CD OF THE MONTH

The Clutters - Don't Believe a Word
Produced by Jared Reynolds
Recorded and mixed by Joe Costa and House of David Studios in Nashville, TN Mastered by Jim Demain at Yes Master in Nashville, TN

The Clutters deliver a one-two punch of straight-ahead rock 'n' roll with a punk rock edge. This is definitely a band for rock fans who favor consistency over variety, as each track stays true to the band's vigorous and brash approach to songwriting.
Their energy does not build, waver, or cease. Each song explodes open with a thunderous cymbal crash and stays turned to 11 until its brief conclusion. With most tracks clocking in under three minutes, this effort is a fun and fast record to get your heart and fists pumping.

Singer Doug Lehmann's distinctive vocals shout with the nasal slur of Frank Black, serving as more of a percussive instrument than a melodic one. Occasionally on songs like "Aww, C'mon" he is backed by upbeat female vocals that balance his snarl with spunky, warm tones. Also breaking up the angular rhythm section is the lush, vintage howling of a Farfisa organ.

"On Repeat" is an album highlight, featuring sleazy guitar riffs and Lehmann's staccato delivery. As the title suggests, this piece is the track that lingers once the album is over - the one you'll want to dance to again.

Overall, The Clutters bring to mind the post-Strokes resurgence of raw rock that buzzed around about five years ago, with bands like The Pattern, D4, and Mooney Suzuki all embodying the same spirit.

With that relentless intensity pulsating underneath each track, The Clutters are probably a band best enjoyed live, when one can witness that enthusiasm up close and thrash along with them. The energy is still palpable on the record, but the repetitious nature of the songs and their simple structure does feel a bit formulaic by the last track. (Chicken Ranch Records)

www.theclutters.com

-Michelle Gilzenrat

SeepeopleS - Apocalypse Cow Vol. 1
Produced and Engineered by Will Holland
Recorded at Chillhouse Studios in Charleston, MA

Apocalypse Cow Vol. 1, the third studio release from Asheville, North Carolina's SeepeopleS, is, in the words of the band, the "story of a man coming of age in a world that often seems built on nonsense." This "man" is Will Bradford, the band's lead singer and songwriter.

The songs range from slow acoustic ballads with whispered vocals to experimental psych-rock flurries. The album leads off with "Don't Panic," a quiet-to-loud rocker about the end of the world and the inequality of life. This song, as is the case with most on the album, only reveals its intricacies to the listener upon repeated listens. Bradford's high-pitched vocals, along with the achingly simple arrangements, initially disguise the depth of his lyrics.

While most of the tracks on the album adhere to the guidelines of relatively straightforward pop-rock (albeit with several nice production touches), tracks like "Battle Cry," with its combination of jumbled acoustic and electric guitars and on-again, off-again chorus harmonies, hint at the imagination and potential of SeepeopleS. While there are a few throwaway tracks on Apocalypse Cow Vol. 1, several of the slower ballads, such as "Don't Be So Long" and "Already Laughing," initially seeming overly simple and trite, end up being undeniably catchy. "Don't Be So Long" shines lyrically with lines such as "I used to be someone that I'd wanna know / But now nothing means more than letting me go."

Clocking in at just under 60 minutes with 15 tracks and two (rather pointless) interludes, the album would work better if the band had been a bit more discerning when choosing the songs. In the end, the album does not quite hit home, as it seems a bit repetitive, especially in regards to Bradford's breathy vocal delivery. The true beauty of SeepeopleS' latest release is Bradford's lyrical maturity and the subtle orchestrations that continue to reveal themselves to the attentive listener. (Razcalz Recordz)

www.seepeoples.com

-Micah McLain

Dan Carrigan - Wu
Produced, mixed and engineered by Dan Carrigan.
Mastered by Seva

Dan Carrigan is a modern day troubadour. After coming to the realization that he wasn't living the life he wanted to, Carrigan did what millions of musicians dream of doing and quit his job to live a life on the road with no plan, no bookings and no safety net. His days involve busking on streets, picking up gigs on the fly and selling CDs wherever he can.

But while Carrigan's back-story is extremely interesting, his music doesn't share the fascination. Most of the songs on the record are of a similar tempo with the same vocal arrangements and meandering-to-a-fault lyrics. Lyrically, the record seems to be a travelogue of Carrigan's days on the road as well as some of his observations, but it almost seems as if he's trying to tell us about too much.

The saving grace of this record is the interesting palette of sounds Carrigan uses. Backwards guitars, various percussion and string instruments and even ethnic instruments here and there spice up the tunes, but they are only used sporadically, usually in the intro and outro sections. The tape noise and processed guitar sounds on "Diem Carpe" in particular are very well done. All that combined with the interesting lo-fi production make the record worth listening to.

Dan Carrigan's music is definitely interesting from a musical perspective, but lyrically there isn't enough real meat on the proverbial bone of the record to keep up with his creative arrangements. (Self-released)

www.myspace.com/dancarrigan

-Adam Deiboldt

Daniel Solammon - Liberty
Produced by Daniel Solammon
Recorded and mixed by Daniel Solammon at EGS Soundlab in Atlanta, GA and Ken Gregory at Ken Gregory Studios in Atlanta, GA (tracks seven through nine)
Mastered by Larry Anthony at COS Mastering in Atlanta, GA
Executive Producer: Daniel Solammon

Rarely does an artist display as many styles in one album as Daniel Solammon does in Liberty, a provocative combination of straight-ahead jazz, smooth jazz, soul, hip-hop, dance and spoken word. Liberty solidifies Solammon, who wrote, arranged, produced, and engineered the CD, as a one-man musical force. Not to be outdone, Solammon also plays tenor and alto sax, flute, keyboard, bass and guitar.

One of the first places Solammon takes the listener is to the club through the techno-pop-dance tunes "Sleepless" and "Clap (oh!)." For the jazz lovers, Liberty offers a total change of pace when it disappears into a triumphant jazz suite in tracks seven through nine. Hip-hop rears its head on "Monkey Shine," a scathing commentary on the state of the hip-hop industry in which the artist, known as Blak, describes the modern day rapper as "a monkey on stage in a tin can." Blak returns later on "Save Me," where he cries out over a very smooth, soulful music track for God to save him from a life of sin. "Promise" is dominated by the light-and-oh-so-pleasant lead vocals of Karin Williams backed by flugelhorn, cello and violins. Similarly flowing and airy is "Baby," featuring the vocals of Sheri Miller.

In addition to a musical buffet, Liberty plunges into intellectual depths and socio-political commentary through several well-placed voiceovers, including "Immigration & Expectations 1 and 2" (an interesting story of Stella Etta, a Nigerian Green Card lottery winner), "No Nigger Nurses" by Ella Ros⁄-Oji, "August 8th" by Shirley Harvey and "Living in Fear?" by Shereaka Jones.

Liberty is definitely a unique listening experience, though perhaps its biggest asset - the stunning variety - may also prove to be its biggest challenge. With such a wide variety, it is difficult to imagine a hip-hop lover listening through three straight-up jazz tunes. Nonetheless, one thing is clear: Daniel Solammon shines through as a musician of numerous talents. (EDG Soundlab)

www.egssoundlab.com

-Jonathan Mason

Ekundayo - Get Right or Get Left

Produced by Ekundayo, Sabertooth, Kwezorro, and Proximity Minds

If only one word could be used to describe Ekundayo's Get Right or Get Left, that word would undoubtedly be "smooth," a word which aptly describes both the rapper's flow, as well as the superbly produced tracks.

Get Right or Get Left starts off with the somewhat played-out theme of chasing that paper in "All I Know (Paper Chase)." However, rather than being just another tired hip-hop story, Ekundayo manages to pull together an interesting urban tale. The catchy melody of the hook "All I know is I gotta get dough" may make this composition a classic for Ekundayo. Even with the strong start, Ekundayo takes it up a notch with "Katrina," a hard-hitting look at the human dramas and slow government response associated with the disastrous hurricane. Set to the soul staple, "Stop, Look and Listen," "Katrina" draws the listener in from the opening beat all the way to its controversial conclusion. "Katrina" is a defiant cut that reveals something new with each listen.

A strong visual image of Ekundayo is painted in "Hazesacks," which also provides a solid portrayal of his captivating personality. Another intriguing track is "Loving U," a smooth tale that describes a special lady, as well the things that Ekundayo loves doing with her. "Loving U" is both innocent and naughty, complete with a catchy hook that makes the song stand out in an album full of strong cuts.

Ekundayo steps up the energy slightly in "Oh Okay," which, though faster in tempo, seems to lack some of the catchiness of many of the other tracks.

Ekundayo also manages to sprinkle in a little fun and games, along with some real life drama, through entertaining outros such as "Friday Night," "Telephone Love 1" and "Telephone 2."

With Get Right or Get Left, Ekundayo has managed to put together an ultra-smooth hip-hop gem. The album is one that can be enjoyed from start to finish without ever hitting the skip button. Get Right or Get Left is hot enough to appeal to true hip-hop fans, but smooth enough to appeal to R&B and neo-soul lovers - a combination that is very rare indeed. (Self-released)

www.myspace.com/eml4

-Jonathan Mason

Jew(s) and Catholic(s) - God's Trash
Produced by Jeff Irving and Eddie Garcia
Engineered by Jeff Irving and Brian Doub at GTCC Studios in Greensboro, NC
Mastered by Nick Petersen at Track and Field Studios in Carrboro, NC

For such an imposing band name, the music of Jew(s) and Catholic(s) is completely inoffensive. But that still doesn't mean the listener should take them lightly. Putting a band like Jew(s) and Catholic(s) into some nice-sounding genre isn't easy, and in fact, any label would just be ill-fitting. With that said, God's Trash is filled with some unmistakable stylistic influences, the obvious ones being '80s new wave, '60s power pop and '70s psychedelia. "Bird People of China" is vaguely reminiscent of some ominous Zappa song. It's tempting to compare Jew(s) and Catholic(s) to such enterprising bands as Of Montreal, Big Star or Super Furry Animals.

Despite the lo-fi production, the sound is clean and rich, and nothing comes across clearer than the sound of Alanna Meltzer's upright bass. The rest of God's Trash is comprised of Eddie Garcia on guitar, sequencer and vocals. Each track spins in a completely new course from the track that precedes it and delves into, yet again, some uncharted territory. However, despite each song sounding as though the band is changing direction every 16 measures, there's an underlying cohesiveness that gives the impression that this effort was no accident.

Even the tone suggests that there is some monolithic battle taking place between the foreboding vocals and ghostly melodies, with the dancing frenzy of sequencer beats giving an extra dose of pop. Undoubtedly, the best track on the CD is "Bird People of China;" the thought of hearing it live brings a chill as it must surely sound 10 times more epic at a show. "Nice Day for a Walk, Great Day to Die" is also another gem, one that at first glance seems like the perfect mix of ambient and psych-rock, but then tricks you into a calypso breakdown and a guitar-trodden hard rock ending. And not only do Jew(s) and Catholic(s) make it feasible, they make it an art form. (Self-released)

www.myspace.com/jewsandcatholics

-Charley Lee

Jon Shain - Army Jacket Winter
Produced by Jon Shain

Jon Shain is proof that singer/songwriters with brilliant acoustic fingerstylings and insightful lyrics are still around and going strong. Shain's Army Jacket Winter is an array of stories about love and restlessness, backed by acoustic/electric guitars, accordion and dobro. Fans of Keb Mo, Jimmy Buffett and Randy Newman will dig Shain's mood on this album.

"Cornershops and Subway Trains" features lilting acoustic guitar, with one of its lines inspired the album title. "Time to Move On" has slide effects on acoustic guitar and bluesy, wah-wah harmonica, communicating the restless mood that characterizes the album. "Song for JoJo," written for Shain's daughter, has an upbeat, carefree, New Orleans appeal with its Cajun accordion, while "Flat Earth Crowd" is comical and pure hoedown fun.

In contrast, "Pictures from the Past" uses the accordion to create a slower and sentimental mood. "Another Month of Mondays" echoes the lonely sensibilities with a first person letter to a distant lover. Told from another perspective, "Lucy Don't You See" tells a friend that better opportunities are on the horizon. "Slowdance" is a unique duet about the precarious feel of modern life, love being the only sure thing amongst constant change.

"Dyehouse Blues" hearkens back to North Carolina's textile industry roots that are now a thing of the past. It's not often that songs mourn the passing of an industry, but when Shain captures it in song, the result is poignant and the message is clear: "Progress" isn't as positive as it often claims.

When the album closes, the listener can sense that Shain's hero distrusts the urban hustle that came too fast to his region, destroying what generations of family, farms and faith sought so hard to build. When the world has changed so much around him, with people in his life coming and going with it, how can this album's hero not feel stirred up and conflicted inside, wearing that army jacket like a suit of armor? (Flyin' Records)

www.jonshain.com

-Kathleen Wehle

Leaderdog - Attention Please
Produced by Dave Bowman, Jeff Stacy and Eric Walters

More than 15 years have passed since the sleazy, groove-laden Sunset Strip variety of hard rock ruled the pop music roost. In its day, the music of Faster Pussycat, Guns N' Roses and Motley Crue offered up a catchy, dirty, fun style of rock 'n' roll that claims lineage back to The Rolling Stones and T. Rex before falling out of favor in the early '90s. Lately, some of its influence is making inroads into the mainstream through established contemporary groups, many of whom were only in grade school when "hair rock" was in its prime.

One such band is Birmingham, Alabama's Leaderdog. Thundering out of the Steel City, the group's heavy, monolithic guitar riffs evoke the sounds of Disturbed or Saliva, along with the raunchy spirit of '80s rock. Beneath the barrage of chugging chords and deft lead guitar on this latest release, Attention, Please presents melodic, fist-pumping rhythms that will illicit smiles and nods of approval from folks clad in Dickies and spandex alike. Dave Bowman's high-register sneers are on par with the best Vince Neill could muster, his screams slicing like a razor and his growling new metal delivery commanding attention. Jim Stacy's axe work is both skillful and memorable. Bassist Rob Fields and drummer Chris Allen prove to be a formidable rhythm section, whether stomping Zeppelin-esque grooves or up-tempo, double-kick gallops.

One shouldn't be led to believe that Leaderdog only knows one trick, though. Expect to hear everything from hardcore breakdowns and power metal dual leads to a rapid-fire, rap/rock vocal delivery and Southern rock melodies.

With its explosive opener, "Are You Ready to Go?" Attention, Please establishes its hard-rocking edge with gargantuan call-and-response choruses and high-gain guitar attack. In this regard, it is a very effective lead track, as it creates excitement and anticipation. Later on, "Thrice" exposes a bit of Leaderdog's Southern soul with its vague religious undertones and countrified acoustic verses, which nicely contrast with the heavily-distorted boogie choruses. "Munschine," a sparkling, acoustic number, showcases Leaderdog in a gentle, contemplative manner and contains a stirring slide guitar solo.

All the while, the production team of Bowman, Stacy and Walters creates a big, gooey major-label sound on this independent release, revealing the nuances of guitar and vocal articulation and allowing each musical "voice" to be heard. All in all, Attention, Please is an enjoyable release that is instantly familiar. (Self-relased)

www.leaderdog.net

-Matthew S. Maynard

Perpetual Groove - LiveLoveDie
Produced by Perpetual Groove and Robert Hannon

Perpetual Groove is a jam band out of Savannah, Georgia with a following solid enough to warrant appearances at high-line festivals like Bonnaroo and 10,000 Lakes. This third album from the quartet features a reinvention of the band's songwriting and performance. "PGroove," as fans call the band, has finally hit on a recording that combines the excitement of a live show with that constant peak maintained in a jam.
Like the band's previous effort, All This Everything, this album was produced by Robert Hannon (OutKast, Ludacris). Perpetual Groove joined Hannon in the role as producer this time around, and the result is something that transcends past releases.

The album's first track, "Save For One," doesn't spend much time building upon itself as with the band's other recordings. Brock Butler's vocals resonate in a space that sounds like something off a late U2 disc, as a layered guitar/bass/synth/drums amalgam builds a thick bed of tones underneath.

Butler's lead guitar tends to dominate most of the tracks with a thick sound characteristic of a harder rock group. It lends tracks like "Speed Queen" and "Mayday" (which also features pilot recordings from airplane emergencies) a structure that is in stark contrast to songs like "Two Shores" and "It Starts Where It Ends," both of which have more of the traditional Perpetual Groove sound. The latter are very melodic and poppy, but avoid becoming trite with good pacing and production.

Jam bands tend to take a while to find their place and sound, especially in the studio setting. It's clear from PGroove's touring experience and loyal concert attendance that the band has mastered the live element, but LiveLoveDie is a strong step towards capturing something special in a studio atmosphere. The contrast between this album and their last demonstrates that their innovation and creativity were not sapped by working with the same producer, but rather enhanced - an exciting partnership to be cementing. (Tree Leaf Music)

www.pgroove.com

-Matthew Beale

Remynder - Five Card Draw
Recorded and mixed by John Guidry at UMP Studios, Orlando, FL
Produced by Remynder

Just a few measures into Remynder's latest demo, it is apparent that the band's influences span a wide musical range. Intricate arrangements suggest a prog-rock bent, while the down-tuned guitar riffs and dissonant fills represent an appreciation for nu-metal. Cathartic vocals and stripped-down instrumentation give the production a grungy sound, and the strong sense of melody hearkens back to the glory days of '80s metal. For some groups, incorporating such a mix of styles might yield a forced or unfocused result. However, Remynder is able to fuse the styles into something that sounds familiar, yet still exciting.

Having formed under a different name and line-up in Salt Lake City, the band has since relocated to the much more fertile Orlando music scene. With the addition of vocalist Ryan Miller and drummer John Feola, the re-christened Remynder set about writing music that reflected the influence of rock artists as varied as Dio, Dream Theater and System of a Down. Miller's vocals range from upper-register wails to guttural growls without sacrificing timbre or intelligibility. As a rhythm section, Feola and bassist Igor T. Jones can either play it big and loose, or tighten up for intricate fills and rhythms without falling out of step. Randy Silver's dense, crunchy guitar riffs are the natural focus of the music - a commanding, headbang-inducing presence.

These attributes are on display with Remynder's latest recording, Five Card Draw. With the slow, grooving, minor chords of "House of Cards," listeners get a glimpse of Remynder's aptitude for crafting hooks. The band stumbles with "Echoes of War," which, despite delivering passionate moments, plods on aimlessly in places. "Perfect Crimes", luckily, redeems the band with its intricate, fusion-inspired bass/guitar interplay and odd time signatures.

At times the production on Five Card Draw tends to leave something to be desired, with the drums sitting way up in the mix and cymbal crashes and bell rides sometimes sounding as if they've overloaded their microphones. However, one should not expect magnificent production from a demo, and the CD remains quite listenable. A proper release with better production will give a more accurate representation of this promising band. (Self-released)

www.remyndermusic.com

-Matthew S. Maynard

Rising Appalachia - Scale Down
Produced by Rising Appalachia and Maurice Turner
Mixed by Justin Glanville
Engineered by Taylor Hadaway
Recorded in Dahlonega, Georgia at SoulField Sutdios

To say Appalachian music and bluegrass have experienced a revival in recent years would be an understatement. Nowadays, bars and coffeehouses seem to feature a folk or bluegrass act at least one night a week. But how many of those acts can say that their devotion preceded recent fashion?

Rising Appalachia is such a band, and their latest album, Scale Down, is quite an offering of original lyrics and sounds with uniquely spun covers adding to the mix. Yes, this is Appalachian music, but there are refreshing doses of chanting, bossa nova, jazz, blues and Caribbean music thrown into the blend.

The band is composed of Leah and Chloe, two sisters from Northern Georgia, and their new bandmate, Forrest, a percussion master hailing from Asheville, North Carolina.
"The Blackest Crow," a traditional Appalachian track, features a slowly played fiddle, and the band renders the composition beautifully. It's obvious that these women know their craft, and their effort to put a new spin on traditional tracks so that they can be heard anew is admirable; diversifying the sounds allows each song to be appreciated in its own right.

"Sail Away Ladies" is listed as an Appalachian tune, but its incorporation of xylophone and rainstick gives more of a Caribbean/bossa nova feel and the sisters' alternating harmonies inject some retro jazz appeal, as well. Similarly, with "Old Fashioned Morphine," the lyrics are sung in unison, but the repeating refrains and verses, backed by trumpet, transport the listener to a dimly lit jazz club.

In "Gone Fishin'" there's a definite Caribbean feel as the protagonist pines for more erotic bliss with her lover. The sisters' voices harmonize up and down the music scale in "Nikola," slowly rising in volume. This tune has the sound of a Gregorian chant, but it is actually a Bulgarian vocal exercise.

The title track, "Scale Down," seems derived from a poetry jam, complete with beatboxing. One sister speaks the revolution-inspired lyrics, while the other sings improvised harmonies in the background: "Stand up, look around, and then scale that down Buffalo Springfield, step aside!" (Unwound Records)

www.risingappalachia.com

-Kathleen Wehle

Shannon Wright - Let In The Light
Recorded by Andy Baker

Shannon Wright is a powerhouse of talent, a fact well represented on her latest album, Let In The Light. Despite being known for her emotion-churning performances, Wright lays bare less of her personal life and focuses more on things outside of her own world on this effort. Though Wright is most likely to be pinned with the likes of Fiona Apple and Tori Amos, such comparisons would be considered superficial at best.

Rather, she sits among the category of female musicians who are quite discernible from one another, such as Madeline, Amy Winehouse and Kristen Hersh. Wright, along with these women, has developed a style that is uniquely her own, though technically her music sounds less filtered, much less like a glossy production.

With the help of Andy Baker, who produced her previous records, Dyed In The Wool and Maps of Tacit, Wright has created an album that is more organic and solid than any of her past works. Let In The Light features Wright playing every instrument except bass and drums, and unlike prior efforts, this album shows her playing more pronounced piano parts. Two tracks in particular, "Steadfast and True" and "Defy this Love," have some pretty boastful cabaret-like piano melodies, and "You Baffle Me" mixes Wright's luscious vocals with a delicate, piano-led waltz.

Let In The Light feels more personal than it lets on. The album gives a very intimate impression, and though it's ripe with intensely heart-aching, pensive moments, it sounds like the background music to some explosive dramatic moment that occurred in Wright's own life. With that in mind, this effort is definitely a record to have around after those defining moments have subsided. (Vicious Circle/Quarterstick Records)

www.myspace.com/shannonwright

-Charley Lee

The Glass Eye Trio - Harajuku
Produced by Michael Feinberg
Engineered by Andy Taub
Assistant Engineer: Jon Bellona
Mixed by Nick Kruge at Hysteristudio in Miami, FL
Mastered by Paul Abbott at Zen Mastering in Poway, CA
Recorded at Brooklyn Recording, Brooklyn, NY

The new, self-produced effort from bassist David Feinberg's The Glass Eye Trio represents a style of jazz embodied in the album's Japanese namesake, Harajuku, an area of Tokyo that nurtures a pastiche of Japanese youth culture - Tokyo's Champs-Elysees. On this album there are resounding echoes of myriad jazz milestones, as well as tokens from the group's other influences - but the discerning listener will find no counterfeit.

The Glass Eye Trio fulfills the role of a competent jazz ensemble. The listener is delighted by what happens around each compositional turn, and there is little about the sound that is predictable. The songs create sophisticated tension via decisive rhythmic digressions, tasteful layering, and tidy modulation, avoiding volume-based builds and other genre cliches.

The overall sound is pleasantly aqueous. "Bang" and the title track, "Harajuku," the former a composition by pianist Pascal Leboeuf, are particularly good, and the guitar of guest musician Dave Willocks on "Cholesterol Jam" adds a nice dynamic vim to the ensemble. Occasionally the winding sax solos seem self-gratifying, but the diverse dynamic range of the remaining instruments makes up for their occasional loquacity. Leboeuf's keys are a particularly nice complement to the contemporary fusion aesthetic that buttresses this album.

The only distraction comes occasionally from the drums, in the form of a persistent china-crash, and while drummer Daniel Platzman has no scarcity of chops, the noise sporadically devalues the artful, punctual sonority of the trio. As for Feinberg, the principal composer and bandleader, his acumen resembles that of more seasoned musicians and his talent belies his age and experience. His bass walks across the album nimbly, self-assuredly handling disparate moods and modes with aplomb. (Chew On This LLC)

www.michaelfeinbergmusic.com

-Mitchell Maddox

The Nerd Parade - A Delicate Bashing
Produced and mixed by Randy Garcia with John Jacobus and Abby Wren
Mastered by Jimmy Ether at Ether Lounge in Atlanta, GA

The Nerd Parade, comprised of Randy Garcia, John Jacobus, Rich Wilson, Buddy Buttram and Abby Wren, offer up a debut full of smart, dancey, kinetic, electronica-laden indie-pop. From the first track, the record is instantly hypnotic and engaging as a computerized voice speaks the first sinister words over industrial soundscapes. But before things get too dismal, the vocals of Garcia and Wren gleefully announce, "No one's listening to your shit," and seconds later the listener is immersed in a full-on electronic dance party.

Thankfully, The Nerd Parade isn't just a one-trick pony. The lyrics are clever, but in a goofy, underhanded sort of way: "No man is an island 'less he's drowning in a pool ... If you want to hold 'em you should try to shoot the moon / I know just when to fold 'em like that Kenny Rogers' tune." And the music isn't made up of just infectious dance tunes. A Delicate Bashing also contains soulful R&B slow jams, sleepy indie ballads, a good dose of '80s synth rock and hooks that cover all the important genres.

And while The Nerd Parade has some decidedly art-rock leanings, even that label would be a bit premature. What's truly amazing is how unpredictable and dynamic the album sounds.

The Nerd Parade's well-researched romp through indie-pop's stylistic catalogue lends A Delicate Bashing more of a solid footing rather than a branding of "pretentious." Though having been recorded in various garages, bedroom and hotels during the course of four years, the lo-fi sound is almost non-existent. The best tracks on A Delicate Bashing would have to be "A Picturesque Sunday," "Kenny Rogers Tune," and "Crude Polygonal Space Fighters," which sounds like a lost Radiohead track. This record is the one to take with you everywhere you go. (Headphone Treats Records)

www.thenerdparade.com

-Charley Lee

The Wayne Fishell Experiment - Optimistically Hopeless
Produced by Claire Campbell, Chris Bishop, Wayne Fishell and Keith Miller
Mixed and engineered by Chris Bishop at Radium Studios in Commerce, GA

There are a lot of singer/songwriters with a lot to say. But many times the veracity of the words is lacking, as if it's an act that fades into the ether much like the notes played. Wayne Fishell is an exception to this rule. On his second album, Fishell, who is openly gay, writes with an honesty that is rarely found in modern music.

The 10 tracks that make up Optimistically Hopeless range from 24-carat pop and bluesy rock to bluegrass and folk. Fishell's arrangements are basic but varied. He'll use a Beatles-esque piano part and then bring in a clarinet to offset a percussive, acoustic guitar section, as he does on "Racehorses." "Another Line Down" offers a beautiful pastiche of acoustic guitars and banjos that form a bed for his vocals - which are excellent too. Although the first couple tracks lack a bit of vocal authority, Fishell's timbre more than makes up for it later on in the record.

The real stars of this album are the lyrics. Whether Fishell's lambasting an ex-lover, reveling in the fantasy of rock star life as a Vegas-style entertainer or imagining what a conversation with God would be like, Fishell's lyrics are always top notch. They're conversational, confessional, but also well written and relatable in a way that few dialogued lyrics are these days - no matter who you are, what gender, what ethnic background. Fishell doesn't hide the fact that he's gay either, but because of his writing ability, his lyrics end up being able to take on a much more universal tone.

Overall, Optimistically Hopeless is a fairly diverse record with some excellent tunes on it, but its biggest success is showing how universal our human condition is while letting the listening get to hear some good music in the process. (Ofishell Artists Label)

www.ofishell.com

-Adam Deiboldt

Yo Mama's Big Fat Booty Band - Now You Know
Produced by Jeff Knorr and Yo Mama's Big Fat Booty Band
Recorded at Echo Mountain Studios in Asheville, NC
Mastered by Gene Paul at DB Plus Studios in New York, NY

Now You Know quickly and confidently establishes Yo Mama's Big Fat Booty Band as the consummate Southern stage outfit with a triumphant combination of horns, bass, drums and clever vocals that produce a funky and infectious sound affectionately described as "Bounce Music."

Now You Know is remarkably consistent from start to finish. After a brief intro describing the reflective wandering adventures of "Bob," the album immediately hits its stride with "One Day." The deft combination of fast-paced lyrics, blaring horns, background chants and crowd noise creates an instant jam session for the listener's enjoyment. The party only slows slightly with "Self Celebration," a musical self-help tool. After listening to the "Booty Show" every listener will almost certainly be walking around yelling, "Gotta go to the booty show."

The fun continues on extremely funky tracks such as "Now You Know," with its dominant horns skillfully complimented with guitar, drum and bass. Now You Know fittingly ends with the energetic "Hop in My Ride," featuring GFE and DJ Kyuri, a start-to-finish dance party interspersed with clever and well-placed rhymes, including a tempting invitation to "hop in my ride and smoke a little weed."

Rarely does the energy of a live show translate well on a studio album. But that is exactly what happens with Now You Know. Listening to the album conjures up images of the Booty Band's seven members taking the stage and causing such a scene that everyone in the room has to call their friends to describe the great sounds and unbelievably fun scene. (Self-released)

www.myspace.com/yomamasbigfatbootyband

-Jonathan Mason