CD OF THE MONTH

Tigers & Monkeys — Loose Mouth

Produced, recorded and mixed by Kenny Leinhardt and Tigers & Monkeys

New York — by way of Nashville, Gainesville and Atlanta — rockers Tigers & Monkeys run the table of indie rock with their debut record, Loose Mouth, released on Little Lamb Recordings. Tigers & Monkeys are led by former Ultrababyfat leader Shonali Bhowmik, whose voice is breathy and raspy like that of a jazz singer in a smoke-filled lounge somewhere in Harlem, a place where those who seep soul from their veins find their haven. She references influences as varied as The Beatles, Big Star, Dean Martin and The Pixies, although Tigers & Monkeys run along the mid-1990s rock line of Throwing Muses or Letters to Cleo, tossed together with blue-eyed soul and neo-garage beats.

Joachim Kearns (White Hassle, The Natural History), Jason Lam, Jeff Sheinkopf (Sea Ray, Longwave, Say Hi To Your Mom), Russel Dungan (Justice of the Unicorns), Antonia Santangelo and Amy Miles back Bhowmik effortlessly in this seemingly locals-only super-group. They are not the walls of sound that other heavily-populated all-star collaborations such as Broken Social Scene or The New Pornographers are, but then again, those bands do it well enough already.

The album bursts out of the gate with opening track “Piñata” and hits a tone with the infectious rock sound of “Fire Escape” and “Rave On.” Bhowmik’s lyrics are whimsical and childlike. The sing-songy rhymes prompt listeners to hark back to their teenage days when groups in their vein, such as The Breeders, were at the forefront, at least those listeners who were old enough to be teenagers in the mid-’90s.

Tigers & Monkeys have recently opened for explosive contemporaries such as Sleater-Kinney, The Shins and Ted Leo and the Pharmacists. Before long, this group should see a popularity surge that puts the spotlight on them as much as it has with those they have shared the stage with. This album features great hooks and boundless energy from a talented group of musicians. (Self-released)

www.tigersandmonkeys.com

-Jason James

Mad Happy — Frankenprophecy

Produced by Mad Happy and Zef Noi$e

Recorded at City Mice Studio in Pensacola, FL

Nothing’s shocking. The immortal words of Jane’s Addiction come to mind with a glance at the album artwork for Frankenprophecy, the latest effort from Mad Happy. The Kodak moment displayed on the cover, coupled with its painfully bright colors, hints at a tendency for shock value. But all preconceptions are quickly distilled as the album’s first track spins in.

Band members Rivka and Mike iLL share both vocal and computer-programming responsibilities on this gem. The duo’s vocal attack is reminiscent of Los Angeles stalwarts X; opposite-gendered voices enhance otherwise stale vocal abilities. Musically, Mad Happy embraces early 1980s bleeps and bloops: an Atari game played to an old-school Beastie Boys beat. Frankenprophecy is beautifully chock full of vocal hooks and memorable computer programming.

“Shoot,” a haunting and dreamlike song, is the highlight of the album. Rivka and iLL bounce back and forth between a Leonard Cohen-meets-NWA-esque narrative tale of social disobedience and a sing-songy chorus, which recalls Depeche Mode at its most intriguing moments. “Shortbus Riders” reflects the same cerebral conflict of influences. The song’s verse floats around a vocal melody with an attack similar to Grandmaster Flash and drops into a mellow and ethereal chorus that conjures moments of The Streets’ Mike Skinner at his druggiest.

Mad Happy has created a CD that will shock every listener — because perfection always has and always will. (Mutiny Zoo Records)

www.madhappy.com

-Chris Parizo

Nathan Oliver — Nathan Oliver

Recorded at Pox Studios in Durham, NC

Produced and Mastered by Zeno Gill

Nathan Oliver is the brainchild of Chapel Hill native Nathan White, who records and performs under the moniker with fellow North Carolinian Mark Lebetkin. This self-titled effort marks the band’s first full-length release following their critically acclaimed EP, Alphabets. Inspired by his own self-musings, White, with Lebetkin, recorded this release with the help of drummer Matt McCaughan (Portastatic, The Rosebuds, Mosadi Music) and Peter Vanlund on percussion.

Falling a little short of a full-length release on its own, Nathan Oliver also includes the three tracks from Alphabets. What follows from the band’s latest effort is a wholly remarkable mix of infectious post-punk gems and smart, self-conscious indie ballads. However, this is not just a rehash of old Shins tunes; though influences of baroque pop bands like Arcade Fire and The Unicorns are prevalent on the CD, this is something more. There is an underlying awareness of Beatles-era pop and a quiet, Elliott Smith-esque singer/songwriter style.

Nathan Oliver is chock full of influences, from The Pixies to Silverchair, but remains dynamic and cohesive in its arrangements. The opening track on the CD, “Black Ship, White Sail,” has, not surprisingly, been gaining airplay in Raleigh, as it combines upbeat melodies with jangly guitars and that lo-fi garage-rock sound. “Greys and Blacks,” one of the more edgy tracks on the disc, pummels the listener with ethereal vocals and jarring melodic dissonance against sporadic, angsty drumming. The CD also includes a creepy rendition of Ace of Base’s “All That She Wants,” sounding more like Bauhaus than anything else.

The only complaint one would have to make about this must-have CD is its sad length; including the three EP tracks, the CD clocks in at a mere 27 minutes. But that shouldn’t stop anyone from enjoying this CD on repeat for days to come. (Pox World Empire)

www.nathan-oliver.com

-Charley Lee

Tentonic — Sterling

Produced by John Briglevich and Tentonic

Recorded by John Briglevich at Sonica Recording in Atlanta, GA

Mastered by Rodney Mills at Rodney Mills Masterhouse in Atlanta, GA

“Welcome to my scene,” sings Tentonic’s Sid Wilson as he greets the listener on the opening title track. Wilson’s scene, it is abundantly clear, is shoegaze-inspired Britpop circa 1997. Born in the UK himself, Wilson is the frontman for Atlanta’s Tentonic, a group that could easily claim Manchester as home without any refutation.

The dreamy, swelling guitars echo and reverberate with all the warmth and depth of The Verve. Wilson even sings about the unworthy possession of a “silver spoon” in “Sterling,” a theme that The Verve’s Richard Ashcroft often touched on. Truly, any track except perhaps the bouncy, Charlatans-esque “Sebastian” would sound right at home wedged somewhere between “Sonnet” and “Velvet Morning” on The Verve’s Urban Hymns.

In “A New Land,” Tentonic pays homage to U2 with a ringing delay that is clearly borrowed from The Edge’s signature sound. Subtle synth embellishments add a unique flair to the track, while Wilson’s direct delivery is more in line with the Gallagher brothers than Bono. The nod to Oasis comes again on “Share the Wealth,” a 30-second instrumental jaunt. Much like the two unnamed tracks on (What’s the Story) Morning Glory?, this quick break roars with snarling guitars before quickly fading away.

The musical influences on Sterling may be obvious, but Tentonic’s superb execution is commendable. Any band can claim acts like The Verve as inspiration, but to match the sound so gracefully is really outstanding for a local, unsigned band. It also says a lot about the production quality of the record. Each

track flows effortlessly, sounding perfectly polished without being over-produced.

The only thing missing from these six tracks is a stand-out single that could really solidify the band’s identity. While the quality of the recordings yields radio-ready tracks, Tentonic hasn’t quite found that one magical key, that little something special to set the band apart from its predecessors. Tentonic has skillfully made use of the techniques and instrumentation of its influences, but needs to take this palette and create something uniquely its own. As Wilson himself sings in the closing track, “Find your own way out, find your own way down.” (Self-released)

www.tentonic.com

-Michelle Gilzenrat

Squat — Squat

Recorded by Marlon Patton and Squat

Mixed by Randy Hoexter

Mastered by Alex Lowe at Red Tuxedo Studios

Athens/Atlanta-based jazz ensemble Squat has released its self-titled sixth CD on Namaste Records. Long regarded as one of the more eclectic jazz bands in their area, Squat has produced a CD that captivates both fans and newcomers. This latest offering includes a few firsts for the band, as it features Squat drummer Darren Stanley and experiments with overdubbing and editing. The band also incorporates local musicians: percussionists Marlon Patton and Carlton Owens and trombonist/pianist Kevin Hyde.

Containing mostly instrumentals, Squat’s latest CD delivers up a heady blend of styles ranging from salsa and blues to more experimental jams and even some classical sounds. The influences of bands like Brazilian Girls and Radiohead, as well as luminaries like Herbie Hancock and Grant Green, permeate the band’s tone. Although less improvisational than traditional jazz, Squat remains true to the genre, utilizing elements of modal jazz and jazz fusion. The CD starts off with the hip-swaying salsa song “Estrellas,” but before too long the music takes a turn into more melodic territory with the tenor-sax- and strings-driven “Anywhere But Here.”

The band’s creative versatility and musical proficiency shine on the keyboard-laden “Away,” which showcases the band’s penchant for classical music. While the CD is riddled with instrumental originals, the band incorporates a few vocal tracks and one cover, “Railroad Worksong.” All in all, the CD stands as a testament not only to the band members’ abilities as composers and musicians, but also to their appreciation for all things jazz and dedication to providing their audience with a musical experience unlike anything else. (Namaste Records)

www.squatme.com

-Charley Lee

The Hylandaz — Hostile Takeover

Mastered by Justin Tune

Produced by Keino M. West, Aaron Wilson and William Dabbs, Jr.

Every now and then a hip-hop group comes along that is just different. The Hylandaz, a fusion of talented producers (Bathgate, Doc West and Omega the Mad Knight) with a self-described mission of putting out quality hip-hop music, definitely fit the bill. Currently based out of Atlanta, The Hylandaz, with their Northern and Midwestern roots, have managed to maintain their originality while resisting the temptation to get swept up in the hip-hop styles for which this city is so well known.

Hostile Takeover thematically follows The Hylandaz as they take over radio stations across the country. The coup is in full effect by the third track, “Art of Poise,” featuring Killa Kalm, a fast-paced party tune that would undoubtedly have every head in the club moving back and forth in unison. One of the most attention-grabbing tracks is “U Know Who You Are,” featuring Danny S. The vocal hook, “I don’t have to go that far, you know who you are,” is the most memorable line from the CD.

Another standout track is “Bloodlines,” featuring Omega and Nebulus the Legend. With a simple two-note piano melody, it is more reminiscent of a jazz composition, and tempered, sharp vocals blend seamlessly with the song’s harmonious sound. Never ones to be pigeonholed, The Hylandaz later feature Larry Miller and Shadow Master on “The Wall,” a guitar-dominated track with lyrics focused on what to do when one finds one’s back against the wall. Perhaps the group’s originality is most prominent on “Ernie Kovaks,” which features the smart vocals of Tableek and Omega over an infectious and creative beat by Omega.

Though the intro and interludes describing the radio rebellion may be somewhat corny, Hostile Takeover should be taken seriously as an important statement for the more conscious segment of the hip-hop community. The creative and musically interesting beats are expertly combined with unconventional lyrics to produce a product that might just propel The Hylandaz to a real-life takeover. (Self-released)

www.hylandaz.com

-Jonathan Mason

The Dappled Grays — Doin’ My Job

Produced by Michael Smith and Leah Calvert

Recorded at 800 East Studios in Atlanta

Doin’ My Job is an album that can best be described as progressive bluegrass. Purists of the genre will bellyache about the fact that the band doesn’t do everything the way Bill Monroe would have done it in 1948, but the fact of the matter is that The Dappled Grays have made a fantastic bluegrass record that is at once traditional and forward-looking.

A large part of the spotlight here is on vocalist and fiddle player Leah Calvert, who is the driving force behind the proceedings. Among the stellar instrumentalists that make up the supporting band are Michael Smith on mandolin, guitarist Casey Cook, Greg Earnest on banjo and bassist Keith Morris (Alison Krauss, Claire Lynch). The band weaves a tight sound that gives the songs room to breathe, and the solos never try to overtake the songs. These players are veterans and seem to be enjoying the great tunes that they are given to perform.

The album kicks off in traditional bluegrass fashion with the hoedown-worthy “The Night Life,” which features fiery solos and soaring harmonies. Much of the album follows suit, with such stellar tracks as “One More Dollar” and “Save the Day,” but the album closer, “Put You In My Pocket,” is the real gem of this collection. A swing number that could be straight out of the 1940s, this song is a breath of fresh air. This is the type of song that will convert non-believers into born-again bluegrass fans. Fans of jazz and blues will also be satisfied by this exuberant, genre-jumping track. (BandRanch Records)

www.dappledgraysmusic.com

-Jon Dawson

Noot d’ Noot — Goofer Dust Mixtape ‘06

Produced by Ed “Tapeworm” Rawls at The Living Room

Born out of the side jammings of Dream Sanitation and Bimbi “Smoofus” Thomas of Atlanta’s own Good Friday Experiment, Noot d’ Noot’s Goofer Dust Mixtape ‘06 could be called an “organic trance” album.

Many of the textures are achieved with actual instruments as opposed to computers, and while there are a few computerized flourishes here and there to spice things up, the approach is largely natural. The slinky groove of “Noot Indulgence” is all bass, drums and percussion, and the gossamer acoustic piano parts coupled with some Wayne Shorter-influenced sax riffing in the distance make for an overall sound that is not unlike Squarepusher.

Each track bleeds into the next, making this effort (as opined in the accompanying liner notes) both an ideal party record and a great chill-out record. The record treads the line between these two sensations without going too far off in either direction. Sometimes the tempo changes a little too abruptly, giving rise to the feeling that there should be another track moderating in between (particularly the transition from “Poison Pen” to “House Of Light”).

For those who aren’t content to simply put the record on in the background, there is a lot to hear on Mixtape ‘06, what with all the various sounds, beats, instruments and samples floating around. Traces of jazz, funk, hip-hop, rock, techno, Indian and African music can be found in places, and the ear candy lying in the peripheral areas of the mixes is what makes this album a great listen. The sounds of birds, African percussion and children playing on “Dorothy Jean” are audible, but listeners wouldn’t be able to pick them out unless they were really listening.

The only complaint is that the record could have been a little longer. Put on at a party, The Goofer Dust Mixtape ‘06 fills sonic space nicely, but listened to by itself, one will find a lot of treats. (Shakedown Records)

www.myspace.com/nootdnoot

-Adam Deiboldt

Julia Carroll — Migrating South

Produced and mixed by Julia Carroll and DeDe Vogt

Engineered at Sound & Fury in Fine Lake, GA

Mastered by Alex Lowe at Red Tuxedo in Duluth, GA

Migrating South is the second release from Gainesville singer/songwriter Julia Carroll. Two years after the release of her debut album, 2 Cents, Carroll has returned with a CD that speaks volumes about her development not only as a songwriter and musician, but also as a person.

Carroll describes her distinct brand of indie/acoustic folk rock as “hard folk,” not to be confused with “folk metal.” Hard folk is certainly one way of describing Carroll’s style, which is characterized by introspective and at times turbulent lyrics and unrelenting acoustic instrumentation. Migrating South is full of attitude and saturated with Carroll’s own personal convictions and misgivings, offering the listener a glimpse inside the songwriter’s psyche.

Notably, the one thing that immediately jumps out on Migrating South is Carroll’s unique and cultivated lyrical style, proving that she is more than just a musician; she’s an eloquent poet as well. Broaching a number of subjects from politics and self-empowerment to fighting prejudice and recalling old flames, Migrating South is littered with the influences of Indigo Girls, Fiona Apple and Melissa Ferrick.

Carroll’s singing style may be vaguely similar to that of Ani DiFranco, but musically, she is in a category of her own. Owing to her years of playing electric bass in rock and heavy-metal bands, Carroll remains true to her hard-rock roots, layering edgy and morose arrangements over little more than bass and acoustic guitar.

The sparse use of additional instruments — electric cello, trumpet and omnichord — and musicians — specifically noted musician and sound engineer DeDe Vogt — provides a subtle and unobtrusive harmony to the already solid sound of the CD. And though Migrating South is without a single inaccessible track, “People Act,” “Wading Through” and “Ode to Mine” are a few of the songs that stand out in particular. (IndieEvolution Records)

www.juliacarroll.com

-Charley Lee

Clemente — ...Whilst Honey Hums

Recorded by Andy Baker in Athens, GA

On ...Whilst Honey Hums, Clemente’s follow-up to 2004’s Teeth Measure the Need, Jefrey Siler offers up more Southern gothic tales full of nostalgia and insightful lyrics. The songs on this album are instantly familiar as a result of the novelistic song structure and Siler’s confident, if unexceptional, vocals. While many of the tracks sound as if they are merely stories set to music, the ambiguity of some of the lines, along with Siler’s use of Southern dialect, offers rewards that further reveal themselves to the dedicated ear upon repeat listens.

Lines such as “All we’re made up of are reactions” on “Across Yer Lips” sound out of place at first, but gradually start to become comfortable as the listener adjusts to Siler’s preferred lyrical methods. For every link that is originally hard to make or seems somewhat forced, there are lines like “You never came here to please / You came to have somewhere to leave” (from “At a Tears Pace”) that make an instant connection with the audience.

While none of the songs are horribly plain, the tracks with more complex instrumentation work best. Guest spots from Philip McArdle of Mendoza Line on guitar and Neil Golden, formerly of Elf Power and The Glands, on keys help to push “Selective Memory’s Become” and “Driving Home” past other tracks on the album. Violin adds a welcome melancholy and added weight to “Our Give to Get Era” and “As Sure as These Leaves,” two of the more beautiful and poetic songs on the album.

The range of moods conveyed on ...Whilst Honey Hums are more often a result of varying instrumentation as opposed to Siler’s predominately somber lyrics and steady vocal delivery. This genre of music might seem far too easy to come by, especially down here in the South, but with the talent and heart displayed by Clemente, it will always be an appreciated part of “the Southern experience.” (Moodswing Records)

www.yellowmeansinfection.com

-Micah J. McLain

Hottboxx — Rebirth

Recorded at Jam Room Studios in Columbia, SC

Produced by Jay Mathieson, Steve Slavich and Hottboxx

Lawrenceville, Georgia’s Hottboxx may not have the most groundbreaking approach to their music, but they nevertheless create tunes that are both passionate and extremely enjoyable. The band possesses a sound that combines the bluesy attitude of hard-rock bands of the 1970s (Bad Company, Thin Lizzy) with the raw and powerful vocal delivery of soul and gospel singers. At the same time, Hottboxx adds the dense, high-gain rhythms and production of modern rock to create music that is at once fresh and familiar.

Producers Jay Mathieson and Steve Slavich helped the band achieve a sound that is polished and substantive. The guitars and vocals come across as spontaneous and passionate, much like a live performance that has been given the benefit of studio sheen. The mix tends to set the guitars and vocals front and center, a logical decision since the album is undeniably guitar-driven. The lead track, “Bloodhound,” illustrates the production’s effectiveness. Singer Doug’s (the members are only credited by first name) ballsy delivery commands attention, and guitarist Shane’s heavy rhythms grab the listener by the ears and shake.

The lead utilizes a particularly hot overdrive and bends and double-stops to create a nifty, bluesy solo that Billy Gibbons would be proud of. “Save Me on Sunday” begins with a deft, beautiful, flamenco-style passage and transitions into a clean, somewhat-jangly, mid-tempo jam with emphasis on melodic vocals. The simple, yet anthemic chorus is quite memorable.

The atmospheric track “25 Feet from the City” conveys slow verses with the use of delay and chorus on the guitars. The effect-heavy guitar signal subverts the jarring nature of the instrument, thus evoking unique textures in the style of U2’s acclaimed guitarist, The Edge. The album-closing track, “Hands,” showcases a slow, deep groove courtesy of bassist Jeff and drummer Joe that is reminiscent of Led Zeppelin’s trademark “stomp groove.” With Shane’s simmering guitar leads and Doug’s overwhelming vocal presentation, the song ends Rebirth with a robust display of musical energy.

To be sure, Rebirth is a bit derivative at times. Occasionally, a chorus, riff or vocal will come across as a bit too familiar. Still, artists such as Stevie Ray Vaughn and Oasis have used song structures and musical constructs popularized by others and almost no one disputes the validity of their music. What Hottboxx occasionally lacks in originality, they more than make up for in the conviction with which they perform. (Self-released)

www.hottboxx.com

-Matthew S. Maynard

Sodajerk — Sodajerk 2

No production information available

On Sodajerk 2, Sodajerk’s sound is raw and the subject matter is crude. On songs such as “Fuck N’ Fight,” the guys describe what they feel like doing during a night of whiskey drinking. Their lyrical content is familiar — lost love, drinking and one night stands — but the songs also invoke emotion.

The music is light-hearted and speaks out to everybody in the most playful and endearing manner. Sodajerk has radio-worthy songs ready to blare on every country station. Though it’d be hard to imagine hearing a radio DJ announce “That was ‘Carbomb (To the Heart)’ by Sodajerk,” it is also hard to remove this particular song from one’s head.

While the song titles are eye catching, the songs themselves are sometimes gentle (“Heart of Chrome” and “Another Town”) and at other times guitar-driven and nasty (“Head On Collision”). It’s good to know that bands that have the “Put up or shut up!” mentality can hold their own.

Although the band is normally a four-piece, there are numerous self-described “guilty parties” involved here, rounding out the project to 12 people. But with each member comes a distinct flavor, whether it is a slap bass, accordion, pedal steel or fiddle.

Another good thing about this particular country-rock CD is the fact that the songs aren’t unnecessarily long. Before the listener knows it, the CD is over and one wants more. Sodajerk is the perfect example of a country-rock band staying true to the roots of country and doing everything else right. (Self-released)

www.sodajerkcountry.com

-Kenneth Gambill

Charles Allison & Black Eyed Dog — Some Queer Raincoat

Mixed by Mitch Easter at The Fidelitorium in Kernersville, NC

Mastered by Alex McCollough at Yes Master in Nashville, TN

Charles Allison & Black Eyed Dog’s EP, Some Queer Raincoat, rides the line between alt-country and rock ‘n’ roll — and rides it well. While the opening tune, “All On An Officer’s Wage,” is an acoustic-driven country tune punctuated by flourishes of pedal steel, subsequent tracks such as “The Worst Kind Of Anodyne” blend rock and country influences, and others like “A Bad Movie at the Drive” are more straight-ahead rock. On occasion, the listener will even hear a new wave synth line or a Fender Rhodes part that may initially seem out of context, but the more one hears it, the more it sounds like it belongs — and that if it weren’t there, something would be missing.

Some Queer Raincoat demonstrates Allison’s writing chops. He’ll take a simple idea and develop it by putting another simple but effective idea after it. A good example is the aforementioned “All On An Officer’s Wage.” While it is largely based on the same progression throughout the entire song, when Allison & Co. hit the IV, V, I progression at the end of the verse, it sounds novel. The melody on this track (as with many of the melodies on the record) is good — simple, to the point, and just good. “A Bad Movie at the Drive” is another standout track, with Allison’s excellent melodic sense letting the melody and harmony work together.

Allison has an outstanding voice, but unfortunately the vocals (which are harmonized nicely) are mixed a bit too low sometimes. Allison’s low end tends to get eaten up, particularly on tracks with acoustic guitars, sometimes making the lyrics difficult to understand.

Put quite simply, fans of Whiskeytown or early Ryan Adams will like Charles Allison. His blending of rock and country is done in a way that definitely brings these artists to mind, but Allison can stand on his own as well. (Self-released)

www.charlesallison.org

-Adam Deiboldt

The Old Ceremony — Our One Mistake

Produced by The Old Ceremony with Thom Canova

Recorded by Thom Canova with Mark Simonsen at Studio M in Durham, NC

Mixed by Thom Canova at Overdub Lane in Durham, NC

Mastered by Brent Lambert at The Kitchen in Carrboro, NC

Executive Producers Gill Holland and Matt Parker

One of Paste Magazine‘s top 100 records of 2006, Our One Mistake is an eclectic mix of classic bar music reclaimed and updated by The Old Ceremony. On this sophomore effort, the Chapel Hill, North Carolina outfit offers its take on everything from sultry lounge music to smoky, blues-tinged rock ‘n’ roll.

The album’s diversity is a testament to the musicianship of the eight members of the group. While Django Haskins’ lyrics do not offer much outside of the usual pop/rock fare, the songs on Our One Mistake easily hold the listener’s attention as a result of their excellent musical composition and arrangement. The 12 songs on the disc take full advantage of the band’s instrumental talents on piano, violin, organ and cello.

Haskins’ smooth, often understated vocals complement the robust musical accompaniment on the album. The occasionally simple and repetitive lyrics increase the songs’ instant appeal and are especially beneficial on tracks that contain sing-along choruses like “Get to Love.” The band’s various influences are embodied on songs such as “Talk Straight,” with its use of Ben Folds-like piano and “ooh ahh” chorus back-up, and the bass-driven, spoken-word rock of “Believer” a la Nick Cave.

The band’s name is most likely a reference to Leonard Cohen, another clear influence. The strongest lyrics on Our One Mistake are within both “Poison Pen,” a song about the destructive nature of man, and the slow-building title track. The latter’s “Our one mistake was never ever really living” is especially effective in this tale of a life lived in hesitation that has been cut short. With Our One Mistake, The Old Ceremony have successfully taken dark, nostalgic, piano-driven pop and made it their own with the addition of some youthful exuberance and intricately composed orchestration. (sonofaBLAST Records)

www.theoldceremony.com

-Micah J. McLain

KillGordon — KillGordon

Produced by Tim Delaney, Cyrus Shahmir and Kyle Gordon

Recorded at Electron Gardens in Atlanta, GA

All hail to boogie rock! Atlanta’s KillGordon has released an album of everything that is right about one of the most fun genres in music. The band, composed of bassist Cyrus Shahmir, drummer Daniel Brett and guitarist/songwriter Kyle Gordon, mathematically combines the redeemable qualities of T. Rex, 1970s-era Rolling Stones and the vocal approach of Eric Bauchman when he fronted the great Archers of Loaf.

Numerous songs from this self-titled release bring fresh life to the Atlanta music table. While many groups dabble in abstract, experimental sounds, KillGordon presents straight-ahead boogie.

Brett’s drumming is nothing out of the ordinary, in that he does not get too technical throughout the record, but he manages to hold down a consistently rhythmic foundation upon which Shahmir and Gordon deposit shredding guitars hooks and head-bobbing bass lines. Standout tracks such as “In The Know“ and “Guinevere the Brave” are prime examples of what KillGordon can do at peak performance.

Lyrically, the band does not seem to turn heads. But admittedly, it is hard to examine lyrical content when one’s whole body is moving to such triumphant, time-honored rock.

The band’s one left turn is the instrumental organ wash of “Lord Silby.” The song, which melodically is one of the record’s finest offerings, unfortunately finds its end much too soon, much like the remainder of the album, which clocks in right over 30 minutes through 11 tracks.

KillGordon is a band that, much like its boogie predecessors, makes its best donation in the live setting. Gritty pop songs like theirs can only be meatier and more enormous on stage. (Self-released)

www.myspace.com/killgordon

-Jason James

The Seventh Ring of Saturn — The Seventh Ring of Saturn

Produced by Ted Selke

Engineered by Jonathan Beckner at Real 2 Reel and Ted Selke at Third Eye

Mixed by Jonathan Beckner at Real 2 Reel and Chris Griffin at Griffin Mastering

Mastered by Chris Griffin at Griffin Mastering

If an album’s artwork is any indication of the character and substance of an LP, then The Seventh Ring of Saturn make their intentions known up front with their self-titled debut. True to the cover’s pastel spacescape, the album is a mix of dreamy 1960s pop and psychedelic wanderings. Oil and water is a worthy metaphor, as the styles do not readily mingle in any of the album’s tracks and have noticeable divisions.

The more straightforward songs, such as “In Time” and “Colonel Green,” work best, as they are the most easily accessible. These tracks stick to the basic song structure and would do well with fans of Fountains of Wayne, especially as far as the layered vocal delivery is concerned, even if the lyrics are rather repetitive. Little more than thinly veiled metaphors for drugs and the spiritual journeys that result from their use, the lyrics in the two tracks do not succeed. It can be safely assumed that “Colonel Green” is an ode to one of the band’s favorite “musical influences.”

The album would be stronger as a whole if the band could meld the two styles together more, as several of the instrumental tracks are quite a test to endure. “The Cassini Division” simply offers random synthesizer noodling combined with an indiscernible voice. “Pilsbury Palace” falls into this same trap around the two-and-a-half minute mark, at which point a relatively catchy Beatles-esque pop song cascades into an eight-minute spiral of flute and trumpet.

The musicianship encompassing the entire album, outside of a few of the aforementioned instrumental tracks, is well executed. There are several guitar solos sprinkled throughout the album that really show what this band is capable of when it sticks to the point. While the signs of greatness may take some patience to appreciate, it would be nice to see what The Seventh Ring of Saturn would be capable of if they could combine their influences, musical and otherwise, to make a more focused, well-structured album. (Self-released)

No website available

-Micah J. McLain

Carey Ott — Lucid Dream

Produced, engineered and mixed by Ray Kennedy, Ed Tinley and Carey Ott

Mastered by Jim DeMain at Yes Master

Although this former Chicagoan is a newcomer to Nashville, Carey Ott is already making a name for himself. Two of the songs from his debut album, Lucid Dream, have been featured on the second season of the hit television series Grey’s Anatomy, and if that isn’t enough, another song was featured on the new show Kyle XY.

In Lucid Dream, Ott’s nasal tones are accompanied by electric guitars and harmonies that incorporate an almost Tom Petty-esque Southern twang, minus the grit. His sound, clean and well produced, is of the same variety that makes the names Shawn Mullins and The Fray come to mind. These acts have already proven that their music makes for fantastic marketing.

It seems Ott has hopped on the bandwagon, writing songs of a similar fashion. The driving force here is love. The lyrics and songs are harmless, but do not cross the line of being overly sappy. Instead, his songs are intimate stories with an almost power-pop sound, telling us “Don’t be too hard on yourself / Don’t look too far ahead / Don’t be alarmed or appalled when you fall / It’s only love.”

On Lucid Dream, Ott has already begun to show his talent for songwriting and commercial success. (Dualtone Music)

www.careyott.com

-Lauren Alexis Begnaud

Illastrate — The Dirty Drum Mixtape

Produced by Illastrate

Hosted by DJ EFN

The simplest way to define Illastrate’s The Dirty Drum Mixtape is 23 tracks of pure energy and versatility. The album, which was produced and arranged entirely by Illastrate, offers classic hip-hop over melodies borrowed from soul, jazz, neo-soul and reggae. The CD opens, like many mixtapes, with a profanity-laced welcome from DJ EFN before smoothly transitioning into “40 Bars,” featuring the lyrics and flow of Aarophat over a jazzy horn- and drum-dominated track. The high energy continues with “5 Kings,” featuring GB Cees.

“Back to the Block,” which features Mojo Swagger, is another excellent example of the energy that Illastrate brings to his tracks. “Akir Freestyle,” which moves the CD back toward a more jazzy orientation, is an enticing — albeit too short — freestyle collaboration with the smooth Akir.

The old soul returns on “Oz,” featuring Ozy, in which Ozy brags about getting his well-deserved respect. One of the most compelling tracks is “Big Money,” featuring Butta Verses. The musical arrangement dominates to the point where the listener envisions a marching band horn section on stage behind the talented MC, confidently bragging about how much money he has to spend.

The CD takes an unexpected but pleasant turn toward reggae on “Lyrical Murdah” with Black Noise featuring Prophet. The enchanting beat and outstanding vocal arrangements end all too soon, leaving the listener yearning for more. One of the smoothest tracks on the CD is “Ready Freddy” with Willie Joe featuring Empress Raw, who together provide the listener with the unflattering definition of a Ready Freddy. Illastrate closes the CD with “This Goes Out” featuring Ill Elements (No Joke, Dolo and Aarophat).

The Dirty Drum Mixtape, with its diverse and unique sound, is definitely a good listen. Focused through a variety of MCs, Illastrate’s talents as a producer are obvious. (Working Class Music, Bad Grama Records)

www.myspace.com/dirtydrumz

-Jonathan Mason

The National Lights — The Dead Will Walk, Dear

Produced, recorded and arranged by Ernest Christian Kiehne, Jr.

On The National Light’s debut record, each song resonates with the warmth and melancholy of contemporary American folk artists like Iron and Wine and Mark Kozelek. Imagery of a small, Midwestern town is painted by lap steel guitar and jangling banjo. Jacob Thomas Berns’ gentle whisper lures the listener into an enveloping, dreamlike atmosphere.

But as soon as the listener gets cozy in bittersweet recollection, Berns’ unsettling lyrics start coming out from the shadows. It’s subtle at first and likely to be dismissed by casual listeners. Surely the sudden reference to a watery grave is metaphorical. Maybe the mention of blood was misinterpreted. But with repeated listens, the grim reality of each song is revealed for the horror story it truly is.

In “Buried Treasure,” Berns’ murderous plot is clearly depicted as he sings to his intended victim, “We’ll wait ‘til dark to dig that hole outside / Big enough for you to fit inside.” Each song adds to the tale, filling in details about the jealous rage and obsession that motivate these sinister characters. It all reads like a tragic story straight out of American gothic literature.

“Swimming in the Swamp” turns more graphically disturbing as he depicts the corpse he buries: “There was dirt in your mouth / On the day we put you down / There was blood on your teeth / Like you were born to the ground.”

For such a cohesive album, it is surprising that it was recorded intermittently over a year at various locations. Each song flows so seamlessly into the next, it almost sounds like one intricate, dramatic work.

All the while, these tales of terror are delivered by Berns’ incongruously beautiful vocals and sparse accompaniment. Sweeter yet, he is often joined by the lilting harmonies of Sonya Maria Cotton. There is no percussion behind them, and even during the most jarring scenes the tone remains calm and tender. Together, their sorrowful, earnest storytelling is able to capture the inner beauty that lies deep within even the darkest human tragedy and emotion. (Bloodshake Records)

www.thenationallights.com

-Michelle Gilzenrat