PerformerMag : Southeast Performer : Recorded Reviews : June 2007

CD OF THE MONTH

Wrinkle Neck Mules — The Wicks Have Met
Produced by Wrinkle Neck Mules

The Wicks Have Met is the third in a series of stellar albums by Virginia-based band Wrinkle Neck Mules. The Mules are as comfortable playing bluegrass as they are full-blown country rock. To compare the Mules with others is difficult because they have a unique style all their own, but one can hear traces of The Jayhawks, Willard Grant and even a touch of The Flying Burrito Brothers on this record. Recorded in a tour-like manner of homes (and one enclave) in Texas, Virginia and Georgia, the album bristles with a live feel that incorporates various styles such as rock, bluegrass and country into a fine hybrid that has a more earthy feel than other contemporaries like Widespread Panic or String Cheese Incident. The musicianship on the album is also stellar. The pedal-steel guitars and mandolins that weave in and out link the songs to the past while also forging a fresh new sound.

Album opener “Bells And Whistles” sets the tone for the whole album: excellent playing and skilled songwriting, with enough charisma and swagger to fire up the grill without any lighter fluid. It’s difficult to pluck highlights from an album that has no low points; however, “Cadillac Limousine” makes a strong case for the album’s finest. Much like their previous effort, Pull the Brake, the new album is a great showcase for the band and features fantastic songwriting and gorgeous musical interplay.

Chances are that the only way Wrinkle Neck Mule will ever top this album is if they cut a live album, with the energy of the crowd pushing them to an even higher musical standard than they have achieved in this fantastic piece of work. (Lower 40 Records)

Elevado — This World Is On Fire
Recorded and Produced by Elevado at ISP Studios in Atlanta, GA
Mastered by Tom Lewis at Chase Park Transduction in Athens, GA

In the mythology of Nigerian people there exists a god named Ogun, the god of war. Ogun is a fierce warrior, a deity that is not taken lightly by Yoruban tribes; to cross Ogun results in swift retribution. But the importance of Ogun goes far beyond his war-like tendencies: Ogun is also responsible for connecting the Old World to the New World — to keep the Yoruba people relevant in an ever-changing and advancing world.
Atlanta’s Elevado is the hometown Ogun: the touring juggernaut that can shape and redefine Southern music and simultaneously keep it germane. The band’s latest album, This World Is On Fire, is a beautiful, multi-layered cacophony of live guitars and bass with computer-based percussive loops and effects. “Intervention 1.0” starts off the record, recalling images of a Nintendo game’s opening montage, perhaps everyone’s first encounter with techno-based music. From there, the album launches into the dreamy, electro-pop rock (seemingly displaced from a Kubrick film) for which the band is known. The programmed drums sound clean and crisp and are difficult to distinguish from the real thing.
Highlights of the album include “Indigo Torch Serenade,” where lead singer Justin Sias’ vocals match the fragility of the lyrics, and Cain Wong’s spy-film/R.E.M.-inspired guitar riff on “Our Turn Came Tonight.” “Hypnopaedic Sunshine,” the closing opus of the album, sounds like a drunken Beta Band, tripping and falling over itself until a moment of clarity turns the song into a beautiful denouement.
Elevado stands out above the crowd with this album, pushing Atlanta out of the old and into the new. (Self-released)

Ocha La Rocha — Ocha Lives
Produced by Kris Sampson and Johnny la Rocha
Recorded at Nickel & Dime Studios in Avondale Estates, GA

Ocha La Rocha began as a studio project, but gradually evolved into a live act that has gone on to play throughout Los Angeles and Atlanta. The band initially boasted a sound that was heavily influenced by the Southern rock ghosts that permeated the Atlanta area, but playing on the Left Coast has tweaked their tone into what can best be described as a modern day Dan Hicks & His Hot Licks.
Now incorporating elements of country and rock, the band has settled nicely into its unique sound, especially when one considers the fact that Johnny la Rocha’s vocals would fit right at home in the Grand Ole Opry or the Fillmore East. “Down to the Shore,” with it’s laid-back groove and trippy lyrics, personifies the entire album, recalling visions of Sergio Leone, Neil Young and Waylon Jennings. Other standout tracks on the album, such as “Country Ditty” and “Chances Are,” reveal Johnny la Rocha to be an artist that wears his influences on his sleeve without pandering to them. The album also benefits greatly from the production of Kris Sampson and Johnny la Rocha. The live feel of the sessions gives off a cinematic quality that one would usually find on a project overseen by Daniel Lanois or Brian Eno. Add to that a sympathetic backing from a crack rhythm section, and this album has it all. (New Street)

The Beggars’ Guild — Breaking Me Down
Produced and mixed by Dan Hannon
Mastered by Glenn Schick at Glenn Schick Mastering in Atlanta, GA

After months spent etching their name in the Southeast scene, playing countless shows and cutting their teeth in the studio, The Beggars’ Guild have a lot riding on this debut release. Thankfully, the band’s influences shine right through on this six-song album, leaving everyone wondering when this quartet will inevitably expand their roots beyond Atlanta. Their folk-pop sound will surely resonate with a much larger geographic audience.
T.J. Edmond’s vocals emulate those of a young Tom Petty on the bouncy opener, “Minnesota (Always Leaving),” but there are a few times that are also reminiscent of Counting Crows’ Adam Duritz. However, Edmond’s voice is most effective when he is crooning in the style of the former.
On the CD’s title track, the chorus stays simple as it repeats itself over and over, but still finds a way to be extremely catchy. As a matter of fact, all six songs boast radio-friendly qualities.
With fine instrumentation from Will McNeill and straightforward rhythms and beats from bassist Greg Shapiro and drummer John Chalden, The Beggars’ Guild shouldn’t be far from landing that elusive record deal. Certainly a foray outside of Atlanta will bring with it some deserved attention, both fan and industry alike. (Favorite Gentlemen)

The Booze — Easy Beats In Modern Time
Recorded at The Orange Line in Atlanta, GA
Engineered and produced by Randy Michael
Mastered by Ryan McDougall

The debut album from Atlanta’s The Booze is clearly, and intentionally, a throwback to the music of the 1960s. Easy Beats In Modern Time draws obvious influence from that era’s soul, rock ‘n’ roll and even country-western styles. The band offers heartbroken lyrics set to upbeat music, with drummer Shane Human peppering the songs with lively handclaps (“Riot Girl”) or a metronomic tambourine (“Heartache”) for percussive decoration. It’s a fun rock sound featuring smooth guitar tones and pretty “oo-wah” harmonies.
Chad Tolliver’s scratchy, indie-whine vocals slightly modernize the tone, but the melodic riffs from guitarists Brian Roberts and Randy Michael (the principal songwriter) bring it straight back to the ‘60s. Meanwhile, bassist Wesley Flowers is tasteful and knows when to step back, though he could better serve the songs if he, like the great bassists of the genre, learned to use the bass’ power to enhance the lyrical content.
The fact that they so faithfully appropriate an older style makes them, in a way, quite brave, as it could certainly turn them into target practice for those who insist that new music should be, in fact, totally new. But their adoption of the ‘60s sound is so complete — from the actual music to the design of the album — that it must be taken as a deliberate tribute to their love for older music.
Thankfully, they play with a sincere appreciation for the roots from which they borrow. As musicians, they are talented enough to make one wonder, if they aimed for innovation, just what they could come up with. (Self-released)

Shawn Harris — Temptation
Produced by Shawn Harris and Jay Stanley
Recorded and mastered at Jay Stanley Productions, Inc. in Orlando, FL

It’s usually a good policy to avoid judging anything simply based upon its appearance. For instance, looking at the packaging of Shawn Harris’ latest release, Temptation, one might be “tempted” to believe that it is just another contemporary Christian release complete with spiritually symbolic, earth-toned artwork, pretty melodies and positive, uplifting lyrics. This would be a logical assumption, and it would be correct — to an extent. In fact, Temptation has all of those qualities at times, but it also has so much more.
Based in Apopka, Florida, Shawn Harris has been making a name for himself in the Orlando music scene recently. Possessing a style that is usually low-key and acoustic, Harris draws a line through the sometime cookie-cutter mentality of the contemporary Christian market with dramatic, minor-key tendencies, dark harmonies and adventurous arrangements. While Temptation is definitely its own animal, it at times bears a striking resemblance to Alice in Chains’ Jar of Flies. The somber tone of some of the songs, along with Harris’ deadpan, baritone delivery and droning acoustic passages on songs like the opening track, “Memories,” further justify the comparison. Tracks like “Fortune Lies Freedom” and “Keeping Hope Alive” showcase somewhat brighter arrangements and a more soulful, higher-register vocal delivery. “Don’t You Know” presents a weighty acoustic arrangement and driving rhythm reminiscent of groups like Days of the New and Tantric. Nifty arrangements and top-notch musicianship punctuate the well-conceived songs, with flamenco-style guitar solos, progressive synth passages and novel, syncopated rhythms presenting themselves as unexpected treasures throughout the disc.
With brilliant songs, commanding vocals and jaw-dropping guitar playing, Shawn Harris has produced a recording that is a compelling vehicle for his faith and message. (Self-released)

There is something strangely comforting in home recordings that are sans Pro Tools: nostalgia sweeps the listener to days when “home recording” was adjusting the distance of the guitar amps, bass rig and drum kit from the boombox that sat in the middle of the practice space — or your parents’ garage.
Zenith Pulse’s Super Fuzzy First Supper is such a recording — a crackling, peaked bed of white noise with a healthy helping of background interference.
While profoundly lo-fi recordings can severely hamstring certain groups, Zenith Pulse benefits from such an unrefined feel. Cutting through the sonic debris of this recording, however, is an avant-garde, noise-rock combo that merits a recording studio. Willing to take risks (as portrayed in the squeaky, rubber-duck solo at the end of “Uptight Stoner”), Zenith Pulse deserves the opportunity to put out an album that rivals that of Butthole Surfers’ earliest recordings.
The best track on Super Fuzzy First Supper is “In the Red Already,” a Television/Richard Hell-esque song that may be one the better songs to come out of the band’s Alabama home in some time. It remains to be seen how Zenith Pulse will be affected by full production treatment, but the initial gems evidenced here offer dramatic potential. (Littlefield Records)

Moorish Idols, the four-track EP from the Atlanta group of the same name, is a lo-fi, 15-minute sneak peak at the band’s indie-rock roots. Singer David Norbery’s gentle, conversational narratives are reminiscent of those that spawned geeky, underground acts like Pavement in the 1990s. With understated, jangly guitars and stripped-down production, Moorish Idols would be the perfect addition to any college radio station’s regular rotation.
Norbery writes lyrics from the point of view of various characters, so the lines between autobiographical recounts and fiction are often blurred. In both “Arrows Army” and “Why Are We Whispering,” Norbery is an observant child. In the former he is brash but insecure, screaming and shooting pretend lasers, but still desperate for laughter and approval.
“Why Are We Whispering” is the standout track on the EP, as the rhythm shifts to a more unconventional, bossa nova-like swagger. This time, the child narrator is in the classroom of a weary teacher who has just lost her job. While the story is somewhat sad, the carefree rhythm captures the naivety of the young observer.
Norbery’s approach to songwriting makes it easy to relate to his characters and stories. There is potential here to connect to an even wider range of fans, depending on the viewpoint Norbery chooses. Just as Dashboard Confessional, out of high school, was able to pine about “making out” and won the affection of throngs of teenagers, Norbery, too, could win over the youth market if he continues to explore these themes through adolescent eyes.
The charming handmade artwork and simple production of the record suggest a lot of room for the band to flesh out their sound and mature. Moorish Idols is still in its early stages as a band, but there are infinite personas and stories for them to utilize to their advantage. (Self-released)

Audubon Park — Teenage Horses
Produced by Nick Petersen at Track and Field Studios in Carrboro, NC
Mastered by Carl Saff at Saff Mastering

With Teenage Horses, Audubon Park works to capture the wild exuberance of youth. The focus is on musical vitality, and backbeat-driven pop meets experimental indie rock with this latest release. The album extends its promise with quirky hooks and slightly bizarre vocals. “Frightened by the Lake” uses Television-style breaks to add appeal to the hopping beat. The band makes an effort to cover everything from the mundane to the unusual. In “Ghost City,” evocative guitar lines support the vocalist’s nostalgia, “We are teenage horses, got to let her run.”
The distinct layers of sound displayed here benefit from the varied careers of the participants. Bassist Finn Cohen and keyboardist/
percussionist Robert Biggers have been pulled from The Nein. David Nahm and Matt Kalb push the direction of the band in a more pop direction. But it is this pleasant touch of diverse timbres that gives Teenage Horses its identity.
Random sounds try to shape an experimental architecture, but the driving intensity of “A Plum in Light and Air” synthesizes all the varied elements. In this collaborative environment, there are some real flashes of insight. However, some of the songs seem slightly and unintentionally remote, as if only manufactured to sustain the collective process. Still, Teenage Horses does a convincing job of crafting a personal style, and Audubon Park dutifully continues the legacy of the North Carolina music scene. (Pox World Empire)

There are recordings that benefit from huge budgets, top-notch recording facilities and impeccable engineering, and then there are recordings that, despite their lackluster production, still make a positive impression through their sheer, unvarnished honesty. The Explicits’ self-titled 2007 demo falls into the latter category. The recording smacks of DIY determination, from the Spartan packaging to the raw quality of the recorded sound. Of course, punk culture has a long history of self-sufficiency, and its snotty sound is very forgiving of low-budget recording.
The Explicits embody the characteristics that defined punk more than 30 years ago: youth (at press time, all members were 19 years old), hostility toward a tumultuous society and undeniable determination. The Explicits showcase a sound that maintains a vulgar punk attitude tempered by the melodic sensibilities of modern rock and the precise delivery of metal. With anthemic choruses and irrefutable hooks, the sound bears resemblance to contemporary punk bands like Billy Talent and The Explosion. Beginning with “Indestructible,” The Explicits demonstrate that they have more than sufficient energy to justify their punk classification, executed with the sloppy charm of the pre-heroin Sex Pistols. With the song “Idiopath,” the lyrical teeth come out in an indictment of those who blindly follow causes that they fail to scrutinize. While the lyrics are sometimes a bit simplistic and sophomoric, few people expect punk rock to be flowery. The concepts and philosophies conveyed by such music usually hold more weight than the syntax or meter used to convey them. The closing track, “Static,” is executed with a more metallic bent, with double-time kick drums and grimy bass lines à la Motörhead prominently featured.
While not terribly original or well produced, The Explicits’ latest demo does, nonetheless, prove that enthusiasm and hard work can often partially compensate for such shortcomings. Besides, having three motivated band members just barely out of high school, there’s every reason to expect that The Explicits have the potential for a lot of growth in time. (Self-released)

The brother and sister duo of Keeley Davis (formerly of Engine Down and Denali and currently of Sparta) and Maura Davis (formerly of Denali and currently of Ambulette), along with long-time friend Cornbread Compton (formerly of Engine Down and Biology and currently of Heavens), have come together to form Glös. They have recently released what can only be described as a vivid aural landscape of indie-styled, ambient, downtempo electronica, psy-trance and a hint of post-rock pizzazz. The diverse sound of their first release, Harmonium, may be attributed to the varied musical backgrounds of the members and their partiality to computer-based music. The first track, “Unharmed,” is filled with multi-layered synths, over-lapping vocals, distorted percussion and fuzzed-out guitar; it sounds as though someone is being led into a dark forest and is not expected to return. “Counting Sheep” is one of the most pop-inflected songs on the CD, and, with its bouncy melody, it’s hard to decide whether to get up and dance with abandon or mellow out and nod rhythmically. “Public Speaker” could double as a Cranberries tune, with haunting “oohs” and “ahhs” courtesy of the Davis siblings. In addition, throughout the album, a nagging sensation of something that sounds vaguely like trip-hop underscores the entire disc. Whatever Glös’ influences are, smatterings of bands such as Portishead, K’s Choice and a more sinister-sounding Tarentel can be found all over the CD. Fans looking for glimmers of Sparta noise and punk will have to go elsewhere, but this effort just might appease those still hurting from the dissolution of Engine Down. (Lovitt Records)

Gurufish — Mohair Supreme
Mixed and produced by Velvet Soul
Engineered by Jimmy Northup, Mark Certo and James Majors
Recorded at The Velvet Room in Atlanta, GA

The name Gurufish has been floating around the Atlanta music scene for quite some time now, and the band that bears the moniker has remained an enigma for the most part. While Mohair Supreme‘s insert projects an image of Jamiroquai and The Black Eyed Peas, its sound indicates stylistic leanings towards Prince and Maroon 5.
By blending their pop, funk and soul melodies together with tasty lead guitar licks, Gurufish crafts a sound that is very sexual. It’s no wonder that nine songs from this CD have been featured on MTV’s The Real World.
On songs like “Touch Your Body,” one has to question the sincerity in singer Jimmy Northup’s voice when he squeals that he wants to make love. But, truthfully, the music stands by itself as smooth jazz, with climbing rhythms that sound as if the bass line is speaking to the listener.
While a group would be hard-pressed to match Prince, Gurufish give it their best shot on songs like “Funky Queen” and “Plush.” The guitar work and wah wahs are very similar to those on Purple Rain, but the comparisons mostly end there.
The main problem the band faces here is that, while smooth jazz is comfortable to listen to, after 14 songs and 70 minutes, it becomes redundant and almost comical. (Velvet Soul Records)

Jim Hodgson — Beep Beep Awooga
Produced by John Hopkins and Greg Lee
Recorded at Grassroots Studios and Brighter Shade Studios
Mixed by Greg Lee at Brighter Shade Studios

Through the years, there have been many artists to take the stage during 99X’s (WNNX/99.7 FM) Unplugged in the Park series held at Park Tavern. Few people realize that it takes a lot of work to put these events on. One man who has been behind the scenes during these concerts is folk singer Jim Hodgson.
Hodgson has learned a lot by being around such great musicians, and it shows on his latest effort. He has obviously met a lot of talented people to include on his disc, producers and writers alike.
Hodgson doesn’t waste any time sparking interest with his compositional abilities. In fact, on all of the EP’s five songs, Hodgson’s lyrics begin within the first 15 seconds, trimming away any fat that a lot of bands add to attempt to pull off some dramatic opening.
For some good-time/kick-your-chair-back/fun-loving folk music mixed with kickass rock, look no further than Beep Beep Awooga. Hodgson mixes a little bit of Jack Johnson’s trademark guitar work into his repertoire, but allows the listener to think about having a good time outside of a beach setting. On the EP’s opening track, “Hold My Calls,” Hodgson’s playful voice could easily fit into the soulful genre for which he is clearly aiming.
Then, on “Sand Stone,” a catchy, radio-friendly single, Hodgson shows that he can hold his own compared to the likes of Johnson, John Mayer and Jason Mraz. He knows how to write a fun song and is talented enough to know where to place his hooks and bridges, and that is truly the mark of a great musician. (Self-released)

Edie — Realities
Produced by Martin Motola and Edie
Mastered By Dan Ramsey at Little Hollywood Studios in Nashville, TN

Edie’s third album, Realities, finds her singer/songwriter persona yielding to producer Martin Motola. There is so much promise in Edie’s voice; a listener could easily be lulled into treacherous waters by her ethereal tone, but there are no ambiguities in her presentation. So, like Edie, the listener twirls around in these dreamy seascapes of her imagination.
Edie appears ready to take the leap; most of her songs begin with an impressionistic structure that uses her whispered tone to hypnotize. As her feelings become more vivid, lilting folk inflections become the call to adventure. Plaintive dance beats support the metamorphosis.
In the title track, “Realities,” Edie wants us to believe that her search has granted her a philosophical wisdom: “It’s a strange idea; do we really know what’s here?” Stacatto jabs alternate with a relentless bass beat. As the vocals become more prominent, an overlay of delay resolves into a haunting tone. On “Nothing’s Changed,” her whispered tone recalls M. Ward’s latest work, but the chorus, supported by an up-stroke guitar riff and high-register wailing, soon does away with comparisons. Edie works diligently to give rise to the frequencies of love. Her music has a way of growing on the listener. Despite being touted as a female Jeff Buckley, there is none of his urgency in her songs. If only her longing might lead to something more profound. (Stickfigure Distribution)

The Julia Dream — Above from Beneath
Produced by Matt Spatial
Recorded by Dan Friedman at DB&J Studios in Asheville, NC
Additional drum recording by Joel Mullis at Zone Studios/Atlanta
Mastered by Chris Griffin at Griffin Mastering Atlanta

The Julia Dream’s latest release, Above from Beneath, plays perfectly: the lines are crisp and elegant, the mix is vibrant and clean, propelling the power of the band’s message. Singer Vernon P. Love prophetically watches from a safe vantage point and warns us about our horrible fate.
Bassist Matt Spatial’s production gives prominence to Sacha Alexander’s ringing guitar sound, which favors a sense of melancholy, inviting the listener to settle into the introspective, lush atmosphere. Love cynically comments on the “high school romance at the mall,” dabbling in the territory of dark-wave alienation. Whereas counterparts such as Interpol or Snowden might favor a minimalist landscape, The Julia Dream leans toward a more loaded vision. The band wants to explain all the confusions of suburban angst, thus accounting for the level of exaggeration in the music.
In “Aliens All Laughing,” The Julia Dream crystallizes this view: a leisurely guitar line weaves its way around an insistent drumbeat as Love sings “The skies are open to the looking glass of lies.” The lulling guitar line returns to soothe, but the torrent does not stop. In “Lift,” Love asks for redemption — “I want to be lifted / I want to be found.” “Ultrahigh” features fever-pitch guitars as a chorus of heavenly voices engages the listener in the solemn processional. The Julia Dream enact the funerary moment so well. (Self-released)

Red Collar — The Hands Up EP
Recorded by Red Collar, Dan Hill and James Lee at SoundScripture Studios in Durham, NC

'From power pop to punk rock, Red Collar skips from major chords and quick staccato punk percussion into catchy bridges (“Hands Up”) that topple into sentimental melodies and solemn chants (“Used Guitars”). The result is a pleasing blend that boasts the best of memorable pop and harsh punk estrangement.
Red Collar picks up the patches of town-gown abuses and sews them back together. Purposefully a link between the white-collar and the blue-collar crowds, The Hands Up EP vents it frustration with both. In “Hands Up,” the band laments “There was a time when the world was mine / If I just stayed on track / When I answered the call, I wanted it all/ But now I just want it all back.” The song deals with the false promise of education and the equally empty value of hard work. “Used Guitars” opines about a used-guitar salesman that didn’t make it big in the music industry, singing “We were made to fail everyday / Maybe what we want is too much to ask.” Red Collar sits squarely on the boulevard of broken dreams, but will still perform anyway. They’re not playing for fame; they’re just playing.
Red Collar channels the angst of the workingman in a way that hasn’t been seen in rock in a long time. Thankfully, Red Collar has enough experience and well-chosen punk-rock influences to create an energetic and convincing modern rock anthem that anyone frustrated with The Man should be proud to own. (307 Knox Records)

There are many elements that Mark Mathis combines in order to propel his Americana folk sound and storyteller’s tone on his fourth release, 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 album mixed with emotion and truth.
Mathis seems to avoid writing anything close to mainstream, as We Both Was Young contains no radio-ready singles. This fact works in Mathis’ favor, as the music remains unique and does not come off as “that song on the radio.” “Sharecropper” might be the closest he ventures to the airwave-friendly jingle. 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, he hasn’t quite developed the ability to do what the Boss does best — create 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 his best qualities as a performer, and it won’t be too long from now until he is able to match his eminent songwriting with a comparable hook. (Freshwater Records)

Slow Motion Crash — Slow Motion Crash
Recorded, engineered, mixed, and mastered by Brian Fisher at his home studio in Atlanta, GA

Muffled rain, an electric guitar and then sudden, pounding drums — it’s an apt introduction to a band with a name like Slow Motion Crash; their self-titled debut, released in May, begins with an escalating storm and then a clap of thunder, with tension brewing as the music builds and surges.
The album, which will be supported by a tour later this summer, truly bears the sonic weight of the five adept musicians behind it. Alec Irvin’s rifle-fire drums and Melissa Giorgio’s furious bass lines are layered with smooth, melodic guitars from Ryan Holmes and Brian Fisher, with electronic keyboards coming from Emily Beard. It makes for an interesting marriage of heavy-rock muscle and pretty, hummable riffs; the two sides are brought together by the vocals, with verses that are often melodically spoken and choruses sung in a dark, throaty wail.
The band members describe their music as “the soundtrack for the lost and searching souls,” and their songs skillfully reflect that anxiety and confusion, both lyrically and musically. However, they take that journey so seriously that their record reveals no joy in the act of unleashing that inner turmoil by creating or performing music. As a result, the album becomes a rocking but angsty drone. If the group were able to relax and have bit of fun with their message — even by simply showing a sense of humor about just how perplexing the world can be — it would certainly diversify their sound and add extra power to their meaning. (Self-released)

The Fire Apes — The Fire Apes
Produced, engineered, mastered and mixed by Eric Bass
Recorded at ARS Studios, Charleston, SC and Fusion Five Studios, Mt. Pleasant, SC

The Fire Apes’ EP marks the third release from these South Carolina natives. This latest effort smacks of early 1990s modern rock, influences of Britpop in the vein of Snow Patrol and Keane, and a slight nod to The Beatles. This effort could have easily been Weezer’s lost record or the EP left out of Ozma’s catalog. On the plus side, the music still trumps many of the “post” bands, largely because it embraces the jangly, playful sounds that made such bands like Weezer and Keane popular. On the minus side, the five-song EP lacks a creative venture and only mimics that modern rock sound without adding much flair. The ever-present themes of love and longing litter the EP. With harmonic vocals and pervasive keyboard and guitar melodies, the EP clearly illustrates the band’s knowledge of the early progenitors of the modern rock sound. The second track, “If Things Don’t Look So Good Today,” is one the best tracks on the CD. The lulling guitar arrangements and jazz keyboard breakdown in the middle make this track highly enjoyable. The fourth track, “Killing Me from Inside (Only Friends),” is another praiseworthy track on the EP. The song starts off with some percussive instrumentation and launches into the drums and vocals. The rich sound of a cello breaks in, and, before the song closes, a refrain from Johann Pachelbel’s “Canon in D Major” plays over the melody. (Kool Kat Musik)