CD OF THE MONTH

Mikey Mew & The Lovely Few —

Long Division
Recorded and engineered by Taylor Bray
Produced by Taylor Bray and Mike Mewbo

Mike Mewborne leads a gifted fivesome, churning out seductive and crafty nuggets of musical bliss in his new release, Long Division.

It is Mewborne, known as Mikey Mew, who is the mastermind behind the genuinely honest and unique sound that gives the album its breakthrough composition and lyrical qualities.The album is a lengthy statement of fifteen musical pieces, each delivering the cutting edge sounds and colors of the electronic music genre.

“Apartment” fires the CD’s first bullet with dazzling electronic sounds and the introduction of Mewborne on vocals, matched beautifully with alluring harmonies by Taylor Bray and the romantic backing vocals of Emily Franklin and Hannah Craig.

Nathan Poole contributes gracefully with the addition of a stellar lap steel guitar, interlaced through Mewborne’s guitars, programming, percussion, bells and other various assorted noises.

Craig delivers a serenading flute solo here and there, as Franklin jumps in with extra percussion and Bray lays down wonderfully textured bass.

The third track can blow away any thoughts of the listener giving up early on spinning this disc because the tender, heartfelt Mewborne comes across so warmly in the lush ballad “Hotel Blankets.”

The piano really compliments the overall genius of the album’s complete artistic makeup, as heard on “Earthly Fathers,” when Mewborne sings, “I’m afraid of you, and maybe you’re my dream coming true / But I’ll always be good to you.”The majority of this material is beautifully written and delivered, with another highlight being the simple, yet uncanny charm of guitars and steel pedal on “Bobby Pins.”

Long Division is an achievement of intricate, indie proportions, complete with musical color and texture much in the direction of math-rock, yet with a gentle, precise and almost surreal feel. With the music starting as quiet and relaxing, never stepping out of bounds, the band steadily approaches a heavier, more dissonant rock. This is a perfect record for laying out in the summer sun, or enjoying a drink and reading on the porch on a spring evening. This is a genuine album of rebirth and rejuvenation, a perfect celebration of the human spirit. (Self-released)

www.virb.com/mikemew

-Shawn M. Haney

Maserati — Inventions For The New Season
Produced by Andy Baker

Maserati returns after a four-year absence with a new label and a new album, Inventions For The New Season. The eight tracks of instrumental, psychedelic prog-rock vary widely in length and character and are not only available on CD, but also on vinyl.
The two best songs here are also the two longest: “Inventions” and “Show Me The Season.”

The epic opening song, “Inventions”, builds layer-upon-layer of sound, then shifts off into a whole new level of intensity. The other standout track, “Show Me The Season,” starts off strongly and maintains its aural assault right up to its abrupt end.

“12/16” has a soft, ethereal beginning, then soars higher and higher, gaining momentum until its resolution. “Kalimera” and “The World Outside” both effectively create images that flow through the listener’s head as the music swirls through their ears. One of the shortest songs on the CD (which also has one of the longest song titles known to man), “This Is A Sight We Had One Day From The High Mountain,” has a very interesting companion video on the band’s website, its visualization adding a whole new dimension to the song.

Band members Coley Dennis (guitar), Matt Cherry (guitar), Steve Scarborough (bass) and Jerry Fuchs (drums) have created an impressive collection of songs on this CD. Unfortunately, there isn’t a real possibility of hearing these songs on the radio as instrumental music rarely cracks the charts, but they would fit in well on movie or television soundtracks. (Temporary Residence Ltd.)

www.ihaveadagger.net

-Kat Coffin

Sorry no Ferrari — The Get Down Syndrome
Recorded by Rahim Amlani
Mixed and Mastered by Matt Washburn at Leadbelly Studios

The Get Down Syndrome, the second EP from Atlanta band Sorry no Ferrari, is laced with high-powered, experimental melodies, funky bass lines and some jazz fusion-like harmonies. This latest offering of instrumental numbers from the quartet of Brett Kelly (guitar), Chad Shivers (guitar), Drew Mobley (bass) and Sonny Harding (drums) is slightly reminiscent of Sound Tribe Sector 9, Particle and Ghosts and Vodka. The layered instrumentation found throughout the EP propels the music and gives each song a richer texture.

The polyphonic rhythms on the track “Native American Idiot” give the impression of more than one song being played as the track starts off slow and upbeat and then delves into fast, mechanical drumming before ending in a darker, less structured place. The track “Tuba Toothpaste” is perhaps the most laid-back track on the E.P., with the intro of acoustic guitar creating an ethereal and warm feeling before the drums are introduced. Then each instrument builds upon the last to finally dissolve into some sort of hyperspace symphony.

The last track on the EP is a very interesting, albeit amusing, rendition of the theme from Beverly Hills Cop. It wouldn’t be hard to call a band like Sorry no Ferrari a “jam band,” but The Get Down Syndrome manages to dodge some of the pitfalls of that label.

Exhibiting songs that are less circular and more direct than your average jam band, this EP doesn’t feel as though it’s just one song being played a multitude of different ways. Also, the focus is less on the drums and bass than in many jam bands. The melodies change often enough for the listener to be actively engaged in the music and not just entranced by it. Sorry no Ferrari is obviously in it to make music that’s more than just listenable. (Alaska/Stickfigure)

www.myspace.com/sorrynoferrari

-Charley Lee

Davis Coen — Ill Disposition
Engineered and Mixed by Chris Wimberl
Recorded at Nightsound Studio in Carrboro, NC

A 73-year-old bluesman from the Mississippi Delta, Davis Coen still possesses the tenacity and raw chops to create a solid album steeped in Americana and true blues grit. Wait a minute, scratch that — Coen is a 29-year-old white guy based out of South Carolina’s Low Country. Yet On Ill Disposition, his third release, Coen carves through 13 tracks with the precision and comfort of a man who has had the blues and knows how to rock. His deep, bellowing voice offers up a soothing yet rugged tone that bluntly tells us how it was, how it is and how it should be.

Opening track “Busker’s Blues” offers an immediate, intimate glimpse into Coen’s world-weary landscape. Catchy word play and an inarguably gorgeous chorus cry of “streets don’t love me no mo’” make for a compelling introduction to the album. “Something At My Feet” summons Coen’s bristly slide guitar style, the beats of drummer Joe Izzo and the rhythms of one of four bassists on the album into play, cranking the engine of solid musicianship that drives most of this record.

The choice of cover cuts on Ill Disposition is strong, unique and obviously the decision of someone who knows his blues. John Lee Hooker’s “Mambo Chillun” finds a new dwelling in Coen’s dynamic creativity, as do the other eight covers on the CD. Instead of simply offering the usual, re-polished versions of the old songs we love, Coen strips a number down to its purest form and adds a dose of his innate bluesy, folksy zeal.

The only drawback to this album is Coen’s tendency to seem more at ease singing the songs of his blues brethren than his own, creating a contrast between his work and theirs. It will be interesting to see just how ill Coen’s disposition becomes as he gets older, wiser, and closer to his place in music history alongside the legends that he covers so passionately — and from whom he has learned so much. (219 Records)

www.daviscoen.com

-Dan Reeves

Danny Flowers — Tools For The Soul
Produced by James Pennebaker and Danny Flowers
Recorded and mixed by James Pennebaker at The Bonus Room in Mt. Juliet, TN
Mastered by Jim DeMain at Yes Master in Nashville, TN

Music like the country/bluegrass found on Danny Flowers’ Tools For The Soul is like a plate of nourishing home cooking after eating at fast food restaurants for weeks on end. Flowers’ songs of love, loss and redemption are guaranteed to lift your spirits and possibly even get you singing along.

The opening title track, a duet with famed songstress Emmylou Harris, sets the tone for the album with its upbeat, countrified guitar work and positive lyrics, but Flowers covers a breadth of genres over the course of the record. The mixture of sounds is refreshing, with light reggae rhythms on “What Would The Father Say,” and Celtic overtones on the beautiful “Prayer Song,” showing a maturity in writing and arranging.

Flowers is a journeyman and these songs reflect a journey that he has taken over the course of his life, giving you a sense of who he is both as an artist and as a man, and the stories he weaves are beautiful and touching. The lyrics on “Ready To Cross Over” are among the most beautiful lyrics one could imagine, detailing an older man looking back over his life and realizing that he needs to get his things in order before he takes that one last trip.

In the end, Tools For The Soul is a great album with a great message, and it’s a message that is missing from a lot of music these days. This message is only augmented by the beautiful melodies Flowers has penned. (Brash Records)

www.dannyflowers.com

-Adam Deiboldt

Strezo — This Balance
Produced, engineered and mixed by Miguel Torres and William Simons
Mastered by Miguel Torres

Strezo is the namesake of vocalist Kristen Strezo. Consisting primarily of Strezo on vocals and multi-instrumentalist Robert Filippo, Strezo’s music is what one could call “prog-folk” — certainly not your daddy’s folk! With world percussion rhythms that change multiple times in a given song and atmospheric guitar work, Strezo has made an album that is quite original in both sound and approach.

Strezo’s lyrics are generally in a more storytelling vein, with the melody often finding itself subservient to these captivating tales. This is especially evident because many of the songs on This Balance are somewhat melodically underdeveloped. Sometimes Strezo will ride a single note for many bars to get the words out. Vocally her timbre reminds one of a combination of Jeff Buckley and Natalie Merchant, and though she has a pretty voice, Strezo can sometimes go overboard on the more mellow songs, ending up sounding like she’s singing a Broadway tune. Yet on some of the more up-tempo songs, it sounds like she could almost give a bit more. Her phrasing is excellent, though, and very original.

Instrumentally speaking, the album is extremely interesting. While some songs are simply acoustic guitar, bass and drums, others such as “A Basin To Catch The Water” are tapestries of guitars, piano, percussion and other instruments, with the aforementioned tune building up to a Jeff Buckley-like crescendo towards the end. There are also many changes in the overall feel of certain tunes such as “$27.15,” which starts with a very gossamer feel and moves back and forth between that and a double-time tempo. The album’s highlight is surely “Chilly Bones,” which features some excellent clarinet work, as well as a Middle Eastern-influenced vocal atmosphere.

An intriguing piece of work, This Balance is definitely a record for anyone wanting to hear something they’ve never heard before. (StickFigure)

www.strezo.com

-Adam Deiboldt

Morningbell — Through the Belly of the Sea: A Choose Your Own Adventure Album
Produced by Morningbell at Morning Bell Studios
Engineered by Travis and Eric Atria
Mixed by Eric Atria and Morningbell
Mastered by Michael Maines at Arkain Studios

Inspired by the “choose your own adventure” books of the 1970s and 1980s, Morningbell’s Through the Belly of the Sea has an interesting concept to say the least. For those not familiar with the books, reading pages consecutively cover to cover was not an option. Each page led forward or backward, and readers were constantly asked 50/50 questions about the given scenario, with each choice leading in a different direction.

For Morningbell’s third CD, this is an impressive effort. The jacket insert is to be read as each song plays, its passages guiding the reader to flip to other parts of the jacket based on their choice of action. Each song hints at being lost, reaching the sea floor, wrecked boats and mysterious undersea creatures. Conceptually, this album scores high already for the nostalgia. But how is the music?

The music is mellow and groovy — stereophonic sound effects mingle with rocking guitar and organs, and sea and space fantasies are bound to come to mind. Then there’s “Waiting On A Sleep”, “Interlude” and “Faster Than Eagles, Stronger than Lions,” three tracks that wander into uncharted territory. The vocal stylings on “The Speed of God” and “Epilogue” recall ex-Beatle solos by George and John. “The Desert on the Sea Floor” is an almost reggae beat track; “Lost Again” and “The Octopus Walks Across the Coral” remind one of those early ’80s hits by Brit bands like Squeeze.

There’s plenty of nostalgia to be had here, but Morningbell is consistent and original in fleshing out their sea exploration concept. Based on the effort, a new listener can only imagine what a live show is like. Fans of Squeeze, Yes, E.L.O., Pink Floyd, Harrison and Beck would enjoy taking a dive with this album. (Orange Records)

www.morningbellonline.com

-Kathleen Wehle

KChari — Out Of Line
Executive production Jan Smith and KChari
Engineered by Nate Thiel
Mixed and edited by Shawn Grove
Recorded at Smith and Huston Productions in Atlanta, GA
Drums and bass recorded at Creekside Station, Lawrenceville, GA
Mastered by Rodney Mills Masterhouse

Out Of Line by Atlanta-based KChari is a unique album with a brilliant blend of classical, pop and alternative rock. The three siblings that make up the band — Miriam, Sarah and Joshua KChari — are classically trained and it shows on every song; each tune sounds fresh, as well as vintage, with a classical base and modern spin.

Lyrically, “Power Out,” “Reach” and the CD’s title track, “Out Of Line,” are typical pop fare with their catchy choruses, but each one stands out for their added classical element. “I Cannot Stay,” “All The Blame” and “Desperate Enough” are more modern rock-focused with their angry, urgent tones, but still stay true to the trio’s classical undertones.

Along with the standard instrumentation found on a rock recording (guitars, bass, drums, keyboards), KChari also adds in violin, cello and tuba to the mix, which, for the most part, adds depth to each song, but at times it can be too much and can overwhelm the listener with too many sounds at once, as in “Reach”, “Clean Slate” and “Crash With Me.”

This band stands above the norm with their sound and musicianship, and may even entice listeners to delve more deeply into the roots of music and to realize classical does not have to mean boring. This CD certainly bridges the gap between classical and modern music. (Self-released)

www.kchari.com

-Kat Coffin

Harlan — The Still Beat
Engineered by Bill Kelley and John Norris
Mastered by Jeff Lipton at Peerless Mastering in Boston, MA

Harlan, who recently returned to Baton Rouge after years in New York City, has a voice that recalls Wallinger (World Party) or Al Stewart (“Year of the Cat”). The musical styles on The Still Beat span about 35 years: “Ill-Matched Unknowns” has strong bass and lead guitar like a Badfinger track; “Days of Delirium” has the theatrical sounds of Queen and other ’70s rock; “Two Pagans” brings back voice effects and keyboards from the ‘70s and ‘80s.

Other tracks are lush with sound effects and different moods, several containing so much variety that it’s like recalling a series of loosely linked memories within a two-minute timeframe. “Late Summer,” with its exotic stringwork, is a mysterious track that uses its sound effects particularly well while the narrator recalls a girl he knew, and “Foam Core” also tells a story of an unusual girl.

“It’s a Mystery” is acoustic, but features some stringwork that weaves in and out of parts of the song like a freight train or tornado warning system. “Interviewer and Interviewee” has the classic pace of a road-traveling song.

Poppier tracks like “The Ballads of Selective Memory” and “Computer Games Under the Sun” have fresh blends of sound that are not easily described. “One Man Band” has acoustic and banjo simplicity, but is then joined by more hard rock and computerized sounds.

The lyrics tell unusual stories that all must be heard by ear, as they do not appear in the album insert. Unusual artwork graces the cover and jacket of the album — all of which are paintings done by Harlan, and seem to be portraits but without heads. Men’s shirts have boxing gloves, spray nozzles and paper airplanes for heads.

Harlan’s invited the listener to view his art and sound gallery. It promises to be different from anything you’ve heard lately and it is definitely worth checking out. (Odd Thud)

www.thestillbeat.com

-Kathleen Wehle

Vonnegutt — The Vice Nine EP
Produced, mastered and mixed by Michael Woodruff

Naming a band Vonnegutt invites an instant and in-depth critique of the lyrics, especially when the band is fronted by two lyricists with a range of experience in the Atlanta hip-hop scene.

The Vice Nine EP is the debut from Marietta-based “alternative hip-hop band” Vonnegutt, and is led by frontman/emcee Kyle “Double” Lucas and guitarist/vocalist Neil Garrard. The band incorporates a variety of influences, ranging from old school rap to Top 40 pop, which combine to produce an enjoyable, if not wholly original, sound with significant genre-crossing capabilities.

The majority of the songs on The Vice Nine EP deal with relationships in various forms of repair and alcohol/substance abuse. Lead single “Bright Eyes” is an immediately catchy track full of summer-time guitar and smooth beats about true love in the form of a one-night stand.

“V for Vonnegutt,” a synth-filled track about personal struggles versus personal goals, contains the strongest lyrics on the album, such as “I gotta kill the day just to make it to tomorrow.” Unfortunately, this doesn’t say much as it is more a result of the largely unimpressive songwriting present on the rest of the album.

Many of the songs on the album sound right at home thanks to the experienced production of Michael Woodruff, but Vonnegutt could easily pare down its influences and develop a more original sound, along with increasingly more poignant lyrics. When naming a band, it is important to think about what that name incorporates — hopefully Vonnegutt can raise the quality of its lyrics to more fully live up to its lofty aspirations in its future releases. (Self-released)

www.myspace.com/vonnegutt

-Micah J. McLain

The Winter Sounds — Porcelain Empire
Produced, recorded and mixed by Colin Cobb at Vintage Vibe Productions in Atlanta
Mastered by Colin Leonard for Glenn Schick Mastering

With their latest release, Porcelain Empire, Greenville-based/Athens-adapted band The Winter Sounds adds its name to an ever-growing list of southern bands who, all things considered, have no business sounding the way they do. Like their Athens counterparts Of Montreal and Elf Power, the guys in The Winter Sounds possess an obvious knowledge of music much richer and further reaching than the nearest R.E.M. catalog or B-52s box set.

Porcelain Empire seeks to boast the band’s musical diversity, as its influences, however abundant and diverse, all manage to find room to hover over each of the 13 songs on the disc. Vocalist/bassist Patrick Keenan makes their presences heard as he effortlessly channels his inner Sinead O’Connor, letting intensity and hurt bleed all over

“Poor Sailors” before lulling down to the quiet placidity of Simon and Garfunkel in “Minnesota.”However, Keenan’s voice is at its most powerful when allowed to spew out random, Robert Smith-like wails, as heard over the Les-Savy-Fav-meets-Tokyo-Police-Club riff of “Earthworm Song” and the disc’s breakout track, “Windy City Nights.”

Regardless of the remnants of bands past that are engrained into the album, the real genius lies in the fact that the band still manages to carve out an entirely original sound. Though some may want to write off The Winter Sounds as an Arcade Fire knockoff and the like, The Winter Sounds distinguishes itself as a part of a new class of independent music; the band embraces its undeniable appreciation of simple, infectious, commercial pop and shamelessly seeks to add their love of the standard to that of the more unconventional. Porcelain Empire shines as an example that, if done right, the two worlds of commercial and cutting edge can mix seamlessly. (Livewire Recordings)

www.thewintersounds.com

-Melinda Hanna

Through the Sparks — Lazarus Beach
Produced by Through the Sparks
Recorded and engineered at Alamalibu Studios, Birmingham, AL
Mixed by Through the Sparks, Wes McDonald and Keelan Parrish
Mastered by Jim DeMain at Yes Master

The debut full-length by Through the Sparks, Lazarus Beach, comes nearly four years after the band’s five members first came together in 2003 from a variety of less interesting side projects. The time was well spent, however, and the indie/prog-rock outfit from Birmingham has put together a stunning studio effort certain to cement their reputation as one the South’s most promising new acts.

Not a single sound is wasted as Lazarus Beach clocks in at a brief 36 minutes, with the album’s 13 self-produced tracks hanging around three-minutes in length. The result is a tightly crafted collection of gems that simultaneously straddle several new genres of guitar-and-keyboard pop, with dense vocal and instrumental production that recalls the sounds of much more highly celebrated indie bands as Arcade Fire and The Walkmen.

But Through the Sparks is anything but derivative, and the drum-thumping, horn-blasting, synth-packed “Local Moon” showcases the band’s signature aesthetic. Vocalist Jody Nelson has an undeniable talent for pop-songwriting, and amid the wonderfully arranged flourishes of guitars, organs and drums he consistently maintains the cool, classic-rock presence of an experienced performer and bandleader.

This is all incredibly impressive for any band’s first official album, but ultimately not surprising for a group that has spent the last few years building a devoted following both in Alabama and beyond. Lazarus Beach is a huge triumph then, and without a doubt this is not the last we will hear from them. (Skybucket Records)

www.throughthesparks.com

-Ari Mazer

Ilad — National Flags
Produced by Ilad
Mastered by Roger Seibel at SAE Mastering
Recorded and mixed by John McEntire at SOMA E.M.S.

Ilad’s second full-length release National Flags is a number of things: atmospheric, trippy, overwhelming, an unbiased fusion of genres, inspired — and it’s also quite good. Ilad is comprised of Gabe Churray (keyboard, vocals), Cameron Ralston (bass, vocals), Clifton McDaniel (vocals, guitar) and Scott Clark (drums). The Virginia quartet mixes jazz-inflected prog-rock with psychedelic pop and a dash of electronica.

This CD sounds as though E.L.O. and Sound Tribe Sector 9 got together with Dave Brubeck in some subterranean lab millions of years from now. Airy keyboard solos meander into up-tempo jazz meltdowns, while the drums provide a steady balance to the disorder. Ilad manages not to fall into the “jam band” category by staying away from improvised guitar solos and extended chord progressions.

On the entire CD, the keyboard and drums stand out as the most prominent instruments, as they provide most of the discernible melody. The lyrics are often ambiguous, sometimes amounting to no more than “oohs” and “aahs” sung where words would be normally. The lyrics that are intelligible speak of things outside the normal scope of subjective reality.

The CD starts with the appropriately titled song “Preamble,” an instrumental opener that’s more of an ambient sound collage than an actual song. Songs like “Looking Glass” and “National Flags” follow more basic song patterns that distract from the drippy, psychedelic arrangements of songs like “You Don’t Need That Shit.” Ilad’s National Flags is interesting, to say the least, but may be a little too daunting for anyone who isn’t already a fan of math or prog-rock. (SYJIP Records)

www.iladmusic.com

-Charley Lee

Jax da Catalog — Sharper Images
Produced by Vanderslice Lives!!!, BlackJax, J. Scienide, Mudfish, Knotty, Jmil, Doc West, Gibran, Pocket, Jon Doe, Pocket

Sharper Images is the imaginatively named follow-up to Sharp Images by Atlanta-via-Queens rap artist Jax da Catalog. The album is filled with throwback beats, old school scratching and simple production that let the vocalist’s lyrics and flow take control. Jax da Catalog’s lyrics often deal with the usual topics associated with underground rap, namely his influences, upbringing and confidence. While the majority of the tracks do not offer enough originality to distinguish them from blending into one another, there are a few standout tracks on the album.

The title track lets Jax da Catalog match his self-promoting rhymes to a high-tempo beat, although the annoyingly repetitive and unimaginative chorus keeps the song from really taking off. “I’m Serious” is another high-energy, scratch-filled track about perseverance and sacrifice. Sharper Images also allows Jax da Catalog to show off his R&B and jazz influences, especially on such tracks as “...shift,” with its smooth rhythm and old school soul vocal sample.

There are several special guests, such as Flux da Wondabat on “Barbwire,” but they do not contribute much in comparison (or contrast) to Jax da Catalog’s rhymes. Sharper Images falls prey to another common characteristic of hip-hop — the sometimes initially entertaining but ultimately distracting skit. But in the end Sharper Images offers further support for the continued dominance of Atlanta-based hip-hop, and while it may not be as creative or original as some of the best from the Dirty South, it shows that Jax da Catalog can definitely hang with many of the better independent rap artists from around the country. (Binkis Records)

www.myspace.com/jaxcorp

-Micah J. McLain

Ethan and the Ewox — Ethan and the Ewox
Recorded and produced by Joseph Castriota at Berkeley Park Studios in Atlanta, GA and Fireside Studios in Nashville, TN
Engineered by James Salter
Mastered by Donnie Bott
Vocals recorded and album mixed by Rami Yadid at Yadidit Studios in New York, NY

Finding a band that still tours and records 12 years after their inception is like finding a unicorn while wandering through the forest, but this latest effort proves Ethan and the Ewox still exist.

This self-titled album from the band bares all the markings of experience. The album leads with “Stone Cold,” a blend of tribal drum beats, a funky bass line, lecherous guitar riffs and poignant lyrics. Ethan Baker’s soulful voice suffuses the listener, adding to the intensity, making this song a hallmark.

This track sets a precedent the rest of the album willingly delivers. It transitions from groove-stained rock song to ballad (“Something About the Night”) and back with ease, each time providing thought-provoking prose and Baker’s enrapturing voice. Rob Bruce, a Belmont graduate, provides tasteful guitar solos reminiscent of early Clapton, while

Gary Chumney adds percussion that would make Neil Peart proud. LaFrandin Minchew, the newest member of the Ewox clan (they have had some bad luck with bass players), lays bass lines that remind listeners why rock borrowed from funk. The four combined their talents to produce an album that accurately portrays the strength and maturity gained from the battles of the music industry, making it the best of their six albums. (Self-released)

www.myspace.com/ethannoise

-Selena Lawson

Johnny Irion — Ex Tempore
Produced by Ryan Pickett and Johnny Irion
Recorded and mixed by Ryan Pickett at Pic’s Gym
Mastered by Brent Lambert at The Kitchen

South Carolina native Johnny Irion returns to the rougher end of the roots-rock spectrum with Ex Tempore, his first solo studio release since becoming the male half of husband-wife folk duo Sarah Lee and Johnny on 2005’s Exploration. Back on his own, the singer/guitarist has come out with a surprising edge and Ex Tempore has the sound of a musician and performer at the top of his creative game.

The whole album has a fabulously large quality, like it was recorded in a grain silo. Each and every melody gets an upward boost from the echoes that permeate the overall aesthetic, with producer Ryan Pickett playing an obvious role. On the poppy “Eyes Like a Levee,” for example, Pickett (also soundman for My Morning Jacket) douses Irion’s arrangements with heavy reverb, taking the voices and instrumentation to an almost heavenly-sounding level. Meanwhile, “Madrid” showcases Irion’s guitar chops, and his booming riffs show that he’s still clearly able to rock out.

Irion also gets some strong contributions from his backing band, including wife Sarah Lee, who provides vocals for three tracks. Zeke Hutchins deserves credit as well, as his drums provide a solid structure throughout. Ultimately, Irion shows tremendous growth on his newest effort, from songwriting to vocals, acoustic and electric guitar to piano, and he is able to craft a consistently listenable album with his varied talents. (Route 8 Records)

www.myspace.com/johnnyirion

-Ari Mazer

The Bros. Marler — Songs for Pluto
Recorded by Chris Bishop at Radium Studio
Mastered by Jeff Capurso at Chase Park

Athens’ The Bros. Marler, twin brothers Daniel and Drew, have been writing and performing since high school, yet Songs for Pluto is their first full-length release. With all that build-up over some 15 years, one would expect to hear something wild from a debut record — some kind of creative catharsis. Instead, Songs is an album that succeeds quietly, with simplicity, understatement and subtlety.

At first, this fact sounds somewhat unusual. The Marlers claim their strongest influences from legendary Athens bands like The Olivia Tremor Control and Macha. For their own record, however, they utilize relatively simple arrangements and a crisp, clear sound. This is undeniably a major departure from OTC’s collective discography. These groups put Athens, GA on the map with complex, groundbreaking arrangements and a characteristic lo-fi aesthetic, but The Bros. Marler seem more concerned with songwriting and old-fashioned roots musicianship than with pushing the envelope.

Throughout Songs‘s ten bluegrass/country-pop tracks, the Alabama natives display poise and impressive versatility, sharing time on lead and rhythm guitar, stripped-down drums, piano, harmonica, and bass, while only occasionally dabbling in electronic instrumentation, as on the seven-plus minute “Falling from Grace.” Though lacking a bit in its overall diversity, this approach is combined with the boys’ soul-inspired, almost Dylanesque, double-vocal stylings, creating an entertaining album rich with character and style. Other standout tracks include “Promises” and the subdued acoustic closer, “Flakes.” (Self-released)

www.myspace.com/thebrosmarler

-Ari Mazer

Joltwagon — Joltwagon
Recorded by David Bradshaw
Mastered by Greg Sipes

There are rules that all musicians must live by. The main rules for writing a song are make sure that the hook is catchy, keep the song simple and leave the audience wanting more. But on Joltwagon’s self-titled album, some songs are a little long for a country rock record, with nine out of 14 songs going at five minutes or more, which may be a bit overbearing for some listeners.

Now, this doesn’t take anything away from the musicianship between David Bradshaw and gang. But, if they are going to be a country rock jam band, they may want to keep the jamming part to just a live atmosphere because it doesn’t translate as well to disc. Besides that, the CD is solid and the band has the potential to go much further.

On “Just Fine” and “Fly So High,” the guys take all of the elements of writing good jam songs and nail it on the head. The instrumentals on “Klezmer Boogie” are especially phenomenal, stock full of trumpets, clarinet and banjo, sounding like something that may have come out of one of Gomez’s lost demo collection.

There is also a softer side to the album, shown on “Kim’s Song,” where you can tell the love is heartfelt. Then, there are songs that begin on the soft side but evolve into a progressive jam like “Visitors,” where Bradshaw exclaims that they are “only here for a little while.” Let’s hope that they are here a little longer than that to see where this potential takes them on later efforts. (Goldang Records)

www.joltwagon.com

-Kenneth Gambill

Misfortune500 — Before This Winter Ends
Produced by Asa Leffer and Misfortune500
Engineered by Asa Leffer and Eric Friar
Recorded at Downtown Athens Recording Company in Athens, GA
Mastered by Jeff Capurso at Chase Park Transduction Studio B in Athens, GA

One of the most important things a band can do when recording an album is produce something that is memorable and will immediately grab attention. On Misfortune500’s latest effort, Before This Winter Ends, they do all of this and more on an impressive eight-song CD.

After having only been together for a little over two years, Misfortune500 are on point with the state of rock music today. It seems as though they might have committed the indie rock handbook to memory, but this Athens quartet takes on an interesting perspective when creating its unique blend of angry late ‘90s alternative and the current dance rock trend.

On the opener “Panther Panther,” the guys and gal build up the instrumentals before they head into the vocals. But when Chisolm Thompson’s pipes come in, there’s a relief that his voice can carry and match the music they are creating.

There are moments that can make you anxious, such as “Of a Map,” where Thompson and company deliver a powerful anthem. Then, on “VaudeVillain,” the angrier side of Misfortune500 surfaces, but though the track is more aggressive, it serves its purpose.
Taking little bits from the playbooks of the Pixies, U2 and the Toadies, there are songs that take the listener away and songs that evoke emotion. They even include a clever cover of the Chameleon’s “Don’t Fall,” which does not disappoint. (Self-released)

www.misfortune500.com

-Kenneth Gambill

The Righteous Bastards — The Ultimate Righteous Bastards Overdrive
Produced by John McElroy
Engineered by John McElroy and Danny Everett
Recorded at Southside Sound, Birmingham, AL
Mixed and mastered by Kevin McKendree and John McElroy at The Rock House in Nashville, TN

With its eclectic mix of sounds and its blend of the early Rolling Stones meets The Ramones meets Southern Boogie, The Ultimate Righteous Bastards Overdrive from the Righteous Bastards is a fun CD to listen to. The influences, from drunken bar brawls to stadium rock to punk pubbing, that this Birmingham, AL band draw from manifest themselves on every track. Jason Reid (vocals, guitar), Steve Rockett (drums, vocals), Marcus Lee (bass, vocals) and Joseph Dorough (guitars) kick out the jams, strut their stuff and burst some ear drums in every note along the way, leaving you shaking and begging for more.

In the songs, “Knock Your Teeth Out,” “32 Beers,” and “Gas Station Bananas,” you can definitely hear a heavy Ramones influence, albeit with a shot of Southern-brewed whiskey breath. In “Motor Violator,” “Sweet Romance” and “Time” you can almost picture Mick Jagger singing the lyrics.

At the other end of the spectrum, “Me And My 45” and “My Heart’s In Texas” have a distinct Southern country twang that makes them truly stand out from the rest of the album, taking the boys back to their roots.

The band’s guitar-heavy, raw, rock ‘n’ roll sound is distinctive yet familiar and should help them draw a large fan base from the thousands who are looking for a replacement rockers to fill their bars since The Rolling Stones are charging over $100 per ticket. (Self-released)

www.myspace.com/therighteousbastards

-Kat Coffin