than listening to An Epic At Best on CD would be listening to the group in a live setting. Based on the band’s live reviews, if you like this CD, you’ll love the show. It would seem to be impossible to play (or listen to) these songs and not smile just a little bit. (Two Sheds Music)

www.anepicatbest.com

-Jon Dawson

Dexter Romweber — Piano

Recorded by Thom Canova at Overdub Lane in Durham, NC

Produced by Jefferson Holt and Chris Stamey

Mixed at Modern Recording in Chapel Hill, NC

Mastered by Brent Lambert, Kitchen Mastering in Chapel Hill, NC

To an experienced classical listener, Dexter Romweber’s debut album sounds awfully restrained. “Dex” describes himself as “an artist freed by any formal notions of structure or boundaries, reveling in the joy of discovery and the creative process.” Indeed his immense talent for musical performance is obvious, but this talent seems to be incarcerated by his quasi-improvised composition. Too many of the tracks on the album share the same agitated, melancholy, even borderline emo mood. In addition, the pieces themselves venture beyond the limits of random; a little spontaneity may be artistic, but the degree to which Romweber’s pieces suddenly introduce new chords or interject the ideas of a late 19th century Russian composer often just confounds the listener.

“Turbulent” introduces the album with a smooth, pulsating harmony that Romweber expertly manipulates to bring out a subtle progressive melody. The melody builds up into a climax that resembles the exposition of Rachmaninoff’s Op.23 Prelude in G Minor. Compared to the classical flashbacks he uses later on in the album, this borrowed element actually makes sense in the context of the rest of the piece. However, it is in the piece’s receding from this climax that Romweber commits his first offense: he injects random, somewhat unnecessary grace notes between the perfectly happy V chords that were dutifully doing their harmonic jobs. These untimely notes ultimately bring about a section in which rhythm seems to be entirely lost and key even more so. The piece at least resembles sonata form in that the pulsating harmony returns once again in what could be described as the recapitulation. Romweber concludes the piece well; his coda repeats the piece’s introductory chords in a musically angry, frustrated fit.

In fact, “angry” and “frustrated” together describe about 80% of the music on the album — the other 20% might fit under “foreboding” (see “Trap Door”). Similarly, the above description for “Turbulent” could apply for any piece on the album; simply replace the title and the name of the classical allusion, especially for pieces like “Evolutionary Etude,” which borrows from both Chopin’s Op.10 No.12 “Revolutionary” Etude and the third movement of Beethoven’s Moonlight Sonata. In general, Romweber’s pieces are dark, beautiful and lush melodies riddled with the machine gun wounds of unexpected and probably unnecessary chordal and melodic shifts. (Orange Sound Production)

www.ruraltone.com/dex

-Yi Xiang

Indigo Girls — Despite Our Differences

Produced and mixed by Mitchell Froom and David Boucher

Recorded by Mitchell Froom in

Santa Monica, CA

Mastered by Bob Ludwig

Folk-rock darlings the Indigo Girls are back to celebrate their 20th anniversary with another little gem. Despite Our Differences marks the 10th studio release from the Indigo Girls and their first for new label Hollywood Records. The Indigo Girls prove that they are, in fact, at the top of their game with Despite Our Differences. Lyrically, the Girls succeed masterfully, inflecting insightful metaphors about politics, love (gained and lost) and the weariness of everyday living. “Dirt and Dead Ends” winds up being the seminal track on the CD, melding simplistic vocal melodies over sparse drum and guitar harmonies. Nevertheless, don’t expect the rest of the CD to follow suit. Despite Our Differences is by far the Girls’ most pop-driven effort, punctuated with many radio-accessible tunes. One fist-pumping track in particular, “Rock and Roll Heaven’s Gate,” features Pink on backing vocals.

What has remained true of the Indigo Girls throughout their career has been their refusal to sacrifice their music for the sake of keeping up with the current novelty act. Saliers and Ray don’t have a formula for music, but rather have developed their own signature throughout their musical career, never tailoring their music to garner attention. Because of this fact, the Indigo Girls remain timeless musicians, never sounding dated or tired. The ballads on Despite Our Differences manage to sound fresh and still tug on the emotional heartstrings of the listener. The rest of the CD offers up plenty of tongue-in-cheek, guitar-laden folk rock. The Indigo Girls not only changed up record companies, but production style as well. Despite the home studio recording of this release, the soft acoustic sound usually found on their prior efforts is almost nonexistent. Instead, Saliers and Ray take full advantage of having a full band, and the many guest artists contribute to the hearty sound of this album. (Hollywood Records)

www.indigogirls.com

-Charley Lee

The Annunaki — The Annunaki

Produced by The Annunaki

Recorded, mixed and mastered by Ken Ferrara

Part medieval and part stream-of-consciousness jazz, Atlanta’s The Annunaki stir up haunting yet beautiful melodies on their new self-titled CD. With constant time signature changes and sweeping crescendos, The Annunaki’s abilities as musicians shine.

The CD begins with the transcendent “120 Sars,” a complex and sweeping guitar and piano piece that escalates back and forth through off-rhythm fills and a beautiful, goth-laced sexuality that many songwriters can only dream of. The four-song CD ends with “Silver Moon,” a sullen and sultry track that properly illustrates Natt Stewart’s incredible voice — akin to Sarah McLachlan. Her angelic vocal melodies add to The Annunaki’s haunting presence.

The fact that The Annunaki is made up of only two members, the aforementioned Stewart and Matthew Banathy, means the production leaves little to be desired. The crispness of the only two instruments on the CD, guitar and piano, adds an organic quality to the songs — as if the musicians were playing live in front of you. The lack of studio polish and magic by engineer Ken Ferrara allows the members of The Annunaki to infiltrate your ears with their own mysticism, rather than that of a compressor channel or delay track.

The Annunaki should be proud. Atlanta has little to offer for the non-indie rock, non-garage rock or non-John Mayer types. To create a near-perfect recording of haunting melodies that rightfully deserves to be the backdrop to the indie film of the year is akin to swimming upstream, and to execute it so successfully as The Annunaki is a miracle. (Self-released)

www.the-annunaki.com

-Chris Parizo

Justin Beckler — Oh! My Troubled Mind

Recorded at Pudding Sound Studios

Produced by Justin Beckler

Engineered by Ross McClauglin

Mastered by Ron Pudding

“This Mountain,” the first track on Justin Beckler’s Oh! My Troubled Mind, stomps along with a polished yet masculine drag that betrays the album’s frail title. The chorus borrows from the Kenny Rogers/Mickey Newbury classic “Just Dropped In (To See What Condition My Condition Is In),” which, of course, is a good thing. Though the gruff background vocals are a little over-the-top, those little touches are what separate this album from the typical whiny singer/songwriter record.

At his most puissant, Beckler displays a Southern rock sensibility comparable to bands like Ram Jam; however, when more introspective (“Homeless,” for example), his style is reminiscent of Cat Stevens. Beckler’s writing is a cut above the typical independent singer/songwriter, and both “Don’t Leave Me This Way” and “Shadow Bag” could nearly pass for new David Gray material.

“Everything You Say Is True” is the standout. The album’s best vocal melody and chord progression bounce along a piano line with a phaser effect, and the precise acoustic picking resembles that of Peter Gabriel’s “Solisbury Hill.” The song pushes on with building intensity, and the drums don’t fully kick in until the 90-second mark. Other instruments don’t surface until nearly three minutes in, which allows the song to keep building momentum until it all unwinds after four minutes.

Constant harmonies, good engineering and great playing carry Oh! My Troubled Mind from beginning to end. While it may not be the most interesting release this year, it will certainly turn a few heads locally and beyond. (Self-released)

www.justinbeckler.com

-William Cane

The Close — Sun, Burn

Recorded at Zero Return and Slimmertwin Studios

Produced and engineered by Mark Rains

Sun, Burn marks a definite musical improvement over The Close’s last effort, It’s a Secret to Everyone — the result, no doubt, of using a professional studio and the constant touring the band has endured over the last three years. Also, it never hurts to have a capable producer and engineer at the helm. Band leader Brooks Meeks rides the control board on this outing and avoids falling into the same trap as many who produce their own work: overindulgence. Meeks exhibits the ability to rein in the grand delusions to which artists often fall victim. On the mixing front, Mark Rains adds some of the sheen and popular appeal he has also imparted to acts like Outkast. The mix is dynamic and clear, with every instrument having its own space. The fact that the songs were recorded and possibly mastered digitally is apparent, but this CD lacks the cold, unwieldy digital deadweight of many fully digital recordings. The fact that The Close would opt for the “zeroes and ones” approach, knowing the contempt with which many indie rockers regard digital recording, illustrates the band’s willingness to step out of their scene’s little box.

Musically, Sun, Burn makes for fairly standard alternative rock. However, it’s not so much the musical classification that makes the songs compelling; it’s the musical milieu. The Southern gothic romanticism of Athens bands like R.E.M. and Parade, as well as the self-assured delivery of Brit-pop revivalists Oasis, subtly color the songs. The rhythms are uncharacteristically syncopated and allow bassist Dustan Nigro and drummer Keefe to engineer some challenging grooves. Meeks’ guitar style often employs dissonant chords and lots of breathing room in between them while keyboardist Theresa Marie Fedor fills in the empty spaces with brooding chords and chiming arpeggios, giving the songs a weighty atmosphere. With emotive though mostly restrained vocals, the members of The Close are coming closer to developing a fully realized sound that is theirs alone. (Goodnight Records)

www.thecloserocks.com

-Matthew S. Maynard

Dan Sartain — Join Dan Sartain

Recorded by Gar Wood at Strange Sounds in San Diego, CA, Liam Watson at Toe Rag Studios in London, England, John Reis in San Diego, CA and Brian Moon in Birmingham, AL

Mastered by Dave Gardner at Magneto Mastering in Minneapolis, MN

Dan Sartain wants to shake things up, a point he makes clear right from the start of his debut album, Join Dan Sartain. The sound is immediately urgent, as “Drama Queens” sets off upon rollicking drums that underlay Sartain’s wailing punk-a-billy vocals. He sings of “dirty fiends and filthy whores,” even joking that he is “happy that [God] died.” Throughout the album, the lyrics are sometimes sadistic, sometimes ironic, sometimes blasphemous and always fun.

Sartain depicts a world that has never done him any favors, so he owes nothing in return. Admissions as to his loneliness, heartbreak and sorrow, however, are very much there, even if hidden among the loud guitars and cymbals. Sartain thus seems to be at a crossroads where he is attempting to allow his raw humanity and his punk-like apathy to co-exist. He is surprisingly successful at doing so, but his attempt to meld three very different musical influences does not work quite as well.

It could be due to the fact that various producers were used for the album, but Join Dan Sartain seems to have three distinct personalities: the rough, raw country of Johnny Cash, the anti-melodic rage of punk and the rhythmic slide of Latin music. There is no one song on the album that fully blends the three; instead, the 15-track album is composed of three basic songs, one in each style, with slight variations from track to track. The songs produced by Gar Wood and John Reis are nearly straight punk rock; Liam Watson and Brian Moon seem to have brought out the cowboy in Sartain; and Reis also produced the two songs with heavy Latin influence.

Join Dan Sartain would have been a very impressive, if somewhat schizophrenic, EP. But instead of showing off Sartain’s musical range and ability, this full-length album seems simultaneously disjointed and repetitive. But Sartain clearly has the attitude, the image and the skill to make it. He needs only to pick a direction, and we all will come along for the ride. (Swami Records)

www.indian.co.uk/dansartain

-Kat Amano

Pilot Scott Tracy — We Cut Loose!

Recorded by Andy Baker in Athens, GA

If the idea of giddy pop punk and raw new wave gets your motor going, Pilot Scott Tracy has your ticket, and the trip is well worth it. After the demise of the faux-cult band The Causey Way, Pilot Scott Tracy was born, took flight, made a few layovers and shortly thereafter We Cut Loose! was spawned. From the opening track to the very last note, spastic energy and excitement pour out of this CD like a crazy person on a daytrip to Disneyland. Tracy Cox’s tranquil and soothing voice over softer songs like “5-19-22” and “Under the Apple Tree” provides a nifty contrast to Scott Stanton’s frenetic vocals and crunchy guitar melodies. On We Cut Loose!, Pilot Scott Tracy attacks the eardrums with a wall of sound by prominently featuring the drums and fusing fuzzy keyboard synths with clean guitar licks. The album never stays the course, however, as each song is vastly different from the last, flirting with various styles from Devo and Ladytron to even I Am the World Trade Center.

As a bonus, We Cut Loose! includes the live track “UFO,” which gives a good indication of how raucous the group’s live show might be, though that’s evident without the live track. The CD also includes a very impressive cover of The Smith’s “There is a Light That Never Goes Out.” Lyrically, there is no cohesive theme that ties the CD together. We Cut Loose! runs the gamut from serious to silly in no time, with songs praising the complexities of country music to songs calling for the abandonment of conformity. The one cause for dismay, however, is the CD’s brief length, clocking in at just under 40 minutes. Yet, with the infectiousness of We Cut Loose!, it’s a good thing someone invented the repeat button. (Alternative Tentacles)

www.pstairlines.com

-Charley Lee

Kim Taylor — I Feel Like a Fading Light

Produced by Jimi Zhivago

Recorded at The Maids Room, LOHO Studios and The Magic Shop in New York, NY

Recorded and Mixed by Pete DeBoer

Mastered by Joe Gastwirt

Kim Taylor’s music takes you on a walk down a familiar sidewalk where a crisp wind lays its hands on any space of bare skin showing. When the sidewalk ends, you will find poetic songwriting and even-handed music. On her sophomore effort, I Feel Like a Fading Light, Taylor’s voice is sweet and haunting.

The raspy, brazen quality of Taylor’s voice on the title track is reminiscent of a less mainstream Norah Jones. Her voice transcends into rock ‘n’ roll on a thin bed of soul on “People.” Taylor sings as if she is in a small café, letting the words fall from her lips the way eyes follow the rhythm of poetry line for line.

Taylor composes “My Dress is Hung” with no chorus and the sound of a country tune. In a soft prayer to her dress, Taylor sings, “Keep me honest ‘cause I’d rather lie, keep me young and keep me satisfied.”

“Baby I Need You” is a standout, sweet acoustic song where Taylor’s voice drags emotionally and appropriately, letting the longing linger on each lyric. Taylor also explores her range, crawling up the walls of higher notes on the metal-infused “(Do You Know the) Troubled Mind,” where she sings, “You eat for two, you and your regret.”

“Bruise” is as close as Taylor gets to a hard rock sound, and “You Can Rely On Me” sounds like the last country tune in an old jukebox, reminding the listener of a slow dance that means so much in that moment but may be forgotten tomorrow.

Taylor doesn’t limit herself to telling a feel-good story; she sings some stories that are hard to tell and even more difficult to swallow. Overall, the album is consistent, focusing on original writing and guitar. The music plateaus occasionally, making it difficult to distinguish one song from another, but it is Taylor’s writing that separates each song from the one before. (Self-released)

www.kim-taylor.net

-Amena Brown

Birdsongs of the Mesozoic — Extreme Spirituals

Produced by Birdsongs of the Mesozoic

Engineered by Michael Bierylo and Erik Lundgren

Assistant Engineer: Chuck Sokol

Birdsongs of the Mesozoic teams up with gospel virtuoso Oral Moses to create an inimitable, syncretic niche in the modern musical diaspora. Their idiosyncratic blend of well-composed, electronica-enhanced prog-jazz, for lack of a better term, defies categorization. Truthfully, the only genre that would possibly allow Birdsongs to define themselves as authentically such would be the jazz community. Birdsongs couple minimalist arrangements with eclectic, electronic accompaniment. The blend makes for an eccentric sound that is oddly appealing to the uber-prog audiophile. For those who prefer straightforward music, look elsewhere. You won’t find this album at Wal-Mart.

The musicians who make up Birdsongs — Michael Bierylo, Ken Field, Erik Lundgren and Rick Scott — have varied and distinguished resumes. Their music can be heard anywhere from contemporary chamber performances in Cambridge, Massachusetts to Sesame Street.

There is a distinct homage to a familiar, American folk tradition on this album, but it’s the tradition that’s recognizable, not the harmonies. Atlanta-based guest vocalist Oral Moses belts in a rich baritone Black American standards like “Joshua Fit the Battle of Jericho” and “Swing Low, Sweet Chariot,” but the accompaniment truly may as well have been written in the Mesozoic period, or perhaps the distant future. Imagine American Gothic in pastels. This is not art for your living room; you’re more likely to find it at the MoMA.

The vocals rarely deviate from their traditional melodies. The accompaniment, however, seems impulsive, exploring various related motifs and some very unrelated motifs, often atonally. When paired with Moses’ precise singing, the unique sounds of Birdsongs come across as random, despite the fact that these talented musicians composed nearly every note heard on the album. The amalgam that is the final product doesn’t really click. The disparate sounds of Birds and Moses don’t mix very well, and the listener is left with the urge to separate the two and hear them in proper context.

It’s impossible not to admire what is happening on this album, as the two entities of Birds and Moses are independently noteworthy and commanding within their genres. Together, however, the sound is altogether arresting in a totally different way. (Cuneiform Records)

www.birdsongsofthemesozoic.org

-Mitchell Maddox

Walcott — Swallow the Ghost

Recorded, mixed and mastered at Chase Park Transduction Studios in Athens, GA

While not a roots-rock band, Walcott has a charm that will make you want to collect bootlegs of their shows and wear their t-shirts. Keyboardist and vocalist Hunter Morris has an earnest, soulful voice that can ooze soul, rock and country, many times within the same verse, without getting bogged down in the woe-is-me-ness that plagues a lot of modern music. On “Song for the Quitters,” his voice fits in perfectly with the rich, ringing guitar of Mike Stokes to create a sunny vibe that a fan of Maroon 5 or Jeff Buckley could appreciate. The entire band, which also features Brandon Scarboro on drums, Ryan Stone on bass and Phillip Tapley on percussion, plays with the type of abandon that is usually reserved for groups of the jam band ilk. These guys can assuredly get their jam on, but it never meanders into noodling. The playing fits the emotion of the lyrics.

Judging by the band’s web scrawlings, part of their M.O. is to rekindle the love affair between rock ‘n’ roll music and poetry. For example, in the song “I Laid Me Down,” we get the lines “The floor’s all red / I guess I’m dead / I see my brain’s up on the ceiling / Must have lost my head.” Now, just reading those lines, you might think that these guys are lost in a Morrison-esque stupor under a stage somewhere, but when you hear these lyrics with the melody and the music, it really does work. The music and melody could fit perfectly on a new Steely Dan album; dreamy, vibrato Fender Rhodes piano dominates the groove of this song. At around the minute-and-a-half mark, the band jumps into a higher gear that raises the emotional level and gives the soloists room to show off a little.

The last track on this six-song EP is called “Idiot,” and the band truly states its case here: after all of the fancy words and clever arrangements, these guys are here to rock. And rock they do. Thick, heavy guitars duke it out with a tasty Jon Lord-inspired organ riff that will have you playing drums on the dash while the patrolman checks your license and registration. There will be no need to make up an excuse for speeding; any “Idiot” will hear the reason coming from your speakers. (Self-released)

www.walcottmusic.com

-Jon Dawson

Librarians — Alright Easy Candy Stranger

Recorded and mixed by Dave Klug and Dallas Campbell

Mastered by Russ Fox

It seems that Peter Murphy’s illegitimate child has finally reared its head, and in Morgantown, West Virginia, of all places. Those black mountains must have a way of breeding brooding dance rock that keeps you depressed and moving at the same time, as some believe it should.

Librarians’ latest release on Postfact Records, their second since their inception two years ago, is a mélange of percussive landscapes layered with sterling guitars, all the while highlighted by blipping keyboards and haunting vocals from Trey Curtis. Billy Parsons’ drumming falls right in line with other post-goth/glam-dance drummers: nothing outstanding but constantly machine-like and persistently moving the listener.

Lyrically, the album delves into self-examination and the examination of reality based in the worlds created by Curtis. But the lyrics do not seem to be the focus here for Librarians as they are washed out by the music so much so as to be just another layer of the dark, harmonious backdrop.

The group’s danceable traits have been compared to what’s great about Les Savy Fav, Liars, The Dismemberment Plan, Enon and Thunderbirds Are Now. While these references are heard, they would also be an easy dismissal. These guys are working on something more accessible, along the lines of Interpol or later Bauhaus. The album is a tremendous leap forward from their first EP, Neo-Rodeo, showing greater maturity and a more streamlined songwriting style.

Sooner or later, Librarians’ glam-infused punk disco will get anyone moving and that is all that matters sometimes, right? (Postfact Records)

www.librarianslove.com

-Jason James

Emerson Drive — Countrified

Produced by Teddy Gentry

Emerson Drive’s new CD, Countrified, pays homage to all that is dear in American country music, appreciating the simple things that matter most: home, love and a giving spirit. The rock-influenced six piece’s new release includes the widely popular first single, “A Good Man.”

David Pichette, a classically trained violinist, lends an integral part to the group as its fiddle player. Pichette and guitarist Danick Dupelle will have you tapping your toes with “Sweet Natural Girl” and singing along with the strong vocals of Brad Mates. The song wraps up with alternating fiddle and guitar taking turns chattering back to each other.

“Countrified Soul” is a danceable track, full of twang and a lively tempo. Emerson Drive borrows a line from Charlie Daniels’ “Devil Went Down to Georgia” and then covers the song in its entirety as the album’s final track. Pichette’s stellar fiddle playing on this track doesn’t miss a beat. Bassist Patrick Borque adds a Led Zeppelin “Kashmir” riff to the song.

Legendary Alabama bass player Teddy Gentry produced the new album. Gentry taught bassist Patrick Borque that “less is more,” particularly on ballads, where not overplaying his part means that Mates’ vocals can shine more clearly. Gentry was one of the main people who helped structure the vocal harmony sound for Alabama, which clearly influenced harmonies on Countrified. Lead guitarist Danick Dupelle and keyboardist Dale Wallace also provide harmony vocals.

Emerson Drive’s six members now call Nashville home but originally hail from Canada. Despite their north-of-the-border roots, these guys have mastered the sound of quintessentially American music, right down to the guitar picking and country twang. So get yourself a bucket of chicken and put on your scootin’ boots because Emerson Drive delivers a pure American country sound. (Midas Nashville)

www.emersondrive.com

-Amanda Durham

Ten Toes Up — Trip On Troubles

Recorded, mixed and mastered at Sea Note Recording Studio in Myrtle Beach, SC

Engineered by Seth Funderburk

From South Carolina comes Ten Toes Up, a decidedly Southern jam band that has created an eight-track disc of guitar-driven tunes with a percussive backing. Ten Toes Up is a quartet comprised of Adam Miller on kit, Joshua Gregory on varied percussion, Charles Freeman on bass and BJ Craven on, alternately, electronic and lap steel. The disc itself has lavished the band’s songs with a full backup guitar for the steel lead to play off, making for a recording that is surely thicker than the band’s live show. The rhythms required from the players on the heavy percussion groove are demanding, but Ten Toes Up accomplishes the task quite easily in a polished set of performances. Freeman is as rhythmic as either of the drummers, which leaves Craven with enough space to lead dynamic and slowly growing jams on guitar.

“Trip on Troubles” is the definitive feature of the album, capturing a tight jam kept locked by a constant tambourine and well-sung background vocals. It cracks a mold the other songs seem to have a problem breaking, possibly due to the introduction of several acoustic rather than electric strings (guitar and mandolin). Listening to the last few tracks on this disc, you would swear it was a jam band, steeped in the intricate jazz lines from more avant-garde jam groups. Listening to some of the solos and vocals, you would expect to find more of a Southern blues and pop band. A track bridging that gap sadly isn’t found on this CD, though live it wouldn’t be surprising to hear it happen someday. (Self-released)

www.myspace.com/tentoesup

-Matthew Beale

The Big Tease — Paper Symphony

Produced, engineered and mixed by Duane Lundy at Shangri-La Studios in Lexington, KY

Mastered by Seva at Soundcurrent Mastering in Knoxville, TN

With a striking classical piano ballad as its opening track, this Knoxville outfit’s sophomore release immediately counters any expectations of simple powerpop à la Beautiful Addiction, the band’s 2005 debut. But then it cuts quickly to the second song’s introduction of staccato piano pounding, actually recalling the sound of the first album. The Big Tease, as noted in the band biography, is indeed in the middle of an identity crisis.

All four band members contribute to the crafting of each song, but the variety of sounds on Paper Symphony could also be symptomatic of the fact that they have yet to fully decide who they are as musicians. The band members categorize their sound as “eloquent rock,” but their melodies and arrangements are solid pop/rock, and Chase Pattison’s vocal style does not quite seem to fit. It’s not that he can’t sing — it’s actually quite the opposite; his voice is so polished and pretty that it sounds more suited to modern Broadway ballads than pop/rock tunes. It’s not a problem of quality, then, but of incongruity.

Bill Dabbs offers unexpected highlights on several tracks with punchy trumpet solos and pretty piano fills, and Brent Moreland, beyond fulfilling his duties on bass, also serves as a background vocalist for the band’s well-designed harmonies. The drums (Gavin Foster) aptly define the pulse of the music; Foster understands the power of understatement, and he never loses control.

Pattison’s guitar work is earnest and fitting, although the solo on “November Left,” an otherwise great song, is lifted almost verbatim from Oasis’ “Champagne Supernova.” But he does have a knack for fitting the melody to the lyrical content.

The men of The Big Tease have progressed greatly since their debut record, and the potential for continued growth is palpable. Look out for their work post-identity crisis, when they can more clearly articulate their “eloquent rock.” (Self-released)

www.bigteaseband.com

-Kat Amano

The Situationals — Heaven Is High and the Emperor Is Far Away

Produced by Kelly Morse at Audioworks and Rocket 13 in Charlotte, NC

The Situationals have been considered a throwback to vintage 1980s pop/rock, post-punk and indie rock, and female vocalist Candice Bassett’s vocals sound reminiscent of Martha Davis, lead singer of ‘80s group The Motels.

Joining lead vocalist Bassett are Michael Carinelli, Kelly Morse and Bryan Askew on guitar and bass (the three trade off instruments depending on the song). Tim Poole replaced Shane Human on drums following the recording of their EP.

The Situationals capture the air of college-rock bands sprouting up in the South in the late 1980s and early ‘90s. The instrumentals and vocals ebb and flow through the CD, and while vocals could be stronger on some of the tracks, the catchy beats, guitar riffs and atmospheric synthesizers make for an innovative sound. Fans of the ‘80s era will welcome the original lyrics and composition, and with the retro theme permeating the music scene, the genre has yet to tire out. The Situationals put a fresh new spin on the sound of that era, and once the synthesizers kick in, the music has an added richness not often found in the music of its predecessors. Whether you grew up listening to the sounds of Blondie and The Pretenders or weren’t even born yet, you might find something you like here. The Situationals’ sound has a universality that could captivate an audience of thirty-somethings and teens alike. Now ‘80s music fans can enjoy Reagan-era sound, without the Reagans. As they say, everything old is new again. (Self-released)

www.myspace.com/thesituationals

-Amanda Durham

Blackheadz — Eight Inches or More

Recorded at 2High Studios in Atlanta, GA

Produced by Shay Barnes and Scott Mitcham

On their new CD, Eight Inches or More, Atlanta’s Blackheadz have captured the musical essence of the exploitation film. The recording, released under the ever-so-subtle title Eight Inches or More, features cover art depicting a beautiful young lady suggestively embracing a Fender Precision bass, an ace of spades on the tray card and lyrics that make liberal use of profanity. In a way, one could make an argument that Eight Inches... is the audio equivalent of The Toxic Avenger or Black Belt Jones. However, much like those films, there is some serious artistic merit beneath all the sensationalism. After all, many contemporary filmmakers cite the exploitation films as major influences.

Blackheadz have a sound that could be likened to Fishbone meets Danzig by way of early Motley Crue: loud, rough, often funky and surprisingly catchy. In a nutshell, Blackheadz play amped-up punk/funk with a vengeance. Starting with a 10-second drum roll, “Let’s Go” is a punky, up-tempo charger complete with group-shout choruses. The next track, “King of Freaks,” opens with obstinate, open-chord riffing most associated with classic heavy metal and segues into a more contemporary start-stop rhythm. It wouldn’t be a stretch to say that either of these tracks could get a pit moving, but Blackheadz are not content with being a one-trick pony. The bluesy “Skin Game” showcases a slow, indelible 12-bar groove punctuated by a wailin’, “Buddy Guy-with-a-Floyd Rose” solo courtesy of guitarist Scott Mitchell. “Stand Up” features the call-and-response structure of classic gospel music, but the distorted guitar and secular lyrical content ensure that even the most liberal congregations wouldn’t consider using it on Sunday morning. Meanwhile, dub bass-lines and wah-punctuated guitar give “Ass on Fire” a decidedly Caribbean feel. All the players possess great versatility and proficiency. While the mixing and mastering is a bit raw, it wouldn’t have suited the band’s punk ethos to have recorded it any other way. (Self-released)

www.myspace.com/Blackheadz

-Matthew S. Maynard

Judith Avers — Strong Hands

Recorded and mixed by Jack Redell at Wildcat Studios

Produced by Jack Redell and Judith Avers

Mastered by Scott “Scooter” Smith at Scooter’s Place

Many musicians use their music as an emotional outlet — a way to express what’s on their minds and a way to gain some sort of peace through their expression. Judith Avers’ Strong Hands illustrates songwriting as an outlet. Her album begins with the soft plucking of an acoustic guitar and the first track, “Better Off,” leads the album with a tale of loneliness. Her well-established sound can be likened to artists such as Gillian Welch, Rosie Thomas and Gemma Hayes, to name a few. It is no wonder the native Kansan (West Virginia transplant) has developed a name for herself; she has played with the likes of Glen Phillips, The Fray and The Subdues while touring around the nation.

In “Two Little People,” Avers sings of a couple that seems to finally get what they want and come to the realization that a big house is no better than what they had when they started out. Her other songs reflect this longing for something more, a sort of fulfillment, and whether Avers’ songs are autobiographical or fictional, their impact is the same. The tonality is somber and her imagery presents the listener with an aching feeling that mirrors the subjects of her songs. Avers’ voice is haunting and captivating, ranging from a low-toned huskiness to higher, more whisper-like notes.

It seems as though this album represents a certain lost someone, perhaps a friend or lover. Undoubtedly, Strong Hands symbolizes a channel of some sort for Avers, who sings, “I’ll get on / I’ll get by.” The simplicity of her instrumentation is perfectly balanced by the honesty of her lyrics. Horns are sometimes used, and Strong Hands maintains its organic feel due to the album’s simplicity. Sometimes simpler really is better, and Avers provides a shining example. (Satire Records)

www.judithavers.com

-Lauren Alexis Begnaud

DManufacture — White Noise

Recorded at Bat Cave Studios Orlando, FL

Produced by Brett Hestla

DManufacture’s latest release, White Noise, bombards the listener with big riffs, 180-degree hooks and pristine production. Masterminded by guitar virtuoso/vocalist David Rankin, DManufacture is firmly rooted in the fine hard-rock tradition of arena-grade production and concise songwriting.

With crunchy guitar rhythms offset by strong, memorable melodies and commanding sing-along choruses, the songs on White Noise make a definite impact on the listener. Obviously, a lot of thought and effort was put into engineering these songs for maximum listenability. This fact comes as little surprise, given that Rankin has performed and written professionally since he was in high school, in addition to being a veteran of former Sony/Epic Records modern rockers Downstem. Rankin’s vocals are strong, confident and throaty (think English blues-rock or the more recent “Vancouver” bands). Rankin’s true forte is delivering big, propulsive guitar rhythms and the occasional searing lead. To say that Rankin carries the project solely on his own shoulders would be a great disservice to his bandmates, who pull more than their own weight. Drummer Dragon (just “Dragon”) does just what a good rock drummer should do: play on time and stay out of the song’s way. Much like Phil Rudd, Dragon avoids unnecessary fills that would otherwise detract from the song. A heavy hitter in the John Bonham tradition, the surname-eschewing drummer produces beats that are front-and-center in the more aggressive of DManufacture’s songs. Nevertheless, he knows when to play with a more subdued approach and when to loosen up to give the song a more laid-back, groovier feel. Bassist Brad Melton complements Dragon’s steady drums to create a tight rhythmic feel, while providing vocal harmonies that add an extra depth to DManufacture’s already powerful choruses.

With a competent, if not particularly remarkable, mix, White Noise manages to be both cohesive and involved. On standout tracks like “Coming Again,” “Hollow” and “End of the Day,” DManufacture fuses classic guitar-driven rock with a contemporary attitude to create its own unique style. (Spooky House Records)

www.dmanufacture.com

-Matthew S. Maynard

The New Sounds of Numbers — Liberty Seeds

Produced and Engineered by Hannah Jones

The New Sounds of Numbers are/is Hannah Jones, visual artist and percussionist for Circulatory System and The Instruments. Liberty Seeds is her solo outing, a strange cacophony of reed instrument loops, over-tracked drum beats and fart sounds that leave your head spinning in confusion.

Shocking is Jones’ seemingly non-caring recording technique of percussive instruments within Liberty Seeds; as a percussionist, Jones should have avoided the cardboard box-sounding snare drum or the chicken shake that sounds like a bag full of clam shells being shaken on the shoreline by a Selling Sally.

The New Sounds of Numbers’ Liberty Seeds is packed with super cool, hipper-than-thou songs that scream for professional production. The intense, uber-upbeat, melodically liberal tracks deserve to be heard, and the lo-fi approach, although loved by many, hardly does these tracks justice. In the world of Pro Tools and Reason, there is no excuse for a lo-fi home recording other than the artist wanting to release something that sounds sick and leaves the listener feeling cheated.

“The Atmosphere of the Afternoon” is a droning, Kim Gordon-esque rhapsody of Jones’ benign-tinged songs. The thickness of the song, the pure density of its sounds, is the blessing that The New Sounds of Numbers strive for and usually achieve. Liberty Seeds is already a great listen, but better production would make the album a classic. (Cloud Recordings)

www.thenewsoundofnumbers.com

-Chris Parizo