CD OF THE MONTH

Bouldercrest Singing Group — Louise

Produced by Bouldercrest Singing Group and Curt Wells Recorded and mixed with Curt Wells at Big Ed's Used Farms

Atlanta-based Bouldercrest Singing Group brings a great deal of combined musical experience to Louise, the band’s debut full-length CD. The alt-country sound is graceful and honest, avoiding the pitfalls of overproduction. Like the best works of Uncle Tupelo, Gram Parsons or Whiskeytown, the band’s songs at no point seem forced or insincere.

Lead vocalist Paul Daniels’ haggard but smooth voice harmonizes well with the back-up vocals of bassist Thom Heckel and drummer Eric Young. With guitarist Chris Hoke, the band members utilize the knowledge accrued from playing in numerous projects before Bouldercrest Singing Group.

The band’s songs are lyrically solid, and its musical influences range across the roots landscape of country, blues, southern rock and folk to find its true sound. Glossy covers, shiny suits and eyeliner may be good for the Killers, but there’s more to life than MTV, glamour and being the “it” band du jour. There’s the reality of day-to-day life and the grit that goes with it. And with Bouldercrest Singing Group, there’s no mistaking where they come from.

Starting with the sound of a beer can being popped open, “Corndog Blues” digs in with repetitive, hard-driving baselines and ends with the wailing, spirit-calling background vocal of “enter winter.” In contrast, the subsequent song “Blues for Red” features minimal instrumentation with a single vocal being sung over an acoustic guitar.
Midway through “Mending Fence,” the band turns up the amps and breathes fire out of their guitars and drums for a 33-second breakdown that is — in a good way — mindful of the legendary rock-out that happens in Lynyrd Skynyrd’s “Freebird.”

The happy-go-lucky song “Self-Help 101” shows off the high-end of Daniels’ baritone voice against a waltz tempo. This song shows the band’s ability to write witty and insightful lyrics without coming off too highbrow or professorial.

The standout song on this CD is the opening song, “Nickel,” which speaks the honest truth about a relationship that ended long before it did. Not only are the lyrics well written, but the song lends itself to cruising down a long country road with the windows down and singing along with the stereo as loudly as possible.

If “Nickel” is the start of the journey on Louise, then “One More Roll” brings it all full-circle. Although it is the next-to-last song on the CD, “One More Roll” is an honest reminder that break-ups aren’t always clean. Working his way through the internal battle of whether to jump back or move on, Daniels’ voice is as honest and passionate as the lyrics he sings.

Louise’s last song is performed by Maddie Daniels, the niece of Paul Daniels. It’s a testament to the family’s talent but also adds a bit of cuteness that isn’t out-of-place.

www.foulcountry.com

-Chuck Norton

Lucero — Rebels, Rogues & Sworn Brothers
Engineered and mixed by Alan Weatherford at Sound of Music in Richmond, VA
Produced by David Lowery and Alan Weatherford
Mastered by Brent Lambert at The Kitchen in Carrboro, NC

Lucero has been classified as many things throughout the band’s career, from punk-country to alt-country, but on its fifth full-length album, Rebels, Rogues & Sworn Brothers, Lucero gives its fans nothing short of pure rock ‘n’ roll. The album does have its country moments, especially in “The Mountain,” a southern rock love story that lyrically could have been a lost track from Loretta Lynn’s Coal Miner’s Daughter.

Rebels, Rogues & Sworn Brothers was recorded in Richmond, VA at David Lowery’s Sound of Music studio. The music and message are incredibly focused on this record, with the twang of the guitar and Ben Nichols’ husky Tennessee drawl doling out tales of old memories, past girlfriends and hard drinking. The band’s intensity on the new album is likely due to the intense two-week recording session at Lowery’s studio where they recorded all day, drank all night and, when there was time for sleep, retired to bunks above the studio. The band was also involved with every step of the album’s creation — Nichols and drummer Roy Berry were on hand for each step of editing and mixing in the control room.

Lucero has moved in a slightly different direction on this record by enlisting the help of Memphis keyboardist Rick Steff during the recording process. The piano and organ accompaniments give validation to anyone who has ever compared the band to Bruce Springsteen, and the rowdy “What Else Would You Have Me Be?” sounds like it could have been a B-side to the Boss’s “Glory Days.”

The piano arrangements sometimes seem an unnecessary addition to the group’s raw sound and may leave some fans worrying that their favorite grungy country rockers may become overproduced. But the piano fits well with many songs, especially the heart-wrenching “1979,” which is hard to classify as anything other than a sad song about love. Although the band has become a huge hit in the underground music scene, Lucero’s rise to mainstream acknowledgement has moved at a creeping pace. While Rebels, Rogues & Sworn Brothers might not turn on many new fans, the CD is sure to please everyone in Lucero’s legion of die-hard fans. (Liberty & Lament)

www.luceromusic.com

-Natalie Higdon

Butch Walker — The Rise and Fall of Butch Walker and the Let’s Go Out Tonites
Produced by Butch Walker

Throughout his career, Butch Walker has treaded the thin line of overwhelming rockstardom and mediocrity. Years later, he has etched his legacy in the rock ‘n’ roll community as one of the brightest music producers out there. Although he has written hits for other musicians such as Avril Lavigne and Bowling for Soup, he has yet to produce a strong single for himself as a solo artist. Unfortunately, his new CD isn’t the barrier-crossing project he might have hoped it would be.

His press release states that his new CD is a party record, paying homage to the ’70s and Velvet Goldmine glam. But the phrase “paying homage” sometimes means ripping off. Whether taking the feel of T. Rex’s “20th Century Boy” as his own on “Hot Girls in Good Moods” or sounding a little like David Bowie on the verses of “The Taste of Red,” the former frontman of the Marvelous 3 makes his influences painfully obvious.
There are a lot of catchy songs on the CD, but it fails at its attempt to be a groundbreaking piece for Walker.

Even if it is only supposed to be a party record, one doubts that Walker is releasing music just to be releasing music. He takes pride in what he does, and he plays with his lyrics like a cat would a dead mouse.

On the CD’s standout track, “Ladies and Gentlemen ... The Let’s Go Out Tonites,” Walker paints the picture bright and clear while using the clever choruses of the sing-along hum while, in fact, asking the listener to sing along. As far as the concept goes, the CD is great in that it never strays from the point Walker wants to make.

Walker may be one of the most sought-after producers in his field, but he has yet to record a CD for himself that will stand alone and allow people to look past his abilities in the studio and look forward to his abilities on stage. Until then, he will still be the P. Diddy of the rock ‘n’ roll scene. (Epic)

www.butchwalker.com

-Kenneth Gambill

Janis Ian — Folk Is The New Black
Produced by Janis Ian
Recorded and mixed by Chad Hailey
Recorded at Masterlink Studios in Nashville, TN
Mastered at Independent Mastering

Janis Ian began her career in 1967 with the controversial autobiographical hit song “Society’s Child.” The song’s lyrics were so taboo at the time that many radio stations refused to play it, and the president of Atlantic Records issued a formal apology. In 1975, Ian had her biggest hit with “At Seventeen” which led to her winning the Grammy for Best Female Pop Vocal Performance. However, the next 30 years found her dropped by her label, taking time away from the music industry and recording regularly again.

With Folk Is The New Black, Ian strips down her sound to create a contemporary folk CD. The poignant songs “The Last Train” and “All Those Promises” combine with “Danger Danger” and “Standing in the Shadows of Love” to highlight Ian’s talents.
The CD’s title track, “Folk Is The New Black,” showcases Ian’s ability to mix controversial lyrics with her calming voice and easily accessible pop melodies to make a statement that would leave even the staunchest conservatives bobbing their heads and tapping their feet.

Few singers today would even attempt to craft lyrics like, “‘Cause folk is the new black / Cheaper than crack, and you don’t have to cook / Download it and see / The first time is free, then you’ll be hooked.”

While Folk Is The New Black does showcase the skills of one of America’s best songwriters, the CD lacks the variety of sounds that are necessary to keep the attention of most of this generation of music lovers. Ian’s songs sound more like lullabies than tracks filled with the deeply moving and introspective lyrics she built her career upon. (Rude Girl Records)

www.janisian.com

-Chuck Norton

The Press — Red Comes Ringin’
No production info available

If there were Atlanta Music Awards, the trophy for “Hardest Working Band” would no doubt go to the Press; their touring monstrosity road shows rival that of the Rolling Stones within the months of May and June. Strangely enough, there is no such Atlanta show.

The Press is on the road to promote its recent 7” release, Red Comes Ringin’, a double-sided single from Goodnight Records. If anything, the single of the same name is a clear reflection of what the Press is about: up-tempo and off-beat indie pop with vocal stylings that sound like a man being sent to a mental institution. The song swings back and forth from a reggae-influenced chorus into an intense, post-grunge riff chorus that contains a strange vocal hook that sounds like Beavis paying tribute to an old Judas Priest song. It is quirky and interesting.

The second song, “I Like To Talk To Myself,” is a pop-absorbed track that illustrates the band’s ability to write solid rock songs. The strength of the song reflects poorly on the earlier track, making “Red Comes Ringin’” sound downright silly in comparison. Although “Red Comes Ringin’” is the college-radio hit on this 7”, it is “I Like to Talk To Myself” that will be more accessible to the mainstream.

The Press brings a refreshing change to the humdrum and sometimes-too-serious atmosphere that has overtaken the Atlanta music scene: an ability to bend the rules of songwriting and to have fun while doing it. (Goodnight Records)

www.the-press.net

-Chris Parizo

The Cogburns — Pay Up, Sucker
Recorded and produced at Engine Room by Glenn K.
Mastered by Massive Mastering

The Cogburns are the standard breed of modern garage rock band with guitars, bass and drums. However, this band mixes up enough sound and energy to set it apart. Many of the up-tempo songs and driving punk riffs have the same polished garage confidence of the Hives yet with a southern spin. While much of the sound is poppy punk, the riffs are different and intricate enough not to sound repetitive. The lyrics are sometimes decadent, but the Cogburns make it fun to be bad, such as on the track “Nagging,” with lyrics like “The more I drink the more I’ve got to say I hate you most every single day.”

Glenn Cogburn’s voice has good range and intensity, particularly when he showcases his vocal abilities by building into a crescendo before bellowing out on tracks such as “Rollers Rip.” The track “She Don’t Mind” is one of the most fun songs on the album as the chorus showcases impressive guitar solos by Doug Cogburn. While the track “My My Lola” is not a cover of the song “Lola” by the Kinks, it is a throwback to a band whose sound the Cogburns emulate.

All of the songs except one run under three minutes long. At some points, Pay Up, Sucker gets a little dark and hard and goes a little bit “out there.” However, the Cogburns never stray too long, and the audience is exposed to something original and different before returning to the poppy punk sound the Cogburns play so well. With this well-produced second effort, the Cogburns showcase a pure rock ’n’ roll that is often lacking on today’s charts. (Be Particular! Records)

www.cogburns.com

-Allyson Wells

Mad Tea Party — Big Top Soda Pop
Produced by Seva and Mad Tea Party
Recorded at 16 Ton Studios, Nashville
Mixed at Soundcurrent Studios, Knoxville
Recorded and mixed by Seva

Are you at a circus? Are you in an avant-garde college music class? Is it the Brady Bunch on acid? Mad Tea Party is all of this and more. Most of the songs are pop-driven folk and showcase Ami Worthen’s whimsical voice that is reminiscent of Natalie Merchant. The other two members of the trio, Jason Krekel and Lora Pendleton, ably balance harmonies against Worthen’s voice. The entire time you listen to Big Top Soda Pop, you will be asking yourself what strange noise you just heard. In addition to the resident folk guitar, drums and piano, Mad Tea Party throws in the accordion, fiddle, optigan, mellotron, Hammond and even a little tap dance.

The album starts off sounding like up-tempo mountain music and then slows it down for a folk ballad on the second track. You think you have the sound figured out, yet on track three, Mad Tea Party throws a curve ball: it begins by playing a traditional circus theme. The album continues experimenting with different sounds back and forth, going fast and slow with driving beats and foreign sounds. Like going round and round on the carousel or dropping quickly down a roller coaster, it is impossible to tell where Mad Tea Party is going to take you next with this album.

It is difficult to pinpoint exactly what genre Mad Tea Party falls into or what the band’s message is or if they even have one. One could picture this band on a float leading the Main Street Parade at Disneyworld, or conversely in a coffeehouse singing to college theater students dressed in black. While this effort by Mad Tea Party could be described as folk, bluegrass, psychedelic pop or influenced by jazz, this inability to label the album is exactly what makes the sound so unique. Mad Tea Party is indeed mad, but like cotton candy at a circus, you can’t stop yourself from going back for more. (Self-released)

www.themadteaparty.com

-Allyson Wells

Enders Game — Breathe New Life
Produced by Matt Washburn and Enders Game
Recorded, mixed and mastered by Matt Washburn at Ledbelly Sound

When one thinks of thrash metal hotbeds, one probably thinks of places like New York (Anthrax, Overkill), Germany (Kreator, Destruction) and the San Francisco Bay Area (Exodus, Testament). One of the last places someone is likely to think about is the southeastern United States. It’s not that there haven’t been some great bands to come from the area — Nashville’s Intruder and Charlotte’s Bloody Mary were among the genre’s strongest bands. It’s just that they didn’t receive the exposure afforded to other bands of their era. Perhaps the perception was that the South couldn’t match the high standard set by the aforementioned bands.

Hailing from Norcross, GA, Enders Game is determined to prove the South capable of producing a worthy contender in the thrash sweepstakes.

As far as a musical touchstone, Breathe New Life would play comfortably alongside many of the ’90s’ stronger thrash (or post-thrash, if you prefer) releases like Machine Head’s Burn My Eyes or Pantera’s Vulgar Display of Power. It is, however, more than just by-the-book thrash. Enders Game has a sound that is all its own. Breathe New Life incorporates the melodic sensibilities of Euro-style power metal, the neck-snapping breakdowns of hardcore, the blast beats of death metal, the technical prowess of progressive music and the brutal rhythms of contemporary metal.

Vocalist/bassist Shon Harp sometimes lets his Georgia accent permeate his metal growl. Drummer Daniel Burch and rhythm guitarist Dave Merrill lock in nicely with Harp’s bass playing to project the tightness for which this style of music is known but occasionally play off of each other to create compelling syncopations that punctuate the arrangements. Lead guitarist Jarrod Johnson shows the restraint of a seasoned musician: while capable of ripping solos with ease, he only does so when appropriate, often showcasing a slower, more melodic style.

From the mosh-inducing opening track, “Splintered & Broken,” to the more somber and introspective “Autumn Leaves,” Breathe New Life is a consistent and entertaining listen. The only weak point of this release is its one-dimensional production.

Aggressive music begs for dynamic mixes. When the drums are flat with little reverb and the guitars, instead of being the focal point of the mix, occupy the same sonic space as the rest of the instruments, the production fails to deliver the full impact of the music. However, much like Metallica’s Kill ‘em All and Black Sabbath’s first album, the conviction of Enders Game’s music transcends the lackluster production. (Cordial Records)

www.endersgametheband.com

-Matthew S. Maynard

The Majestic Twelve — Schizophrenology
Produced by Kenyata Sullivan and Jerry Kee

McCarthyism is a thing of the past as angry punk bands bitch about the war and the Bush administration on a daily basis. The difference between the Majestic Twelve and the rest of these angry bands is that they not only have a good sound, they also bitch in a way that makes you laugh rather than get annoyed at yet another bunch of self righteous know-it-alls. No matter what side of the political spectrum you fall on, it is impossible not to laugh after listening to lyrics such as “I think I’ll buy myself a home in San Diego / I’ll buy some Mexicans to clean it every day / I’d buy Canadians but they’re all freaking lazy / That’s where the hippies went when W won the day” on the track “Condoleezza, Check My Posse.”

Indeed, the Majestic Twelve make political statements, but the band doesn’t drown the audience with these sentiments. Tracks such as “Cry” sing about lost love. “Trapped Underwater” echoes finding comfort in knowing someone who is also enduring troubled times as Sullivan sings, “You’re not alone / Let me come home.”

Aside from the inventive lyrics, the musicianship of the Majestic Twelve is much to be heralded. Many of the songs feature the different instruments playing entirely different melodies and tempos, yet somehow the band pulls it off and it flows quite well together. The final track “Are You Ready?” starts off with an angry voice yelling about the government before launching into what the Mighty Mighty Bosstones might sound like if a ska band was influenced by Rage Against the Machine. The Majestic Twelve album lives up to its title; it is undeniably schizo but definitely worth the distortion. (Self-released)

www.themajestictwelve.com

-Allyson Wells

Elara Luna — The Channel Of Movement
Produced by Jesse Mesa-Savage and Elara Luna

Hailing from Raleigh, NC, Elara Luna evokes a sound that is both epic and spare. The nine songs that make up the group’s debut CD, The Channel Of Movement, recall the ghosts of King Crimson, Rush and Pink Floyd. The album is full of riff-heavy thunder and acoustic sunshine.

Vocalist Tim Wright sings in a Nick Cave-ish tone that, at first, seems to be at odds with the epic nature of the music. But as the album progresses, it blends nicely into the fabric of the overall sound. It would have been easy to fall into the trap of attaching mega-epic vocals to music that is as grandiose as this, and the band should be applauded for not falling into that trap. Wouldn’t you enjoy Uriah Heep much more if the singer would remove his privates from the vice grip? Is it not a coincidence that Rush started to sell more records when Geddy came down for air?

If you’re looking for a track that would be the best introduction to this album, get online and check out “Perception of a World.” Enjoy the buffet of tasty guitar riffage from Brandon Burney. Be amazed by the in-the-pocket yet free interplay of drummer Lee Simpkins. For the other side of the coin, check out “Fraction Of A Sign,” a mellow trip featuring keysman Nigel Gilmer. The arrangements on all of the songs show great attention to detail while leaving plenty of room for the human element that comes from a live performance.

The recording itself sounds very live — almost as if the guys set up and recorded live and dropped in a few overdubs for good measure. There is no big studio sheen to this recording. As a matter of fact, it’s probably the closest you’ll ever get to hearing a progressive garage band, but don’t let that keep you away. (TBD Records)

www.myspace.com/elaraluna

-Jon Dawson

Ahleuchatistas — What You Will
Recorded and mixed by Stroupe/Valleau of Major Seven Productions at Starlight Studios

It takes a hell of a lot of talent to be a musician in a musical outfit that is strictly instrumental. The lack of vocals on a recording or in a live show requires the performers to transcend the disciplined and not-noticed “back-up guys” for a frontperson who is to be the focus of an audience’s attention. An instrumental outfit, foregoing this focal point, must create a canvas of music that allows a listener to focus elsewhere; therefore it is necessary for their music and talent to be light years beyond a standard four-piece rock ‘n’ roll band. Ahleuchatistas is able to pull off this distraction.
The trio of musicians creates an intricate tapestry of sonic tributes that run the gamut between later-era Fugazi to Zappa during his “let’s take a lot of speed” years.

The band’s ability to craft tightly-knit 7/4 melodies is an excellent display of the artistic talents of this group — best heard in such songs as “Sherman’s March” and the spacey “Before The Law,” which starts as a surreal bass-line that seems to be ripped from the musical score of a Kubrick film.

However, there is a downfall in the realm of instrumentalist performance and, unfortunately, Ahleuchatistas falls flat on its face in it. Despite the musical achievement that this band displays, by the time a listener gets to track four, an “I have already heard this song before” mentality develops; the songs all sound the same. This holds true up until the aforementioned “Before The Law” plays. Until that point, and even after that point, the listener is stuck listening to the high speed “blip-blah-blip-blah-blup” shredding of the bass and guitar through the muddled and sinfully poor mix that has been given to the band’s talented and quick-handed drummer.

All in all, Ahleuchatistas fall into the trap that many musical whiz kids fall into: adopting a “look what I can do” approach to songwriting that leaves the listener out. A daring and impressive stretch to make as a unit; however, nearly suicidal from an audience’s perspective. (Cuniform Records)

www.ahleuchatistas.com

-Chris Parizo

Senona — Lost in Translation
Recorded, mixed and mastered by Jason Andrews at Spotlight Sound Studio
“Not a Day Goes By” recorded live at Urban Grind
Coffee Shop by William Burke and Kevin Parker for
Vybe Chyle Productions

Guitarist Justin Starks, bassist Brian Thomson and drummer Steven Boos have joined with vocalist/pianist/guitarist Chrys Senon to form the potential pop/rock powerhouse Senona. Senon is the primary face, voice and lyrical inspiration behind this diverse group of formally trained musicians brought together by a posting on MySpace.

Lost in Translation opens with the all-too-familiar question “Where are you when I need you?” that is brought to life beautifully through Senon’s radio-friendly voice over the high-energy, guitar-driven music. The questions continue on “Over and Over Again” in which Senon asks “Do you really want to hate me? / Do you really want to hurt me? / I swear that’s what you’re showing me over and over again.” The CD continues with “Night I Was Free,” a celebration of freedom and self-discovery.

The highlight of the EP is “Only Girl.” Despite its somewhat bittersweet lyrical message, with its clever combination of guitar and bass arrangements, drums and cadenced vocals, the track is reminiscent of a former favorite tune that is rediscovered on a long road trip and replayed over and over again at full volume as the wind blows through the speeding convertible. In “Only Blame Me,” Senon offers up her piano-playing skills as she explains how she has only herself to blame for being lonely. Senona closes Lost in Translation with a compelling live recording of “Not A Day Goes By,” the final confirmation of the group’s talent.

The live performance conjures up images of flickering candles and lighters followed by a crowd screaming for an encore — which leads us to the main problem with Lost in Translation. Simply put, the six tracks could be viewed as tease, leaving the listener wanting more. Perhaps the better view is to consider Lost in Translation as an excellent appetizer before a superb main course that we have yet to taste. (LaunchPad Records)

www.senonatheband.com

-Jonathan Mason

Jon Harris and the Sin Hounds —

Story To Tell
Recorded live at Blind Willie’s in Atlanta by Chris Griffin
Mixed by Chris Griffin and Jon Harris and the Sin Hounds

Recorded live at Atlanta blues bar Blind Willie’s, Story To Tell features eight tracks, all of which are over four minutes long. The disc contains one traditional song (“Leavin’ Trunk”) and one Bob Dylan cover (“Girl From the North Country”), along with six originals. Harris is the band’s singer and sole guitar player. Brad Fowler (drums) and Ray Dombrowski (bass) provide a tight, steady rhythm section.

Although they do the blues formula well, it is definitely just that: the blues formula. The band’s denial of its true nature is puzzling. “Blame” may be a reggae song, but it sounds like a reggae song performed by a blues band. Even the acoustic guitar in “Girl from the North Country” can’t turn this band into something it is not.

The tight playing and enthusiastic crowd prove this band’s chops, but nothing in particular makes the songs stand out. The 12-minute “Left handed Voodoo” may make for good bar music but is a trial in patience for the home listener. Instrumentally, “Tongue of Silver” is the album’s standout; however, Harris’s vocals don’t sell the vulnerable melody. His voice gets the job done overall but lacks character and needs more suffering and wisdom behind it. In the meantime, his singing would fit right into a pickup truck commercial. Perhaps with some more sin under his belt, Harris would have a more compelling story to tell. (Self-released)

www.jonharrismusic.com

-William Cane

The Heist and the Accomplice — Improvement
Recorded at the homes of Chaz Bundick and Cameron Gardner and at Sound Lab in Lexington, SC

The Heist and the Accomplice teeter between two sounds: pointy, shiny guitar pop resembling early Superchunk and messy Velvet Underground-type acoustic rock. Recorded mostly at band members’ homes, Improvement is a low-fi cluster of sharp edges and grainy slopes. The songwriting is fair but at times reveals truly great potential. The band shines when it embraces its simple nature rather than pursuing frantic riffs on the B and high E strings.

Improvement features not one, but two unlisted songs. Track 11, “Nature of Intended,” precedes a short, undeveloped acoustic idea that somehow outshines the song onto which it is tacked. Track 13 is not listed on the sleeve but is also among the band’s best-written and should have replaced one of the earlier, noisier, overly-ambitious numbers.

“I’m the Witness,” the “official” last song (track 12), is reminiscent of “You’re the Only One,” the final track on the Mr. T Experience album Love Is Dead. The acoustic guitar, accompanied by vocals so gentle they almost sound apologetic, builds steam until more instruments kick in and a gang vocal takes over.

The saturated, analog sound of the album lends itself beautifully to “Song Writing Song,” the far-and-away standout track; however, the more upbeat numbers (which the band bafflingly chooses to promote on MySpace) are attempts to overly complicate simple ideas. The Heist and the Accomplice’s next release will most likely determine whether they remain a local pop punk act or are instead scooped up by Merge or a similar label. They have the talent, now they just need the focus. (Fork and Spoon)

www.myspace.com/theheistandtheaccomplice

-William Cane

The Gates of Berlin — Whispers From the Balcony
Produced, engineered and mixed by Russ-T Cobb
Mastered by Benny Quinn

Some take longer than others to make a point. The Gates of Berlin’s new five-song EP, Whispers From the Balcony, quickly stamps a force in the southern, mod-rock movement.

Released in July, the album plays to the Atlanta-based quintet’s strengths — experience, energy and an attention to one’s roots. Elijah Jones’ deep vocals are powerful with a hint of southern charm, and guitarists Devin Donnelly and Phillip Barlow evoke sounds of the ‘70s with turbulent chords, intelligent melodies and sharp solos. Add a bit more of that Skynyrd or Gov’t Mule element to a 3 Doors Down and you close in on the Gates of Berlin’s sound.

Diverse and extremely well-produced, Whispers From the Balcony begins with the engaging, dance-friendly “Hangin Tree” and closes more subtly with the soft, sensitive piano-based “Slow Me Down.” “Change” and “Whiskey Tango” both emphasize the band’s soulfulness treading on crisp musicianship, while the fast-paced “Faceless” is a straight-up and chaotic hard-hitter. All in all, the EP lacks a weak link and teases the listener with the absence of the five to seven or so additional tracks that would be found on a full-length album.

The band hit a home run landing Atlanta’s own Russ-T Cobb to work the knobs as producer on the project, as the quality of the recording is first rate — tight and strategically assembled.

Where oftentimes bands of the Gates of Berlin’s caliber walk the plank into an ocean of generic radio rock, these guys keep it inland — staying true to the influences of their southern rock roots and adding a helping of Georgia home cooking to the genre. (Self-released)

www.thegatesofberlin.com

-Peter Stuart

The Virginia Coalition — Live At the 9:30 Club
Produced by Virginia Coalition and Rachel Reiter
Recorded by Rob Evans and Chris Kress of PMD Recording
Mixed by Jeff Juliano
Mastered by Mike Lazer

It would not come as much of a surprise if the Virginia Coalition was described as a hokier version of Dave Matthews Band because, from the first track off Live At the 9:30 Club, that is probably the only thing the listener could conclude. Lead singer Andrew Poliakoff has even managed to capture the same “my mouth is full of marbles while I’m trying to sing to you” effect for which Matthews is so well-known. One could take it a step further and compare it to the evil laughing from ZZ Top in “La Grange.”

Although there is an appropriate inclusion of bongo drums to go with the bluesy guitars, the sound as a whole seems to fall short of spectacular unless you like Blues Traveler and still think it’s 1994. Since this is a live album, there are points where the band goes into mini-jam sessions that seem to last forever and may be a little bit annoying in whatever setting you happen to be listening.

Despite all of that, lovers of the jam band scene will want to sop this up with a biscuit thanks to the nature of the drawn out music and choruses that inspire perpetual toe-tapping. There are unique guitar riffs that manage to keep the overall good time mood moving along smoothly. (Bluhammock Music)

www.virginiacoalition.com

-Leah K. Baker

The Awkward Romance — Audio Bio
No production info available

From the start, it’s easy to tell that the four members of the Awkward Romance are heavily influenced by bands like Jimmy Eat World and the All-American Rejects. With a sound rich with vocal layering and harmonies, it’s no wonder this band boasts over 7,000 albums sold to date along with several invitations to play nationally with the Vans Warped Tour. The band’s EP, Audio Bio, has a sound best described as emotional pop-punk — so much so that one might gather this band’s roots were grounded in Gainesville, FL instead of Conyers, GA.

Although the Awkward Romance’s lyrics are neither poetic nor profound, they are, if anything, extremely marketable. Lyrics like “Because my beliefs are only as strong as my doubts” and “What is a dream but a blueprint for courageous action?” would do well in a merchandising sense. Perhaps that’s exactly what these guys are up to. Perhaps they know that lyrics like these often sell albums.

The Awkward Romance has only been around for two and a half years but sounds far more mature for what some might call lack of experience. Perhaps it’s the band’s drive or its need to belt out tunes with such emotional intensity that makes the sound so believable. The EP is chock full of vocal effects only to be enhanced by the chanting of catchy lyrics.

In fact, the album ends with an almost sing-along (or chant-along) of the words “Wish champagne wishes, dream caviar dreams.” It seems that’s exactly what these guys are doing. They might be onto something. (Day Job Records)

www.theawkwardromance.com

-Lauren Alexis Begnaud

Bombadil — Bombadil
Recorded at ElectroMagnetic Radiation Recorders and Pox World Empire Studio
Engineered by Doug Willliams and Zeno Gill
Mastered by Brent Lambert at Kitchen Mastering

Every once in a while you might come across a band that strikes you with a sound that seems, well, indescribable or genre-less. This is certainly true of Concord, NC-based Bombadil. The band has previously been described as sounding “circus-like” or “whimsical,” and while both of these descriptions are fitting, one could also describe the music as eclectic and comical. Bombadil achieves this sound by making use of xylophones, piano and accordions to name a few. There’s a hint of the former North Carolina-based Ben Folds Five in the sound of Bombadil, mainly in the band’s use of the piano.

The third track on the self-titled EP is called “Johnny,” and although the tempo is faster-paced and the sound resembles music you might find on a children’s show or cartoon, the lyrics are much like a riddle, if you listen closely enough. The song is either about a breakup or gender confusion, but either way, it has a sound that is fantastically different from most music released today. Bands like Bombadil have a promising future ahead of them. When you can achieve a unique sound that is not only fun but also entirely different from everything else out there, you have definite success in your hands.

It’s folksy, catchy and, much like the music of [adult swim]’s Brendon Small, it has a sound that could be used for television. With a sound as thick as southern preserves and lyrics that will either make you laugh or ponder their meaning, it’s a shame the self-titled EP’s contents only comprise five songs. (Ramseur Records)

www.bombadilmusic.com

-Lauren Alexis Begnaud

A.M. Elevator — A.M. Elevator
Mixed and mastered by Duane Lundy at Shangri-La Productions
Additional engineering by Joe Pizzo

Coming together as a trio just this past winter, A.M. Elevator bursts onto the scene with this collection of catchy, gripping and easy-going pop tunes, soaring and surfing in the wake of such latter-day monster groups as the Strokes and Franz Ferdinand. This record has energy and snap written all over its lyrics and instrumentation. The songs bleed with emotion and punch as each tune ebbs and flows with fervent chemistry and freedom that, sadly, most up-and-coming bands lack.

This album is the first for A.M. Elevator starring this lineup under this name. Walt McAtee’s vocal inflection is at once eerie and haunting yet perfectly orchestrated for the band’s overall makeup. T Sly delivers the goods on guitars with charming backup vocals while Brian Williamson unleashes his fury on drums and percussion. “Almost Lost” opens up the album with great promise yet fails to truly capture the personality and magical trademark makeup of this trio.

Midway through the album, songs like “Connected” embody the enduring resonance and mind-gripping power that an album can and must have on the listener in order for him or her to genuinely remember it for days and weeks later. And finally, as we hit the close, “I Won’t Close You” demonstrates this band’s creativity and spirit. “Connected” is surely the standout track of the record. But don’t miss out on the guitars and “hey heys” and “ooh-ahh” backing vocals of “Never Step In.” Here the listener clearly feels the clarity and vision of A.M. Elevator, a group that labored many long weeks coming up with precise parts and lyrics in order to present a sharp, meaningful record. The production quality overall is superb. This band truly has a gift for shaping and molding strong melodies. (Second Records)

www.myspace.com/amelevator

-Shawn M. Haney

Jack Hustle — The Holla Man Album
No production info available

Jack Hustle’s The Holla Man Album is proof that, in the age of cheap synths and software, every street hustla can be a producer, but it really takes some dough to make an album shine. The record opens with the ubiquitous humorous street sketch and moves on to an “Intro” track where Jack Hustle lays down how it’s gonna be for the rest of the album: If we don’t like it, the hell with us — that’s why it’s his album.

The third track, “Shiny Thangs,” is one of the stronger on the album. The bass is full and the background effects add depth to the track. It’s a shame it abruptly ends before the three-minute mark. Another favorite track, “Spare Change,” has a catchy pitched-up vocal sample, craftily cut up over a simple beat and bass-line. The guest spots by Conceit and Vagelis are nicely done, and the telephone effect on Conceit’s part makes it particularly effective.

His closing track, “Take it to the Top,” highlights the weaker points on the rest of the album. The backing loop grows repetitive as it plays unchanged throughout the track and the use of extreme reverb and delay on the vocals adds nothing.
The strongest track on the album is probably the bonus track, “Hear That.” The only problem is that, like the rest of the album, it seems to lack the final polish that could really put it on the level of fellow ATLien Young Jeezy. If “Hear That” had the Stankonia touch and a hot video, you could expect it to move clubs across the country. Jack, keep hustlin’. (Self-released)

www.myspace.com/jackhustle

-Jonathan Putnam

Lindsay Rae Spurlock — Life’s Puzzle Pieces
Produced and recorded by Michael Gallagher and Lindsay Rae Spurlock

Life’s Puzzle Pieces by Lindsay Rae Spurlock sets such a soothing mood upon first listen that it is, to quote an African proverb, “like rain, falling gently but flooding the river.” Formerly the lead member of the Baton Rouge group Lucid Soule that broke up in 2005, this talented,\self-taught musician has now ventured into a solo career in Atlanta. Spurlock’s listeners connect with her ambient electronica/rock sound and her reflective lyrics. The album has seven songs, although certain copies may include an eighth track called “Time’s Up.” Within the short 31 minutes of the album, Spurlock takes her audience on a probing journey through an introspective young woman’s mind.

Spurlock’s recent move to Atlanta parallels one important theme in her album: transition. Her lyrics show a young woman’s personal struggle to overcome the past and to withstand the doubts of the present. Spurlock’s songs range from an up-tempo “Life’s Puzzle Pieces,” dedicated to heart-mending love, to “Mother,” a dark, moving song filled with questions for an absent mother. Her lyrical content is brought to life by soft, mid- to high-range vocals with which her audience can identify, if not simply through the lyrics, then through her gentle but determined voice.

The album is dominated by restrained piano and layered vocals while the strings, bells, drum machine and occasional chorus harmonies help create a wonderfully calming ambiance. Spurlock’s album is as relaxing as rain. All of these soul-satisfying features give Life’s Puzzle Pieces a signature serenity that can be appreciated by any rock fan, young or old. (Self-released)

www.lindsayspurlock.com

-Kimberly Mitchell