Of Montreal - Hissing Fauna, Are You The Destroyer?
Recorded by Kevin Barnes
Mastered by Glenn Schick

After a decade of crafting quirky pop songs that have progressed into quite danceable, start-stop collaged compositions, Of Montreal's principal player and steakhouse jingle master, Kevin Barnes, has taken a dark turn. Apparently reeling from a recent sadness of sorts, the once-lilting character sketches that appeared in breakneck mini-opuses are replaced with grievances over a soured connection. The change in lyrical content, however, has not deterred the phenomenal songwriting that epitomized the group's last two records, 2003's Satanic Panic in The Attic and 2005's The Sunlandic Twins.
The songs on Hissing Fauna dive even further into the deep, cataclysmic, pseudo-glam disco sound developed on the last two albums. Even though the group has evolved greatly from the earth-loving, organic sound they farmed 10 years ago as a satellite band of the emerging Elephant 6 collective, they have managed to gain a stronger pop sensibility and amass a larger audience with the danceable turn.
As the album opens with the cooing of a baby, possibly a metaphor for the birth of a new style, the band shirks acoustic guitar strums for a full electronic blast in "Suffer for Fashion," complete with thumping, jittery drum tracks and MIDI instrumentals flowing under Barnes' falsetto. "Keep our little clique clicking together 130 bpms, not too slow," commands Barnes, and throughout the record, Of Montreal manages to keep everyone dancing and ecstatic.
The topics of discussion on songs such as "Heimdalsgate Like a Promethean Curse," "A Sentence of Sorts in Kongsvinger" and "Bunny Ain't No Kind of Rider" offer glimpses of hope in the face of tragedy.
The biggest surprise on the record is Barnes' seeming nod to Prince on "Faberge Falls for Shuggie" and "Labyrinthian Pomp," in which with both the instrumental layering and vocals lean very closely to the Purple One's stylings.
Someday soon, Of Montreal will see the fruits of their labor in full. (Polyvinyl Records)

www.ofmontreal.net

-Jason James

The Graboids - Infinite Delay
Produced by Mark Goldstein, Paul Brier and Dustin Bugg
Recorded at Sandalwood Studios, Virginia Arts Recording, Music Resource Center

For Virginia's The Graboids, band meetings must have been an idea-pool of physical and meta-physical debate and philosophizing on infinite delay and how to capture such complexity within 72 minutes. Like Doc Brown bumping his head and visualizing the Flux Capacitor in Back to The Future, The Graboids' vision was realized.
Infinite Delay delivers a soundscape of twisting dementia mixed with a fusion-jazz edge that permeates such songs as "Longing on the Horizon," which eventually twists into a distortion-filled opus that pans from speaker to speaker. The Graboids are sans vocalist, so it is important that the songs are atmospheric and ambient, ever expanding like the scientific theory on which the album title is based.
Infinite Delay is the sound of a freefall, a toppling and flailing sonic masterpiece that sways from its controlled and smooth direction into panic-filled nonsensicality and returns. (Stickfigure)

www.myspace.com/graboids

-Chris Parizo

David Childers & the Modern Don Juans - Burning in Hell
Produced by Mark Lynch
Recorded by Chris Garges at Old House Studio in Gastonia, NC
Mixed by Brian Paulson

The opening lyrics to David Childers' new CD garner attention right away, crying out "Mama used to beat my ass." Childers immediately defines his style, sense of humor and take on life's precious moments through this first exclamation about his mother's punishing hand.
Keeping in the style of old-time country crooners like Hank Williams and Johnny Cash, Childers and his backup band, the Modern Don Juans, make the genre fun again. On their eighth CD, Burning in Hell, the Charlotte-based quartet go on about family, death, crime, fidelity, as well as losing a one-night stand to another man, amongst other things.
On the thumping, knee slappin' title track, the Modern Don Juans are in full effect, banjo, mandolin and all. The percussion-based "Soldier Town" is reminiscent of Cash's best days, and Childers' worrisome voice is recognizably heartfelt on "What Will Become of the Child."
Randy Saxon's guitar work and multi-instrumentation perfectly complement Mark Lynch's throbbing bass and Robert Childers' drums. They truly are the soul of the band. But don't be fooled - Childers is the heart.
Even when he has the chance to perform his solo routine on "In the Early Morning," Childers is pouring his heart out while telling stories.
Childers, now in his mid 50s, is obviously very family-oriented. His son Robert joins in on the fun on drums as one of the Modern Don Juans. Childers and his crew have recently been playing shows with The Gourds, and given the strength of Burning in Hell, they may soon find themselves in the headlining spot. (Little King Records)

www.davidchilders.com

-Kenneth Gambill

Madeline - The Slow Bang
Produced and mixed by Matthew Houck in his home studio
Recorded in Athens, GA
Mastered by Derek Almstead

The Slow Bang is the second CD by Athens native and previous Sugar-Shakers member Madeline Adams. It is completely satisfying on the simplest of levels, clocking in at just over half an hour. Madeline is able to immerse the listener in an ocean of dreamy melodies and angelic voices. The CD is awash in early 1960s acoustic folk, though stripped of the innocence and naiveté of the era. Madeline's lilting but cherub-like voice sings of love and life with such impassioned lyrics that one would believe this girl has experienced the world well beyond her 21 years. When Madeline croons "I know you won't ever call me baby like you use to / Truth is, it turned out to be fitting / I know you won't ever remember just how gorgeous August was now that it's September," it sounds like a moment trapped in time, specifically 1953. Madeline's style and voice are uniquely hers, but hints of Lucinda Williams and Jean Ritchie occasionally surface. The Slow Bang, as compared to Madeline's first release, Kissing and Dancing, is layered with more instrumentation and vocal accompaniment, provided by Phosphorescent's very own Matthew Houck. The lo-fi, home studio feel is very evident, and at times, it sounds as though Madeline might be singing in the room across the hall from you. The effect is slightly haunting and eerie, but again Madeline's voice pulls you back into a world of comfort. Though the instrumentation, in the style of early acoustic folk, is scarce, the simple piano and guitar melodies are arranged in such a way that they betray the sonorousness of the songs. The circus-sounding "Demise of Madame Butterfly" is one of the best tracks on the CD, proving that Madeline's true gift lies not in her voice but in her narrative lyrical style. Whether she's telling the account of a cheating uncle on "Uncle's Sweetheart pt.2" or offering up wisdom for the soul on "Good Houses," Madeline and her talent for storytelling cannot be ignored. (Orange Twin)

www.madelinesongs.com

-Charley Lee

Ozy and DJ Aaries - The Last Dragon Mixtape
Engineered by Illastrate
Recorded by Illastrate and Mudnoc

Like the typical hip-hop mixtape, Ozy's The Last Dragon Mixtape, hosted by DJ Aaries, needs a little fine-tuning. The lack of shellac on this collection of lyrically robust, edgy tracks calls for some EQ acrobatics to bring out the record's pith. However, old school and contemporary hip-hop influences blend seamlessly on this above-average effort from a precocious new talent on the Atlanta scene.
Hailing from South Carolina, Ozy, born Corey Gillens, flaunts rehearsed flow and decent vocal timbre, spattering the tracks with informed metaphors and occasional, biting political beef. His lyrical acumen is memorable, and it would be nice to hear him spit over a more polished album, which is, generally, the point of a mixtape. The guest talent assembled here gives the listener a glimpse into a crew potentially on the verge of making headlines. In particular, look out for the Jus Cuz duo, Nefarious and SinSkyy, who are featured on "In the Bag," one of the record's highlights.
Aaries, whom you may know as the progenitor of the DJ crew Hood Hard Hitmakers, or Mr. Hood Hard, offers up a smorgasbord of eclectic cuts, skillfully employing current beat technology and a gamut of samples that recall the pop culture of several decades. The namesake samples, taken from Berry Gordy's The Last Dragon, are undoubtedly the most memorable, and if you haven't seen this 1985 cult classic, this mixtape may cause you to involuntarily open a Netflix account. Aaries' style is hard to pin down, although most of the time it sounds good. There are similarities to DJs Babu and Clue, but for the most part, the beats are original. It wouldn't be hard to imagine Aaries developing a recognizable style after trimming some musical fat and focusing on his strengths; and he does have some strengths, namely superb layering.
Not every track on The Last Dragon Mixtape is noteworthy. Again, like on most mixtapes, there is a bit of filler and shameless self-promotion. And, as mentioned before, the level of production leaves much to be desired, but with a little studio magic there is no reason these guys couldn't creep onto the burgeoning national underground scene in the next year or so. There's certainly something very hopeful about artists disseminating records on the grassroots level. (Moondox Records)

www.myspace.com/ozofspades

-Mitchell Maddox

Hotpipes - Hotpipes
Recorded by Loney John Hutchins at the Teacher's Lounge
Mastered by John Baldwin at Lake Fever Productions in Nashville, TN

Nashville-based indie rockers Hotpipes have come a long way from their first CD, The Deadly Poison. Their sophomore release leaves little to be desired, and it comes as no surprise since the streets have been abuzz recently with news about the up-and-comers. The self-titled second release has a sound seemingly fresher than the band's contemporaries, but manages to remain in step with its predecessors. Paying a great deal of homage to 1980s new wave, Hotpipes blend elements of Modern English, The Kinks and the sporadic pop of Talking Heads with a keen indie-rock sensibility. The lo-fi production allows the band to stand on its own merits as creative and talented musicians; while the CD isn't slick and all glossed over, it remains tight and resounding. Lyrically, singer Jon Rogers mixes sharp wit, dark humor and abstract imagery over heartfelt melodies and imaginative harmonies. Drummer Dan Sommers' precision and dexterity provide a steady complement to the stylized keyboard and thumping bass arrangements. From the first track to the last, the energy and urgency on this CD never falters. It has all the makings of mainstream success, or at least points in that direction. It's evident that Hotpipes carefully constructed this latest CD; nothing on the disc sounds impromptu or forced, but rather as though every note was hand-picked to fill a certain requirement. Each song works so well in the context of the whole CD that the job of selecting a standout track is a futile expenditure. (Self-released)

www.hotpipesmusic.com

-Charley Lee

Esque - Everyone's Playing
Recorded by Harry K at The 5 and Dime
Track 2 recorded by J.D. Reager at Unclaimed Recordings in Memphis, TN
Mixed by Harry K. and Darren O'Brien
Mastered by L. Nix of Ardent Studios in Memphis, TN

The temptations are all there right from the beginning of Everyone's Playing. Esque's 5-song EP kicks off with seductive reverb and a dynamic bass riff that dominate the entire record. The rhythm section represented here could easily compete with any other regional act in the genre. Bassist Basil Bryne could give more famous contemporaries, such as Interpol's Carlos D., a run for his major-label money.
Following suit, singer Darren O'Brien croons somewhere between the realms of glam and goth, channeling the likes of Davids Bowie and Byrne.
But then it comes, half-way into the second song - that all too familiar hi-hat rhythm that could either make or break the band depending on the listener's remaining tolerance for post-punk grooves.
Luckily, Esque does have other tricks up its collective sleeve. The fourth song on the record, "Hard Living," shows Esque writing its own version of Roxy Music's "Love is the Drug." The influences are certainly clear, but that doesn't take away from the impeccable execution. From the standout bass riff to the dazzling synth line, this track captures the compositional essence that made tracks like "Love is the Drug" so memorable. Esque then takes the familiar dance tune into newer and darker territory when a haunting, ghostly chorus bellows throughout the outro, creating an eerie atmosphere reminiscent of Radiohead's "Exit Music (For A Film)."
Esque carries on, revealing its secret weapons in the final track, "The Escape Artist." The refreshing, lush piano introduction gives way to, yes, a post-punk dance beat, but it's just so darn delicious. The catchy refrain, with O'Brien's captivating delivery, has chart success written all over it. A delightfully surprising saxophone helps close out the record, which fades out too soon. (Self-released)

www.esquelife.com

-Michelle Gilzenrat

Tishamingo - The Point
Produced by John Kurzweg

The Point, the third release from Athens-based Tishamingo, was produced by renowned producer John Kurzweg, who has helmed records by such artists as Creed, Jewel and Puddle Of Mudd, so right off the bat the listener knows that the record will sound like a million dollars. The band has been together for the better part of a decade and has shared the stage with the likes of Derek Trucks, B.B. King, Robert Cray, Drive-By Truckers and The Black Crowes, so you know these boys can play.
The album itself is a tight, focused work of southern rock of the highest order. Incorporating a forward-thinking lyrical base with the aggression of Gov't Mule and the groove and vocal stylings of The Allman Brothers, Tishamingo's compositions form a wall of sound that Phil Spector would be proud of.
"Get on Back" kicks the album off with a great riff and smooth vocals from Cameron Williams. Fans of Widespread Panic's harder-rocking moments should find a place for this track on their iPods. Another album highpoint is "Mitchell," which boasts a vocal component reminiscent of Warren Haynes and a lyrical style that conjures up the same kind of southern mysticism as Skynyrd's "Ballad Of Curtis Lowe."
Tracks such as "Travel On" and "Bad News" showcase the whole band's musical chops. Guitar solos weave in and out of grooves over southern soul vocals as sweet as molasses. Cameron Williams and Jess Franklin have tapped into a winning guitar/keyboard combination worthy of comparison to that of David Gilmour and Richard Wright. The arrangements are loose enough for improvisation, but they never meander into noodling.
Things come to a close on a spooky note with "Devil's Love Song," a semi-acoustic number that will have the listener whistling past the graveyard, if not walking a little faster. (Magnatude Records)

www.tishamingo.com

-Jon Dawson

Plate Six - Battle Hymns for a New Republic
Produced by Plate Six
Recorded by Jim Marrer at Zero Return

Plate Six sounds like Fugazi, a similarity that must be thrown out onto the table, with one exception - the band has no bass player. Fugazi's bass player, Joe Lally, revolutionized hardcore music when he inserted reggae-heavy bass lines into the versatile Washington DC band's music. Whereas without this addition, Fugazi's music might have been too trebly and lacking the necessary guttural grunt, Plate Six's lack of bass player works in two different directions for Battle Hymns of the New Republic. First, the absence of a low end raises the urgency of the music, pushing songs such as "Concrete Mouth of Safety" to the point of madness. Yet, on the other hand, no forward mixed bass leaves the guitars swirling in the air without a tether; the missing bass makes the guitars flail like released kites twisting up on themselves.
Recording engineer Jim Marrer did an excellent job using the lower-end guitar lines of David Hickox and Dan Sartain to emphasize all bass elements available to him. Likewise, Hickox and Sartain brilliantly switch parts whenever one goes into the high end, as in the standout performance on "Red: The New Black." And the band releases an onslaught of power and mayhem on the finale, "Maximalist Anthem." Sonically, this recording is perhaps more like Vision of Disorder, who were known for their treble-heavy hardcore delivery. As a whole, Hickox, Sartain and hard-hitting drummer Brad Davis deliver a strong performance.
Plate Six should be recognized as a tight and formidable band, testing the boundaries and limits of hardcore in this "post-hardcore" world. It takes nuts to play music without a bassist in a genre where low end is vital, and Plate Six do just fine without it. (One Little Indian)

www.platesix.org

-Chris Parizo

Ponieheart - Touch To Love
Recorded and produced by Jamie Stewart
Mastered by Nick Punch

Crane Orchard - Spread You Lies Wholeheartedly
Produced by Jamie Stewart
Recorded and mastered by Nick Punch

These two records, seemingly by two different bands, are actually two projects by singer/songwriter Paul Fugazzotto II. He was a member of pre-Brightblack Morning Light troupe Rainywood. While with Rainywood, he toured with Bonnie "Prince" Billy, a partnership that shows through in tiny cracks on his double-disc debut. The two projects share a few similar songs with different interpretations, but the arrangements on both albums clearly define the two sides of Fugazzotto's performance styles. The records, produced by Jamie Stewart (Xiu Xiu), are like bookends to a set of lyrics that deserves recognition, sometimes twice.
Ponieheart is Fugazzotto stripped down to nothing more that his guitar, sparse drum programming and the occasional bells, gong, harmonica and even a table leg played by Stewart. The tunes are haunting and lethargic, much like some of the slower, nimbler tracks from The Postal Service. These tracks have a definite anchor in the limited musical accompaniment and lyrics, which are gloomy and sometimes sinister.
Crane Orchard opens up Fugazzotto's songwriting and fleshes out his melodies with a slew of backing musicians. Fugazzotto lays down guitars, bass, drums (both live and programmed), synthesizers and additional percussion. He also incorporates nine other musicians, including Nick Punch, which allows him to utilize his lyrics as a compass, directing some tracks towards an organic feel and some towards a colder electronic focus. Nothing ever comes off flat though. Each composition could be used as a warm musical blanket on a cold night.
Standout tracks such as "Friend," "Swamp" and "Breece Pancake" (the latter two were recorded for both the Ponieheart and Crane Heart projects) showcase the combination of Fugazzotto's lyrics and breezy yet downtrodden and sweetly sublime musical backing.
Fugazzotto strives to profess "I've been on the ground almost all of my life / Bury me." With this amount of sincerity, one almost wants to humor his dark musings. (Now Here Records)

www.ponieheart.com

-Jason James

All the Saints - All the Saints
Recorded at Nickel and Dime Studios in Avondale Estates, GA
Produced and mixed by All the Saints and Ryan Pitchford
Mastered by Alex Lowe

All the Saints have a great modern-psychedelic sound with blues riffs delivered atop raging vocals and a blustery sound, sounding slightly as if Rob Zombie sat in with Radiohead. The album opens with "Double Windsor Hassle," which doubts the truth as it's purported to be. However, it's the delivery, not the lyrics, which will get your attention here. The Black Sabbath button was definitely on 11 when this track was recorded.
The next track, "Fire on Corridor X," veers into deeper Radiohead territory with ominous vocals and at times sparse arrangement that gives way to wailing, out-of-control mayhem. Feedback is also used to Townshendian heights as the song builds to a climax. Arguably the best track on the album is "Wall Purchase." The song has a fantastic riff that gives way to an LSD-meets-beer-bong groove that would have frat boys and computer geeks pumping their fists in unison. Again, it's unclear as to what the lyrics are about, but the song is delivered with enough "oomph" that it doesn't matter. This is rawk.
This six-song album ends with the almost angelic "Recycled Highways," which is a truly beautiful song. This Velvet Underground-styled ballad has swirling organ, a great vocal component and superb guitar feedback and would fit beautifully into any David Lynch film. (Self-released)

www.allthesaints.com

-Jon Dawson

Pierce Edens and the Dirty Work - Party Dress
No production information available

Pierce Edens and the Dirty Work sound like a fusion between Tom Waits and Louis Armstrong. The beginning of Party Dress evokes a rockabilly sound coupled with provocative lyrics, and then shifts to a more blues-inspired tone, making use of pedal steel, upright bass and slower melodies. Edens has the voice of a seasoned musician - a man with tales to tell and someone whose stories you would want to hear. In a world where it is hard to distinguish certain vocalists from one another, Edens' voice certainly cannot be said to blend in with the others. It is almost as if he is challenging you not to listen, but his vocal quality is capable of holding your attention while you listen to his woes, pleas and the like. At times it sounds as though his voice might just give way, like he is squeezing every last bit of strength out of it. In "Jailhouse," Edens sings of inviting the devil to coffee, saying that the devil has "always been a storm cloud on my shoulder" and that his guitar "might be the only thing that saves me." In this same song, he repeatedly mentions that he "ain't never got in trouble on his own." Tracks like "Momma" show the group's versatility, and by varying the speed between the songs, they assure that listeners don't grow tired of the somewhat scratchy, raw sound. Fans of Tom Waits or southern rock should definitely check out Party Dress. There is a gem in Asheville, North Carolina, and it's ready to be discovered. (Self-released)

www.pierceedens.com

-Lauren Alexis Begnaud

Mark Mathis - We Both Was Young
No production information available

By combining many musical elements, Mark Mathis successfully underscores the Americana-folk storytelling on his fourth CD, We Both Was Young. Whether it is the low-voiced David Byrne-esque styling on "Sharecropper Takes a Colored Wife" or the Johnny Cash-influenced upbeat rhythms on "Prenup," Mathis has created a fluid CD mixed with emotion and truth.
As far as the idea of having a radio single, Mathis seems to avoid writing anything close to mainstream composition, opting instead to keep his music singular and unique. "Sharecropper" might be the closest he comes to delivering a radio-ready tune, as the chants of "When she was young and I was young" can get stuck in the head mighty quick.
Lyrically, this Charlotte, North Carolina native keeps the listener interested at all times. While he emulates Bruce Springsteen in his vocal delivery at times, he hasn't quite captured the Boss' finest ability - creating a memorable hook.
Mathis' beautiful finger picking on "I Am The Deep Blue Sea" is reminiscent of Conor Oberst, yet he keeps his sullen voice low throughout to help convey his feelings towards the issue at hand. In fact, the most beautiful aspect about Mathis is the candor in his voice; every word is as believable and significant as the next.
Mathis has reached out towards his influences and it shows to be a very prominent force in his songwriting. Being a good storyteller may be one of Mathis' best qualities as a performer, and it shouldn't be too long from now until he is able to match his eminent songwriting with a comparable hook. (Freshwater Records)

www.markmathis.net

-Kenneth Gambill

The Victrolas - Drop the Needle
Produced by The Victrolas
Mixed and engineered by Brandon Nice
Recorded and mixed at Colorblind Studios

With an appropriately old-school name, Nashville's The Victrolas pull off some antique tricks while representing their own youthfulness on their latest release, Drop the Needle.
While the opening track, "Proof Everlasting," makes us believe the comparisons to Weezer cited in the band's bio, it's still hard to believe that this CD will have the same kind of impact on the pop-country demographic as the Blue Album did by opening up doors for emo and indie pop.
The vocals of brothers Ryan and Josh Case are sincere and honest, with lyrics ranging from such issues as not being able to purchase alcohol on Sundays (some of the guys lived in Athens, Georgia before relocating to Nashville) on "Dry County" to the sense of nostalgia from being back in one's hometown on "These Days."
These pop-based country songs are actually easy to listen to and hard not to sing along to, although they often rehash the same old clichés about not being able to get the girl they want. Even on some of the more countrified songs like "Someday," it's still impossible not to get the chorus stuck in your head.
The record, produced by drummer Brandon Nice, is an attempt to win over a lot of country and pop fans, but it only fully succeeds at snagging the latter. (Self-released)

www.thevictrolas.net

-Kenneth Gambill

Ben Dunlap - Take My Chances
Produced by Ben Dunlap, JL Floyd and John Horesco IV

Very often, the singer/songwriter field imposes a lot of limitations, either real or imagined, on its performers. Sometimes these limitations, be they instrumental, harmonic, etc., make the genre interesting in the sense that they require the songs to really shine through and tell the story in what is often a very raw and primal setting. Unfortunately, it's rare that the writer's ability is such that it is able to overcome said limitations.
Ben Dunlap is a singer/songwriter who is on his way to bursting through those limitations with Take My Chances.
Dunlap's regular-guy approach isn't original, but you get the impression that that's who he really is. It's only when he gets wordy or credits a stylist in the liner notes that you raise an eyebrow. The meat-and-potatoes poetry of "I Need a Girl," which celebrates beer drinking, baseball watching and regular girls, is a nice change from the usual glut of writers that attempt to flex their English-major muscles in the course of a song. Interestingly enough, Dunlap's attitude and subject matter are almost closer to Mellencamp, though his sound is more John Mayer meets Matchbox 20. You won't find anything out of the ordinary here, but Dunlap still delivers.
The one thing that the album could use is more varied arrangement. It's refreshing when Dunlap plays solo with minimal accompaniment on tracks such as "Don't Lie To Me," and though the rest of the record is consistent, eventually the percussive acoustic guitar, bass, drums, and static electric guitar arrangements become predictable. There are a few keyboard parts here and there, courtesy of keyboard wiz Damien Cartier, and it would have been nice to include more keys in the tunes instead of the guitar, or even have a solo piano song, if for no other reason than to keep the songs from running together sonically.
Ben Dunlap is off to a solid start with Take My Chances, and if you're looking for some artifice-free songs, this is a good place to start. (CBK Entertainment)

www.bendunlap.com

-Adam Deiboldt

Bill Noonan Band - Catawba City
Produced by Bill Noonan, Ted Kynard and Kristina Hess
Recorded at Lazy Ridge Music in Concord, NC
Mastered by Dave Harris at Studio B Mastering in Charlotte, NC

Bill Noonan storms back into the fray with a beautifully written record, painting a picture of the southeastern countryside. Catawba City bleeds country, Americana and folk, sending out sounds from the Carolinas with great fervor. Clear and genuine, heartfelt and alluring, Noonan takes the listener back to country's roots with exceptional songwriting - stories detailing his journey of personal losses in achieving victory through triumph.
As the former leader of The Rank Outsiders, Noonan has been known to pen some noteworthy songs during his tenure as an artist.
His new band is tight, brewing with a bottomless well of talent and giving performances of effervescent clarity. Self-produced by Noonan with the help of Ted Kynard and Kristina Hess, the album is 12 tracks of pure genius throughout. The production of this record successfully highlights the strong musicianship of Noonan's group: the polished drums of Ray Mitchell, the riveting bass of David Kroening, the heavenly sounds of Bill Walpole on steel and slide guitars and the dazzling percussion of Dillard Richardson. With guest artists contributing fiddles, accordion and further vocals, adding a delightful array of melodic textures and colors, the instrumental prowess of this band is strengthened, making this project more than just a band backing up a rather noteworthy songwriter.
This is music that transcends boundaries, as the band boosts Noonan to new heights, helping his songs find an emotional resonance that certainly connects to the listener.
Simply put, this album should be an enjoyable experience for those who cherish country in its most raw form and a worthwhile time for the rest to begin expanding the palette. (Self-released)

www.billnoonan.com

-Shawn M. Haney

Sound and Shape - Where Machines End Their Lives
Produced by Sound and Shape and Jayson Dezuzio
Engineered by Jayson Desuzio and Dave Kim
Mastered by Shelley Anderson at Masterfonics in Nashville, TN

Tennessee's Sound and Shape aim for the best of classic rock, but thankfully can't hide their modern influences. Their alternative-rock cognizance is tinged with jam-band experimentation to form the best of postmodern classic rock. The members of Sound and Shape riff off one another in a 1970s style - the guitar leads with a solo then backs off for the vocals, supplemented with a drum solo. This progression usually quiets down into a steady percussive rhythm and then builds back up into a full guitar battle. All this action is buffered by playful dueling instrumentation with tight signature changes. It's a math-rock vibe infused with the retro-progressive sound of 30 years past. For all of these elements and more in one song, the fourth track, "Lovers Drink For Free," is the archetype. It's a hybrid that allows Sound and Shape to educate the indie rock scene, while keeping to that scene's base desires.
Main songwriter Ryan Caudle strives for an overarching narrative story that is completely lost on the listener unless the liner notes are closely studied (which is difficult to do given their poor visibility over the album's background). The story focuses on Mother Sunshine and Father Sunshine and their relationship with their son, the seasons and nature. The story is personification, taken to its most annoying end - and Caudle comes off more dense than smart, to the point where his story makes little sense and is only supplemented routinely by some excellent classic-rock riffs.
Sound and Shape should focus on the narrative or the music; it's seems hard for them at this point in their journey to pull off both well and succinctly. (Smith Seven)

www.myspace.com/soundandshape1

-Josh Spilker

The Nein - Luxury
Recorded at Track & Field Studios in Carrboro, NC
Engineered by Nick Peterson

The Nein do everything they say they will on this record. Luxury finds the quartet mixing textures and stepping away from the typical guitar, bass, drums set up to incorporate more electronic ambience into their musical mix"), though the abundance of samples and electronic jitters ultimately compromises the album's cohesion.
The album begins with its best track, "Burn Construction." It's not only the finest mix of electronic textures and good writing, but it's also the strongest in terms of melody. The samples do not command attention, but rather softly outline the song's transitions, work nicely with the melodic arrangements and support the vocals well.
Unfortunately, on the mojrity of the subsequent tracks, the electronic textures (some of which are pretty interesting and creative) overtake everything else in the mix. Vocals are often outshined, albeit by some well-crafted samples and that end up stealing the show, most noticeably on the "Journalist" tracks. The band has a rather under-developed sense of melody as most of the songs' melodic lines are meandering and poorly composed, and there's little in the way of instrumental hooks to pick up the slack. The band is attempting to break away from traditional songwriting, which is fine, but there isn't much left in its place.
Still, the textures and production are definitely high points of the record. Had this been an instrumental record, fleshed out a bit more, it would have been much better, and the band could have stretched out even further. The instrumental track "Ennio" demonstrates this possibility. You can also hear the musicians breathe, the scrapes of fingers on strings, even the creak of a chair; in short, the record captures a mood.
The samples on this album are phenomenal, yet other aspects of the record too often suffer because of the obvious glut of attention paid to one element. Perhaps it's necessary to see these guys live to really get an accurate picture of what they're trying to accomplish, because this record doesn't do it. In the end, there are a lot of cool sounds on this record, but not enough music. (Sonic Unyon)

www.sonicunyon.com/thenein

-Adam Deiboldt

Novaman - Tha Postdated Millionaire
Produced by Novaman
Recorded at Villain Boy Studio

Growing up in North Carolina was not easy for Novaman. Those childhood experiences, including moving from city to city and occasional brushes with the law, are boldly reflected in Tha Postdated Millionaire, Novaman's gritty solo debut. Although Novaman discovered his ability to write raps in 1998, it was not until gospel singer John P. Kee gave him the opportunity to rap on the radio that he realized what he wanted to do. That relationship was very prophetic given that the first noteworthy track is "Takem 2 Church." The harsh language, angry flow, references to AK-47s and 357s and other violent references make it clear that Novaman is not talking about a traditional church.
One of the most unusual songs is the title track, "Postdated Millionaire." The track is all over the place musically, with a fast-paced lyrical flow to match. Another interesting track is "Them Lil Boyz," Novaman's ode to the vices of the neighborhood youth, including robbing, skipping school and selling drugs. "Wata Ass" tells a story of Nova's sexual escapades with strippers, foursomes and the like, complete with unflattering references to female body parts. The smoothest track on Tha Postdated Millionaire is "Get Ghost," which details the adventures of a night in the club, complete with references to the various females he encounters with whom he would like to "get ghost" and "take it to the house." Novaman closes out the album with "Be a Man," a song in which he angrily challenges rivals and haters to "be a man about" any beefs they might have with him and stop talking about him behind his back.
Tha Postdated Millionaire is a solid debut for Novaman. Unfortunately, even after several listens, no one track stands out above the others. Too often Novaman speaks of the same subjects as every other rapper - guns, rims, cars, sex and the obligatory overused N-word references. But that does not take away from Novaman's ability to weave complex, fast-paced lyrics into fresh beats and melodies. With just a little lyrical maturity to add to his already smooth flow, Novaman may be poised to make some noise in the rap game. (Self-released)

www.myspace.com/postdatedmillionaire

-Jonathan Mason

The National Pool - The National Pool
No production information available

When Radiohead's Kid A came out in 2000, the band was taking the biggest chance of its career. Thom Yorke and company rolled the dice and decided to try a different style of music that hadn't been viewed as a popular genre in over 25 years, when Pink Floyd first ruled the airwaves. Ultimately, the gamble paid off and people paid attention.
With the release of their "online only" self-titled debut, The National Pool uses influences from this era of Radiohead, as well as the sounds of newer acts such as Kenna and The Postal Service. On the opening track, "AO1," the band takes synthesizers and computer backbeats to another level, producing a solid intro into what initially appears to be an amazing debut from this Nashville duo.
Major problems surface immediately, though, when the band fuses a little bit of R&B into the song "Japan." By taking inadvisable stabs at different genres, the guys lose the attention of the listener.
With great songs like "Fix the Fault" and "Lost it All" come other songs that keep us scratching our heads wondering why The National Pool would use so many effects, even the most dreaded and redundant ones.
Even the cheesy robotic vocoder effects that Cher once used to great success are in tow during the chorus of "Everywhere You Look," a song that would otherwise have a decent pop appeal.
One of the things that these guys do very well, however, is write a memorable chorus with good lyrics and accompanying melodies. With a real backing band to complete their sound and a less keyboard-influenced rhythm section, The National Pool could be onto something. (Self-released)

www.thenationalpool.com

-Kenneth Gambill