Warm In The Wake — Gold Dust Trail

Produced by Adam Lasus

Engineered by Ed Rawls and Jim Marrer

Mastered by Colin Leonard

With a swell of gifted bands coming out of Atlanta recently, it could be easy for some to fall through the musical cracks. The diversity of sounds coming from the area has managed to let one such band go overlooked until now.

The dark and mysterious rural areas of the South have a mythical way of birthing characters and settings that can lead toward the gothic end of styles. The Atlanta-by-way-of-Alabama group Warm In The Wake’s debut record, Gold Dust Trail, offers a cohesive deliverance from the gothic generalities and presents a depiction of what is revered about the South. The tracks, produced by Adam Lasus (Clap Your Hands Say Yeah, Yo La Tengo, Helium), are bound with components of psychedelia, Americana, folk, space rock, shoegaze, and pop. The opening track, “Tame Thoughts,” has lingering similarities to Summerteeth-era Wilco with its rolling organs and medium-paced musings on city life in an old time Americana way, all the while riding the animalization of the white-collared-world theme.

“Hearts and Heads” follows suit with guitars and snare claps that mimic the rhythm of a train long since parked in the rail yard — remembering trips of love and reality gone by is all that is left. Another standout track, “Golden Inhibition Destroyer,” burns slowly and powerfully like a synthesis of The Shins and a serious Crazy Horse guitar and drums workout with the twinkling of chimes thrown in for good measure.

The remainder of the record is rich with background layers that are both ripe with Southern indie pop and the histories of Southern everything. Songs dripping with a well-read drawl and a well-honed literate sensibility seem to stretch throughout the musical landscape of the area and reach all boundaries of the Southern variety, both traditional and nontraditional.

Flannery O’Connor once wrote that a good man is hard to find and, in the case of Warm In The Wake, O’Connor’s dark humor could hold some truth for the band. Amongst this bulge of talent in Atlanta, Warm In The Wake is a good band slightly harder to find. (Livewire Recordings)

www.warminthewake.com

-Jason James

The Remnant — After School Special

Produced by The Remnant

Co-produced by DJ Bombay, Elisha Mooring and Bodybag

A dark corner has been illuminated somewhere in hip-hop Gotham. This highly inspired album from Atlanta’s newest underground trio is a throwback to the golden days of hip-hop. After School Special recalls the days when talented artists worked closely with noticeably talented DJs to develop a singular style, using their literary acumen to enlighten their audiences. Seekers of gratuitous profanity look elsewhere. Not one lyric on this album is anything less than the product of intelligent, thoughtful reflection.

After School Special, The Remnant’s best effort to date, pays homage to two decades of both East and West Coast styles. A barrage of sampled pop culture and one ultra-corny skit hearken back to the early 1990s — De La Soul’s seminal Three Feet High and Rising comes to mind — while vocal histrionics give tacit praise to underground favorites Aesop Rock and Hieroglyphics. The beats are even old school, enhanced by decent, up-to-date scratching. The Remnant has crafted a consummate amalgam of creative samples, mature beats and sound wisdom. The trio calls it “retro-progressive,” a term we would have a tough time improving on.

The overall production isn’t quite as professional as one might be used to hearing on Clear Channel, but The Remnant probably has a different market in mind. The record may be slightly sample-heavy, but the samples are so memorable that it’s easy to forgive. Finally, the vocal histrionics might be a little over the top, but perhaps, in this way, they emphasize the poignant message that The Remnant successfully conveys.

Look out for these guys, because if their shows are half as good as this album, they will be worth the cover price. Hopefully we’ll see an even more polished effort from the vault very soon. Don’t let The Remnant’s spiritual influence turn you away — people should hear what these guys are saying. (Self-released)

www.catchtheremnant.com

-Mitchell Maddox

Light Yourself On Fire — Light Yourself On Fire

Recorded at Atomic Audio by

Mark Nikolich

Mastered by Derron Nuhfer

Light Yourself On Fire (LYOF) is an example of why death metal as a musical genre has managed to stay relevant rather than fading into obscurity like many other ill-fated genres du jour. LYOF is a self-proclaimed death metal band from Tampa, Florida (the city known as home to seminal Morrisound Studios, recording home of Morbid Angel, Sepultura and Obituary). However, the band has made a conscious effort to push the conventions of death metal. With influences ranging from Mastodon to Joy Division, nothing less should be expected. First off, the band’s self-titled album cover shows a bright and colorful graphic with a simple cursive logo which runs counter to the grey and black cover art and almost unintelligible angular logos common in the genre. The CD bears many of the same characteristics of the style, such as rapid double-kick drum blast beats, guitars with acutely low tunings, and tortured vocal growls. Further listening, though, reveals sometimes slower tempos, single-stroke bass-snare beats, and a comparatively laidback feel at times. Making such an extreme style of music breathy and atmospheric is not easy. This effect often enhances the overall heaviness of LYOF’s music. Guitarist John Allen, bassist Robert Winslow and drummer Ken Korg understand that after listening to a barrage of eighth and sixteenth notes, a sustaining minor A chord or a massive, un-dampened bass drum stroke sounds comparatively weighty. While reminiscent of metalcore at times, LYOF’s music often sounds like the “death ‘n’ roll” sound developed by bands like Entombed and Six Feet Under. Matt Coplan’s lyrics often take the form of the existential, stream-of-consciousness prose more closely associated with beat poets than long-haired growlers.

While the mix could have been a bit thicker, Light Yourself On Fire is nevertheless a fresh take on a subgenre going into its third decade. It will be interesting to see if the band can continue redefining extreme metal. (Kiss of Death Records)

www.lightyourselfonfire.net

-Matthew S. Maynard

Dylan Gilbert — The Artist & The Scientist

Engineered and mixed by Greg Gilbert

Mastered by Dave Harris

Sometimes artists use the humble angle to present themselves as cuddly and meek or to somehow woo the audience into listening. Dylan Gilbert, a talented 19-year-old native of Charlotte, North Carolina, takes this approach unintentionally on his self-released record, The Artist & the Scientist. His hushed and hurried vocals subtly dance across the myriad instruments he plays. This follow up to his first self-released EP is a promising start to what could be a flourishing career along the lines of a Sufjan Stevens or a Matthew Sweet.

Gilbert’s multi-instrumentalism at such a young age is quite impressive, as is his lyrical ability. His songs come off sounding mature but still full of a youthful, visceral quality. The layering qualities of “Had It All” and “Honest” show a fine attention to the atmospheric details in backing tracks. The use of the glockenspiel, chimes, and omnichord adds flavor to songs that could stand on their own but are thickened up with such instrumentation.

In juxtaposition, the instrumental guitar excursion on “The Process of Filmmaking” exemplifies Gilbert’s extraordinary picking ability. This style, mixed with the romantic derailments of “Sail Away” and “Juliet,” offers a look into Gilbert’s adolescent heart and his boyish musical charm.

With a few more albums and a few more years of maturity, Dylan Gilbert could realistically be right in line as a songwriter with the aforementioned Stevens and Sweet, or even a Ben Folds. The future looks awfully bright for this young man. (Self-released)

www.dylangilbert.com

-Jason James

Oblio — Create The Night pt. 1

Recorded at Beat Hollow in Nashville, TN

Produced by Fognode and Oblio

Engineered by Fognode and Andy Alexander

Mastered by Jim Demain at Yes Master in Nashville, TN

Cradled in a handsome digi-pak, Create The Night pt. 1 unfolds to reveal a gorgeous panoramic layout provided by artist Chris O’Herron. Inside is a hokey band bio that reads like the opening monologue of The Royal Tenenbaums, leaving the listener wondering what is tongue-in-cheek and what is earnest.

Comparisons to Jack Johnson and Neutral Milk Hotel have followed this band through its conquest of college and independent radio, but Oblio’s straightforward, acoustic, full-band sound is more reminiscent of Guster or early Travis. Despite a few cringe-worthy lyrics, “End of the Night” is a truly good song with a gorgeous post-chorus (“I never did you any harm / That wasn’t due / That wasn’t true / That wasn’t you”) that unwinds back into the verse with bittersweet vulnerability. Accordion pads the intro and stretches over the chord changes, sweeping the song from one section to the next.

“Marlborough Blues” offers a great groove and even introduces some dissonance on an otherwise “safe” collection of songs. Though more polished, “She Devil” has a chorus straight out of Pedro the Lion’s book, and the verse sounds like many of the better songs on the A.C. Newman (of The New Pornographers) album The Slow Wonder: stripped-down instruments with simple production, keys poking in and out and tambourine jingling away on the snare hits.

The lack of production hocus-pocus can be attributed to both smart decisions and great playing. Moreover, since the CD only contains seven songs, Create The Night pt. 1 fades out before the honest and straightforward can become the self-indulgent and mundane. (Casino Records)

www.obliomusic.com

-William Cane

Caddle — Raise ‘Em High

Produced by Caddle

Recorded and mixed by Eric Watters of Dreamcatchers Studio

The band Caddle has crawled out of the South without leaving the South behind. Hailing from Birmingham, Alabama, Caddle has created an unabashedly proud Southern record that is full of piss, vinegar and a little sugar.

The album kicks off in high gear with a phenomenal harmonica scream from guest Topper Price, confirming that Blackfoot-style boogie is still relevant in 2007. The song in question, “Mississippi Doublewide,” has a groove that is greasy and solos that jump from the speakers with a sound that is both thick and sharp. This track, as with much of the album, plays like a harder-edged version of Southern Culture on the Skids. Yet, whereas Southern Culture on the Skids parody Southern culture in their music and in their presentation, Caddle revels in it and dares you to say anything about it.

Another standout track on the album, “Work,” is a good ol’ workingman’s lament about the boss riding your ass for 60 hours a week and how better to deal with it than to “get drunk every afternoon till I can’t see,” by gosh. There have been exactly 23,000 songs written about mean bosses and alcohol, but you can tell that vocalist Phillip Hyde has actually had his share of bad bosses, so he has all the right in the world to sing about it. On “Give Me A Dollar,” we slide into alt-country/ballad territory with the phenomenal lines “I’ve got a bottle underneath the seat, she’ll hold me tight” and “I’ll drink about you till the morning comes.” Along with the smart lyrics, what make this tune work are the guitar stylings of Eric Watters and Drew Akin, who blend together much in the same way that Keith Richards and Mick Taylor did in the Stones’ early-1970s heyday. There is also some fantastic guitar/banjo interplay in the song “Better Bad,” a paean to girls who are good at being bad.

Caddle has crafted a solid album of blue-collar fun that anyone can enjoy, whether you work in a body shop or in a cubicle. These guys really believe in what they’re doing, and it shows in their playing and in their writing. (Self-released)

www.caddle.com

-Jon Dawson

Five Star Iris — Five Star Iris

Produced by Sylvia Massy Shivy and Rich Veltro

The first full-length album from Five Star Iris boasts a sound that is custom-made for modern rock radio, and this is no mistake. While the band is doing absolutely nothing new on this release, it is doing it well. The band comes off as a harder rocking version of Matchbox 20, albeit with a more interesting lead singer in Alan Schaefer. As the all-star production team should have indicated, this is a sharp, well-crafted album of hard pop that should satisfy radio programmers and fans of melodic, middle-of-the-road rock music.

The CD kicks off with “Follow You Down,” a track that recalls the harder rocking moments of the Gin Blossoms (think “Allison Road” if played by Pete Townshend or Angus Young). A relationship has gone awry, and Schaefer is making it clear that he won’t be there to pick up the pieces. He’s moving on, without you.

The song with the most immediate case of catchiness is the CD’s second track, “Starry Eyed.” The song begins with another muscular, wall-o’-guitar arrangement that is followed by arguably Schaefer’s best vocal performance on the album. The vocal hook is strong and wouldn’t be out of place on the new Three Doors Down album, although it’s doubtful that Three Doors Down would commit anything this lustful to record. Another album highlight is the similarly paced “Let It All Out,” which is about, you guessed it, letting it all out. Again, a rock-solid guitar arrangement is melded with a winning vocal hook that would make great fodder for a beach montage on The OC.

The album’s shining moment, however, is the piano-driven track “Luckiest Man.” Superb, almost jazzy, phrasing in the chord changes and a smooth, lilting vocal melody show that these guys can do more than rock out. This track should be the one that gets this band called up to the major labels for which they are obviously gunning.

While this album offers, for the most part, more of the same as far as modern pop/rock goes, you have to admire the work and craftsmanship that went into it. With razor-sharp precision, Five Star Iris has made a pop record that covers all the bases. If you’re looking for rock, be it anthem-oriented or ballad-esque, it’s here. While it’s easy to draw comparisons to other current bands that Five Star Iris emulates, it’s not a case of simply copying what others have done. In most instances, this band has taken what others in the field have accomplished and matched the level of quality, or, as in the case of “Luckiest Man,” surpassed it.

If you are a fan of well-crafted radio rock with tight arrangements, clean vocals and big guitars, then check these guys out. (Self-released)

www.fivestariris.com

-Jon Dawson

Cooper Tisdale & Friends — Live in Atlanta

Recorded at Jake’s Toadhouse

Produced by Pat Patten and Cooper Tisdale

Tracked and mixed by Pat Patten and Paul Hammock

Mastered by Paul Hammock

Cooper Tisdale’s latest record, Live in Atlanta, is, like his first two efforts, a guitar player’s album. Tisdale’s style borrows from several genres, including jazz, rock, blues and fusion, the latter being the most apt, though inadequate, appellation for his own brand of playing. Tisdale himself shies away from the label because of how he feels the genre has come to be seen by music fans over the years.

His playing is superb; his modal acumen and composed jams are noteworthy. Occasionally his riffs are too good. In other words, he falls into the trap in which many studio musicians find themselves: the notes are too accurate from time to time. He makes up for this with an idiosyncratic Southern “style,” which adds composed and improvised dynamics inspired by the blues and rock of his musical resume.

Live in Atlanta is a monument to the guitar. While this is technically “jam music,” the longest track is 7:30 — relatively short by jam standards. Most songs are around four or five minutes, which indicates Tisdale has left his ego out of it. He is eager to show his diverse skills and keep the audience guessing as to what he will pull from his arsenal of riffs.

Any review would be incomplete without a reference to Tisdale’s band. Though the guitar is the centerpiece of the album, it does not outshine the other instruments in the band. Savage, Reda, LaMarca and Bonini provide artful support for Tisdale’s axe. Indeed, they would sound great live even without their talented leader.

The only weak element on this album is Tisdale’s vocals. Coupled with his consummate finger skills, his lyrics seem amateurish, his vocals flat.

Tisdale’s songwriting won’t make him famous, but he is an A-list guitar player with an impressive repertory of originals, and seeing him in concert would be a treat for any guitar fan. (Jammates Records)

http://coopertisdale.home.mindspring.com

-Mitchell Maddox

La Chansons — Living Room Dance Party

Recorded, mixed and produced by La Chansons

La Chansons is the husband-and-wife duo of Greg and Carson Keller. The two record dance music for the masses out of their living room, hence the title of their second EP. The album represents a single of sorts for their new track, “Anymore,” and the song is backed up by remixes of three songs from their White Kitty EP.

La Chansons’ music is cute and cuddly but not in a novel or ridiculous way. The songs, which are produced primarily by Mr. Keller and sung by the Mrs., are inspired by their own “living room dance parties [that are] just the two of us dancing to our favorite songs in our living room at night.” They hope you enjoy.

With the backing beats and keyboard washes of early-era New Order or Depeche Mode, some just might feel compelled to enjoy. The lo-fi sound of the project supports their ultimate goal: to bring their late-night fun to the masses. The Kellers trade vocal responsibilities in “Anymore” to bring everyone onto their dance floor and get them moving to a mid-tempo beat.

The “White Kitty” remix bounds across various synthesized layers to the soft whispers of Carson building a slow burn before relegating all rhythms to Greg and the laptops. To finish off the record, up-tempo and indie club-ready remixes of “Get In“ and “Turn it On” mash up mid-1980s electro-funk beats under simple but infectious keyboard finger rolls, creating a soft and sublime mélange of electronics that expand way out of the living room and into the streets. As their record continues to get airplay on local college radio and their live shows expand, La Chansons need to think further outside of their own four-walled box. (Self-released)

www.myspace.com/lachansons

-Jason James

Matt Wertz — Everything In Between

Produced by Ed Cash and Matt Wertz

Take a little bit of G. Love and Special Sauce, Ben Folds and Maroon 5 and you’ve got the sound that Matt Wertz is going for on his new CD, Everything In Between. There are plenty of sing-along songs that propel the soulful singer’s voice all over the boards. He has the ability to hit the notes that a lot of people in choirs can’t, and he knows the process of writing an upbeat and quick-to-the-point hook.

Some songs may sound like they could be on The OC or Dawson’s Creek soundtracks, but that just means they show promise as prominent pop singles. Wertz combines funk elements as well as alternative pop on songs like “The Way I Feel” and the head-bopping “Heartbreaker.”

Fortunately for Wertz, his songs get stuck in the listener’s head no matter how hard that person may try to avoid his contagiously catchy riffs. His innocence and down-to-earth tone is very admirable, yet make it hard to believe that he is 27 years old. Nonetheless it provides for a very relaxing mood.

This may be the CD every guy’s girlfriend falls in love with while the boyfriend grudgingly endures every minute of it. But those same guys will bob their heads along with the chorus while their girls pine over the shaggy haired singer/songwriter. Looks like Wertz is doing something right. (Handwritten Records)

www.mattwertz.com

-Kenneth Gambill

Arlington Priest — The Memory of Your Company

Produced by Will Robertson

Recorded and mixed at Gallop Studios in Tucker, GA

Mastered by Rodney Mills at Rodney Mills Masterhouse

The duo songwriting team of Rhett and Jill McAllister breathlessly achieves a beautifully toned album of delightful folk rock, featuring 11 haunting, delicate stories that genuinely grab listeners’ hearts. The songs are appealing and gripping, and a new tour in support of this release should resonate with listeners new and old. The Memory of Your Company is a perfect example of successfully blending a mixture of contemporary folk, pop and acoustic rock while leaving room for the power of pure Americana. What’s great about Arlington Priest is the duo’s uncanny ability to leave space between both voices, delivering a heavenly result. The warmth of Rhett’s acoustic guitar is perfect for a cozy night by the fireside; it wraps you up in the magic of song like your favorite blanket. The work put into this album, recorded and produced by friend and fellow musician Will Robertson, helps bring great flow and quality to the final product. The overall talent of the backup musicians used during these sessions is admirable; they churn out pleasantly performed instrumental parts with great fervor. David and Ned Henry’s intense arrangements of cello and violin provide a stirring intro to “Petersburg,” a refreshing addition to the album’s overall composition. “Sarah” presents itself as a somewhat melancholy ballad, bursting with subtle colors, brooding with emotion. “The Stone” packs a punch, sending forth brilliant harmonies and perfectly executed reverbed guitars as the McAllisters sing in celebration with soul and purpose. Of course, The Memory of Your Company opens up with Arlington Priest’s hits that first brought them local recognition, the reflective “Long Day” and the energetic “Mexico.” This album is an epic tale developed through three years of hard work, full of labor and love, chronicling Arlington Priest’s journey through the Southeast. With music of this caliber, one hopes Arlington Priest will find its career taking off to broader horizons. Arlington Priest is a special duo with the power to move audiences with passionate voices and superbly crafted storytelling. (Crazy Neighbor Records)

www.arlingtonpriest.com

-Shawn M. Haney

Brad Jones — Simplicity

Recorded and mixed by Brad Jones at Lake Claire Studio

Mastered by Jim Combs

For someone who claims to have only started “seriously” playing in 2002, Brad Jones is an extremely proficient guitarist. “I’m not blessed with a singing voice or a knack for writing lyrics, so my work is all instrumental,” he concedes in his MySpace profile.

Not to be confused with Brad Jones, the Nashville engineer/producer/performer who has worked with Elvis Costello, Yo La Tengo, Jill Sobule and many other accomplished artists, this Brad Jones humbly offers 16 solo acoustic tracks. “My songs are uncomplicated, imperfect and, at times, raw. Sort of like me,” Jones writes in the liner notes of Simplicity. The layout is also extremely straightforward, consisting mainly of earth tones and negative space.

Though many tracks are similar to Simon and Garfunkel’s instrumental “Angie,” none are of that caliber. In its own right, each song on Simplicity displays true dynamic emotion; however, with no vocals or even percussion, the album eventually becomes tedious. The guitar tone remains unchanged for all 40-plus minutes, and even a movie score would wear thin with such minimal instrumentation. A 20-minute EP would have been more appropriate.

Nevertheless, in small doses, Simplicity provides good background music; and, given Jones’ humble approach, this may be the way he prefers, or even intended. (Ancient Youth Music)

www.myspace.com/ancientyouthmusic

-William Cane

Jag Star — The Best Impression of Sanity

Recorded at Lakeside Studios

Produced by Travis Wyrick, Sarah Lewis and Just J

Engineered by Travis Wyrick and Mike Dearing

If there was a cookie cutter process for what a band should sound like if it was going for the cute and innocent Disney pop/rock sound while maintaining enough sexiness and playfulness to attract an older audience, then Jag Star has discovered it. The music is accessible to young pre-teens and will actually garner attention from older teenage girls.

Sarah Lewis’ voice is a perfect fit for the sound that Jag Star exudes, claiming the band’s place as an uplifting mainstream outfit. While the lyrics aren’t anything to make someone think deeply, they don’t have to be. Lewis’ words will hit straight at the heart of the younger generation.

On songs like “Missed Out” and “Does Anybody Know,” Jag Star’s formula for success is as smooth as Lewis’ voice when she describes her sadness over lost loves. But then there are darker songs, such as “Disguise,” that remind the listener of bands like Evanescence. It’s a little bit of a stretch for the band, and it doesn’t quite fit the album as well as the rest, but it still doesn’t seem entirely out of place.

Along with Just J’s simple riffs on the guitar and Jay Daniel following along on the bass in unison with drummer Brad Williams, Sarah Lewis has made a quick impression on the Southeast music scene, as well as the national market. Jag Star was recently featured in Blender Magazine as one of the top 8 unsigned bands in the country. Maybe TRL or Disney executives will soon take notice. (Self-released)

www.jagstar.com

-Kenneth Gambill

Monikers — Eat Your Young

Recorded and mixed by Tyler Petito

These guys play good ol’ messy punk rock — the stuff Florida is known for. The tight play of Monikers easily transitions from bridge to chorus and back again. “Two Stories” is not an amazing punk achievement, but its easy manner, backed by a D.C. hardcore rasp, gives a graceful nod to those mid-1990s Fat Wreck Chords bands. The chords are chunky, the bass lines are nicely plucked, and the drums are repetitive, just like the punk rock doctor ordered.

Thankfully, Monikers’ lyrics deal with all of the usual punk relationship problems, but their original phrasing runs on to form an English teacher’s worst nightmare. From “Mirror Images:” “I think you’re a shell / Can’t be a guest in this private overrated hell / You’re better / Just don’t know what to do / They’re always checking up.” And it continues on, the next thought connected by one word from the previous line.

Also worthy of mention, especially for an indie release, is the arresting album artwork. Designed by Josh Erickson, the artwork mocks 1950s cartoon artwork and shows a modest mom vomiting intestines over a newborn and a father spanking a son, his arm going through the kid’s back. Inside is a kid in action, punching an electric pig of some sort. It’s both disturbing and intriguing. Not disgusting, but surprising. It’s an excellent piece of work and relates the attitude of Monikers perfectly.

Monikers aren’t new kids on the block; they’ve all been in several Orlando-area bands and play frequently in the clubs in Gainesville, Orlando and other South Florida haunts. There’s no doubt they’ll only get better. (Kiss of Death Records)

www.monikersmusic.com

-Josh Spilker

Airspace — Airspace

Produced by John Hampton and Airspace

Recorded at Ardent Studios in Memphis, TN

With a sound that alternates between daring, grinding indie and shoot-for-the-stars mainstream, Airspace has yet to find label support, despite the help of hit-making engineer John Hampton (The Raconteurs, R.E.M., The Replacements) as co-producer. The album’s transatlantic influences are immediately apparent: lead singer Alyn Mearns and guitarist Jimmy Brown grew up in Belfast, Ireland; bassist John Coogan and Alex Watson hail from the Southeastern U.S. The effect on this, their debut EP, is a smooth melding of Brit-rock edge and Southern sensibility, with a serious focus on thinking through the arrangements. This is perhaps the biggest appeal factor for Airspace. The overall sonic atmosphere sounds carefully, even meticulously, planned; dynamics are weighed and executed with excellent judgment, and yet never once does the band seem trapped in its own formulas. They maintain their spontaneity and liveliness, particularly as Mearns’ vocals soar and sear through an impressive tonal range. He varies from expressive, balladic crooning to throaty rock ‘n’ roll sing-shouting as the music builds and pounds, at times sounding almost like The Strokes’ Julian Casablancas, but with better lyrics. Mearns takes great care with his melodies and dynamic variations, understanding when to back off and let the other band members shine.

On keys and guitar, Brown really drives the music with strong, weighty chords that serve the song without overpowering Coogan’s quick-fingered bass lines and Watson’s rock-your-face cymbals. The band keeps the quieter moments just as interesting, faltering only slightly on “Candle,” which stumbles into emo territory with Mearns’ breathy chorus and a “let’s-outdo-U2” approach. Thankfully, they redeem themselves quickly with the punk-inspired “Hunky Dory” and then the catchy but rocking “Baby Don’t Let Me Down.” The key here is variety with unity, which nearly ensures an exciting and interesting live show. (Self-released)

www.myspace.com/airspacemusic

-Kat Amano

Bo Lozoff — Eyes So Soft

Produced by Bo Lozoff and John Plymale

Engineered by John Plymale at Overdub Lane in Durham, NC

Mastered by Brent Lambert at The Kitchen in Carrboro, NC

Though the sound is distinctly Americana, Bo Lozoff’s music is deeply rooted in a spirituality that is remarkably cross-cultural. His CD cover features a quote from the Sufi mystic Hafiz, and he makes references to both Jesus and Buddhism, which puts an interesting twist on the homey Southern sound of harmonicas, accordions, violins and guitars with little or no distortion. The melodies and backing instrumentation, though straightforward and often predictable, have a pleasing and calming effect, even to ears unacquainted with the personal spiritual quest.

To fully understand and appreciate Eyes So Soft, it’s important to be familiar with the seeds that spawned it. Lozoff tours not only for concerts but also for sermons and workshops at prisons across the country. His CD sales and tour profits help support the organization he founded in 1973, the Prison-Ashram Project, which works to educate and motivate prison inmates and staff. Understandably, then, the message of Eyes So Soft, Lozoff’s live debut album, is infinitely more important than its image, or even its sound. The music serves primarily as a delivery vehicle for the lyrical ideas, which range from inspirational pep talks (“The Rules of Life”) to empathetic portrayals of those who are trapped in a violent world (“The Lawman and the Outlaw”).

Lyrically, he relies perhaps too much on trite phraseology to express himself (“Memories are sparkling diamonds / Hopes and dreams are a string of pearls”). This dependence could, however, be part of his systemic allusion to yesteryear’s church-choir sing-alongs, which made such powerful use of simplicity. It is not as important, then, for Lozoff’s music to stand up as a musical landmark of innovation; it is designed, and best suited, for an audience that needs to hear it. (Rockin’ Monkey Records)

www.humankindness.org

-Kat Amano

The Mr. Move — Easy

Produced by The Mr. Move

Recorded and mixed by Dave Wolf, Jay Ellis and Eric at Thinkman Studios

Several months ago, there was a guy working at a local tavern in Atlanta who was, by claims, “the best rapper in the South.” This tall, bulky chap was the defunct incarnation of a gorilla and Kid Rock, but without the talent (was Kid Rock just given talent accolades?). Kid Schlock would regularly develop these yarns of stories about his 300-date trans-Atlantic tours and turning down record deals offered up by Dr. Dre only because the money was not up to his liking. After months of stories of rock godliness, the demo from said rock titan made its way to the surface and unsurprisingly, it sank.

So here is where The Mr. Move comes in. Easy falls right in the wake of what was brought to light in the tavern. The Mr. Move is the alter ego of Atlanta native Reggie Cunningham, whose latest effort on Booty Bomb Records is a testament to those who are forced to use samples to create hooks. The Mr. Move’s press release describes his music as “the balls of Durty South crunk and the tits of U.K. grime, both soaking in a pot of punk rock piss.” But it seems that his music and rhyme skills lack any of the useful elements of the aforementioned genres.

With titles such as “Ass Shakin’,” “Titty Full of Beer” and “Ghetto Whomper,” one can only imagine how many hours were not put into the creation of such visceral poetry. The way The Mr. Move “raps” about the same subjects (stupidity, women and general inebriation) in nine different songs with the same ho-hum homemade beats and keyboard massacres is kind of humorous.

The Mr. Move laments in the title track that he makes creating music so easy. If that is the case, anyone has a chance at a record deal. (Booty Bomb Records)

www.themrmove.com

-Jason James

Nevada — The Sunlight and the Sound

Produced and mixed by Jayro Rockola and Nevada

Recorded at Six Foot Seven Studios

Mastered by Travis Leonard at The Kitchen in Carrboro, NC

A band whose influences include Spiritualized, The Velvet Underground and The Zombies should be able to come up with some really diverse and interesting music. Unfortunately, Nevada’s debut CD, The Sunlight and the Sound, is about as bland as a plate of unbuttered noodles. This is not to say that live the band wouldn’t perhaps rock your face off, but what comes across on the album sounds so watered down, it’s hard to believe a live show would be any different. The lyrics are uninventive, and the music is almost too sugary-sweet to be real. It’s clear that Nevada is a band whose members are consistent and talented musicians, but The Sunlight and the Sound does nothing to emphasize this fact. The boy-girl vocal harmonies perfectly match the pop-folk-inflected guitar melodies, but because both fail to evolve, what’s left is a band trying hard to sound like R.E.M, capturing all of the style and none of the depth. The Sunlight and the Sound, instead of seeming like a debut CD, sounds more like a band coming together for the first time with an idea of what genre to emulate but no direction. All together, there are maybe two tracks that stand out and go somewhere: “The Olive,” because the psychedelic groove that’s insinuated on the CD really comes through here, and “Let it Shine,” because it’s the only track that actually rocks. Nevada as a band has potential — that much is clear by how well they do play — but The Sunlight and the Sound neither shines bright nor prevails sonically. (Good Luck Cricket Records)

www.myspace.com/nevadamusic

-Charley Lee

Lifelike — Lifelike

Produced by Brandon Harvey and Dan Vasquez

Mixed and mastered by Eric Butkus and Lifelike

Lifelike is the project headed up by Tennessee-born Brandon Harvey. Harvey made the move to Chicago and wrangled in bassist Steve Nawrocki and drummer Rob Andre to accompany his singer/songwriter/guitarist role. Lifelike boasts accolades such as semi-finalist in the 2006 Lollapalooza Last Band Standing Contest and being handpicked by organizer David Bash to perform at the International Pop Overthrow Festival. But when it comes down to it, Lifelike’s self-titled debut album is about as sharp and edgy as a butter knife. The album reflects assumed influences such as early Replacements, The Old 97s and the fuzz sludge of a lesser Mudhoney. The band ultimately has a sound with no real distinctive qualities.

The songs generally consist of walls of ho-hum guitar chord structures that seem to negate any attempts on Harvey’s part to win over the listener. However, this juxtaposition could be a fortunate situation for Lifelike, as Harvey’s lyrics run lazily along in the same direction as any other bland staple on “alternative” radio. Lines such as “My saliva tastes like bourbon and my heart is burnin’“ or “I spend like a dead president” or even “Been a lot of talk about breakin’ up cause breakin‘ up is easy to do” reek of unfortunately not-forgotten songwriters from groups such as Everclear and Live.

Ultimately, Harvey lost his Southern roots upon moving to Chicago, as Lifelike’s entire album lacks any kind of musical thrust or charisma the South has been known to produce. A move back down to the homeland, or at least a long touring stint, might bring new life to this homogenized sound. (Self-released)

www.lifelike.us

-Jason James