CD OF THE MONTH

The Black Lips - Good Bad Not Evil

Produced by The Black Lips

Engineered by Edward Rawls and Justin McNeight at the Living Room in Atlanta, GA

Mastered by Noel Summerville at Metropolis Studios

This new record from "flower punks" The Black Lips strings together all those nasty bits that have so far defined this band with somee genuine, honest musical talent. Good Bad Not Evil is the band's second recording for Vice Records, the first was the live Los Valientes del Mundo Nuevo, released earlier in the year.

From beginning to end, the record presents a more focused group of musicians who, rather than relying on their influences, take them and meld them into a clear representation of these melodious factors.

The opening track "I Saw A Ghost (Lean)" commences with usual Black Lips sinister guitar riffage along with backwards guitars from Cole Alexander and a galloping drum line from Joe Bradley. This segues right into the second single released, "O Katrina," which depicts the ferocity of hurricane Katrina as a "ruthless old bag...that wasn't worth the shag." This short lyrical lament is told to the subtle surf guitar work of guitarist Ian St. Pe (originally from New Orleans).

The album's momentum takes a short hiatus with a downbeat attempt at a Troggs-style moment, "Veni Vidi Vici," which contains an underlying sample of "I'm Going Home" by longtime influence The Swamp Rats.

"It Feels Alright" and "Navajo" follow as gritty pop romps that name-drop Atlanta spots, veering from Peachtree and 5th the Magic City strip club through a snotty train wreck of a night with sleazy sex fantasies with Native American girlies.

"Bad Kids," "Step Right Up," "Cold Hands" and "Slime and Oxygen" all viciously pick up the speed of the record after the country-tinged "How Do You Tell a Child That Someone Has Died" leisurely twangs along with slide guitars and dobros.

Alexander and bassist Jared Swilley share vocals duties throughout the record with St. Pe and Bradley dropping in every once in a while, ending with the toy piano-led "Transcendental Light" which clangs along seamlessly.

Good Bad Not Evil might not have the off-the-tracks feel of their older records, but ultimately stands above their catalog and shows a band who has matured but not gotten old.(Vice Records)

www.myspace.com/theblacklips

-Jason James

The Snake The Cross The Crown - Cotton Teeth

Produced and engineered by Angus Cooke

Recorded at Prairie Sun and Orange Whip Studios

Mixed by Angus Cooke at Orange Whip Studios

Mastered by JR at MasterFonics

Cotton Teeth is the second full-length release from Alabama band The Snake The Cross The Crown. Hauntingly melodic and full of rollicking blues hooks, Cotton Teeth is a well-crafted, highly literate and accessible album.

Recorded in sunny Santa Barbara, Cotton Teeth is the perfect mix of Britpop and folk rock, full of lush arrangements, heartfelt vocals and smooth production. Cotton Teeth sounds like Wilco and Kula Shaker got together on a front porch somewhere to belt out a perfectly crafted record full of sincerity and savvy. A standout track, "Hey Jim," is a Pink Floyd-inspired piece with Devendra Banhart-esque vocals crooning over guitar dissonance while dark drum and bass combos roll under rumbling piano chords. It's an eyebrow raiser. "Behold the River" and "Cakewalk" are among the top tracks on the CD, however, there really isn't a song on this disc that won't make a long lasting impression. The epic "Electronic Dream Plant" is one of the prettiest songs on the CD, swelling and ebbing with sparkling piano melodies, gripping guitar riffs and inviting vocal harmonies that demand putting the track on repeat. This album may not be for genre purists, but for everyone else, it's a welcome mix of styles and sounds. (Equal Vision Records)

www.snakecrosscrown.com

-Charley Lee

Jagfu - Another Day

Produced by Rob Tavaglione for Catalyst Records, Charlotte, NC. Mastered by Dave Harris at Studio B, Charlotte, NC

The debut CD from Hickory, NC band Jagfu seems a little reminiscent of just about every '90s alternative and '80s hair metal band out there. They started out in Charlotte with hopes of becoming the best cover band in town and somehow ended up getting around to recording an album full of originals.

It's almost impossible to miss any of the band inspirations on Another Day - from Pearl Jam to Van Halen, it's all there. Unfortunately, there's not much else to Another Day. The vocals, the techniques and even some of the melodies all sound as though they belong to someone else: The title track "Another Day" could easily be mistaken for the Alice in Chains song "I Stay Away;" the track "Mine Somehow" features all the crucial heavy metal elements from the dense drum and bass combos to the virtuosic guitar riffs, but when it comes together it barely manages to sound like anything other than a Winger power ballad. However, the one truly original song on the CD, "Upside," is a great distinctive hard rock track. This song is without a doubt a Jagfu song.

The usual metal riff-age and guitar soloing come through toward the middle but there are no comparisons to be made. The only other track that stands alone is "Guinevere", a folklore-inspired ballad that starts off beautifully with a soft piano melody while drums and vocals lead into a guitar hook that anyone else out there calling themselves "folk metal" would kill for. (New Rebellion Records)

www.jagfu.com

-Charley Lee

Andy Ditzler - Songs from Yes and No

Produced by Andy Ditzler

Recorded and mixed by Will Lofton at Shangri-La recording in Atlanta, GA.

Mastered by Steve Fallone at Sterling Sound in New York, NY

"That's just economics, just a game / Competition makes everything the same / The present is like the future." That's what you might feel when switching the channels to find nothing but commercials, as Andy Ditzler writes in "Economics."

Ditzler delivers a stirring creation of current events and everyday life issues, embellishing all his ideas into a masterwork of classic pop music. Songs from Yes and No has the listener embarking on a journey into the mind of discernment. Ditzler's voice is penetrating and full of passion, his message clearly heard. His songs spill over with topics Ditzler has deemed critical to today's world.

"Just the Six of Us" is a myriad collection of pop culture's hit songs of the '70s and '80s in six condensed minutes. Breathtaking in musical scope, Ditzler paints an atmospheric portrait full of color and texture, slipping in well-known song lyrics such as "Just the two of Us," "You probably think this song is about you" and "Don't let the sun catch you crying."

Luscious saxophones breathe dazzling life into "To Know You Better," complete with charming piano, creating a pristine, jazz-like setting. After four minutes of candid structure, the music falls to pieces into ultimate chaos, as the music dissolves.

"Citizens" delivers a message of how real, everyday Americans can feel scared of being in their own country. "If you're confused, then you're doing great. It's okay if you don't understand," she shouts in a frightening story about struggling through a normal workday.

Ditzler's music is drenched with the essence of the trials and tribulations of normal, humdrum everyday American life. The subject matter ranges from technology to shopping, television to metaphysics, each issue bubbling over with intensity. The music is witty, intelligent and intriguing. His entrancing melodies and clear-cut vocal delivery are appealing, enlightening and full of discovery with each active listen. A healthy dose of this music will give you a new perspective of the world.

Quite provocative and beautiful, Ditzler's humor and positive attitude shines through triumphantly. Song from Yes and No has previously found success as a multi-media theater work, as it was originally commissioned by artistic director Larry Corse and the Clayton State Theatre in 2002. (Frequent Small Meals)

www.frequentsmallmeals.com

-Shawn M. Haney

Noah Glenn - Lafayette & Luxia

Written, produced, mixed and mastered by Noah Glenn from his home in Memphis, TN

Lafayette & Luxia is the sophomore release from Arkansas-bred Memphis resident Noah Glenn. Although the 21-year-old Glenn is relatively new to the scene, releasing his debut album More Than Machinery in 2005, he has already been embraced as a talented multi-instrumentalist and creative songwriter.

Lafyette & Luxia displays not only Glenn's ability to write compelling songs but also his multitude of other musical talents. Glenn wrote, produced and recorded the album from his home studio in the summer of 2006. The result is a lush sound with acres of instrumental exploration, playful harmonies and an overall sense of relaxed songwriting. Glenn forges a brave brand of progressive pop with specks of samples and instruments ranging from the glockenspiel to the clavinet to the banjo with an organic indie-pop familiarity that is both reminiscent and radical.

Lafayette & Luxia is strikingly diverse as a whole, with the album also exploring styles between songs. Glenn uses heavy piano and choir vocals on the Polyphonic Spree-inspired "All This Oxygen!" and then two songs later the sounds changes to full-on rock 'n' roll with the garage rock "Weakness Is," complete with echoing drums, crunching guitars and blown out vocals.

And although the album is diverse, it never loses its focus, successfully teetering on the edge between a progressive brilliance and a chaotic disaster without once slipping.

(Self-released)

www.noahnoah.com

-Matthew Godbey

Martin Stephenson - Hell's Half Acre

Written, produced and recorded by Martin Stephenson and Dolphus Ramseur with Jim Hornsby, Doug Rorrer and Gary McCourt at Flying Sound Studios in Eden, NC and Moores AME Zion Church in Charlotte, NC

It seems unlikely that and English post-punk/folk-rock singer would have much in common with the rural town of Midland, NC - better known as Hell's Half Acre for its legendary moonshining debaucheries. But for Martin Stephenson, former leader of The Daintees, within this crossroads town and humble surroundings exists a Mecca of soul, blues and folk music ghosts that have haunted him for several years. It is the cradle to so many of Stephenson's influences, such as Doc Watson and Charlie Poole, and with the help of producer/engineer Dolphus Ramseur, it is now the setting of his latest album Hell's Half Acre.

In order to capture the truest sense of the "old time" style, Stephenson and Ramseur chose to record 12 of the album's 15 tracks on Ramseur's front porch using nothing more than a single SoundField microphone and two acoustic guitars. Stephenson and guitarist JimHornsby pick, pluck, laugh and sing in the most honest roots album in decades. It becomes completely obvious listening to Hell's Half Acre that the roots which once inspired Stephenson are now the same roots planting him to the earth of a genre's cemetery. Stephenson does venture off the front porch for a visit to the Moores AME Zion Church in Charlotte, NC to record the powerful gospel tribute "Time With Jesus" with the Moores AME choir. But the album is still uncomplicated and void of over-production, as heard on the track "Rain," which was recorded on Ramseur's porch during a rainstorm. The result is an echo of roots music history and a tribute to the genre's pioneers and the simple way of life that inspired them. (Ramseur Records)

www.myspace.com/martinstephenson

-Matthew Godbey

Zoroaster - Dog Magic

Produced by Zoroaster

Engineered by Ed Rawls and Justin McNeight

Mixed by Ed Rawls and Zoroaster

Mastered by Ed Rawls at The Living Room in Atlanta, GA

Atlanta-based trio Zoroaster are sonically merciless on its six song, hour long debut Dog Magic. The doom-core group leaves nothing unshaken with this ear-splitting masterpiece of vile and sludge. Zoroaster self-released its first EP in 2005 drawing the interest of underground label Battle Kommand, which prompted a re-release of the record earlier this year.

Dog Magic plays with a seamless conviction, from its 11 minute and 23 second opener "The Book," to its spoken word ending on the album's title track, without once losing an ounce of its ferocity.

Engineer Ed Rawls perfectly captures the frightening, audible crushing spirit that is Zoroaster's live performance signature. With the help of Rawls' work at the mixing desk, the group delivers a possessed, larger-than-life assault of looming destruction to listeners.

Perhaps the album's most achieving track is the nearly 15-minute "Algebra of Need." Its loud, droning persistence becomes instantly hypnotic and displays the band's sense of unflinching discipline. The whole album is a hellish, teeth-grinding, need-to-take-a-shower clamoring that shows the band at its peak.

Overall, Zoroaster is unlike most doom you have ever heard. It's a dark, distorted orchestra of ooze and despair that takes the genre to its very core definition. If Celtic Frost were playing whilst trudging through an oil spill with Crowbar alongside, Zoroaster would be somewhere in the middle, just a few steps behind, and plenty of decibels higher. (Terminal Doom/Battle Kommand Records by way of Southern Lord)

www.myspace.com/thezoroaster

-Matthew N. Godbey

Matt Larson - This Living Room

Produced, engineered and mixed by Matt Larson

Additional production by Al Sergel

Singer/songwriter piano man Matt Larson is quick to note that this album was recorded in Studio A (his house) and Studio B (his garage) - hence the title This Living Room. What emerges is a crisp album of upbeat pop songs, including the title track, which has such a familiar pop feel that it sticks from the first play of the disc. "The Mind Contention" and "Loving Jon" has a squishy tenderness of ballad convention, where simple (but still unique) instrumentation speaks volumes over a mess of sounds.

With "Doubt" and "With You," high octaves complement Larson's soft tenor, and elements of Elton John and Ben Folds radiate throughout with touching echoes of love exclamations. Larson's only problem is there is too much sugar; nothing comes out raw or emotional (just created for the perfect romance). His disc feels like a cheesy movie at times, as with "The One I'm Wanting," a gooey love song that probably caused the singer blush with embarrassment for a few lines.

More deft arrangements are found with "In Distress She," where an upbeat piano meets Larson's fuzzy voice with a intimate '60s feel and organ solo. The beat picks up a melancholy sound with "Righteous Virgin," a display of guitar and violin jams that shows off Larson at his most inventive while still retaining a sharp and workable pop structure. It's this experimentation that Larson needs to find more of next time. (Self-released)

www.mattlarson.net

-Josh Spilker

The Rockin' Pontoons - Faith In A Happy Ending

Produced and mastered by Chris Griffin in Atlanta, GA

This is the second release by Atlanta's Rockin' Pontoons after their country-tinged debut Beautiful American Dust. Led by vocalist and rhythm guitarist Steve Coffey, The Pontoons manage to stay afloat, but it's not always pretty. On this album Coffey is aiming for a Jimmy Buffett-calypso style combined with humorous, honky-tonk Robert Earl Keen-styled country and wrapped together by some piano bar class. Though it seems like it would be a natural soundtrack for an easy-going business trip night out, it's hard for Coffey to jump from the steel drum to the steel guitar successfully.

The Rockin' Pontoons are at their best when Coffey allows co-vocalist Laura Dees to take over the lead, as he does in jazzy opener "In The Beautiful" and the roots-rock tune "Everybody's Guilty." Both of these are great songs to begin the album, but unfortunately several of the songs that follow sound exactly the same, such as "Insane" and "Don't Fall." The Rockin' Pontoons pull off their shtick for two or three songs, but it's impossible to sustain their country/Caribbean feel for a whole album without sounding too much like a non-descript tribute band with no one to pay tribute to.

However, songs like "Hank," a narrative country bar number, is quite a lark, and Coffey displays a real gift for this form of story telling. This song really caps the album off at track seven of 15. After that, things mush into a derivative pile of light '70s jam rock battered with greasy organ tones. You've heard the stories before - too much drinking, too many lovers and too many past opportunities. The Rockin' Pontoons are good background noise for a boisterous biker and cowboy-themed bar with cheap drinks, where no one's paying too much attention. (Self-released)

www.rockinpontoons.com

-Josh Spilker

Dr. Powerful - Daydipsnake

Recorded by Jerry Kee at Duck-Kee Studio in Mebane, NC

Dr. Powerful's newest record Daydipsnake, released on the Murfreesboro, TN label Grand Palace Records, is a disjointed release with great potential. The group, comprised of G. Murray Anderson, E. Watkins, A. Rouse and D. Wayne Robinson, play in a vein that not only touches on the early Sub Pop and Touch and Go catalogs, but also delves into moments of math rock and jam band interplay.

The record opens with two strong workouts in "Not Again," a track that spews fierce guitars catchy vocals into a captivating instrumental coda, and in "Gotta Get That Fixed," lined with dueling guitars and big, blow-up choruses. These tracks are sandwiched around the synth-led instrumental "Spaceship Syndrome," which could do much better as a B-side.

The remainder of the album dabbles in the same ideas of the opening songs, but drops the precision guitar work in favor of sheer momentum. The early climax shows promise that will only come with maturity.

For now, Daydipsnake presents the elements of what can make an engaging band in the future. The music's sincerity is not to be denied and the raw talent shines through in the high paced instrumentation. (Grand Palace Records)

www.myspace.com/drpowerful

-Jason James

Tiger! Tiger! - The Kind of Goodnight

Recorded and produced by Rob Gal and Tiger! Tiger! at Orphan Studio in Atlanta, GA

It almost feels anachronous listening to Tiger! Tiger!'s new record on a CD player. You'll want to slip The Kind of Goodnight out of a dusty sleeve and onto a turntable. As the band bangs out distinctly garage rock tones, you can almost smell the sweet musk of vintage vinyl.

The aesthetic here is propelled more by the scratchy, warm production value than the songs alone, which do their best to mix things up. Tiger! Tiger! has its share of straightforward three-chord progressions, but the band seems deftly aware of the potential pigeon-hole. The band dodges chances to get pegged down by introducing surprise elements and instrumentation at every turn. There's the wailing saxophone in tracks like "Cheap Imitation" and "Pretty Perjury." They even venture to new ground melodically when, in songs like "The First Thing," the groove slows down to the sleazy swagger of a rockabilly ballad.

Singer Buffi Aguero's vocals also set the band apart from both classic garage and contemporary revivalists. You'd be hard pressed to find a female voice in the '60s vaults of this genre. The girls tended to stick to the doo-wop and girl group projects in those days, letting the boys handle the gritty rock 'n' roll.

To make a more accurate comparison, you'd have to fast forward to Holly Golightly and Thee Headcoatees in the '90s. Still, even then, Aguero has more to offer than the usual screaming "yeah yeah yeah"'s of Thee Headcoatees or other garage bands. She's able to deliver a range of emotion through intelligent and intelligible lyrics. Finding a middle ground between the snarling punk and yet the melodic songstress, Aguero's voice seems perfectly suited to the bare-bones rock sound.

Certainly fans of classic '60s garage will find plenty to love here. There's that howling, retro organ and loads of raunchy guitar riffs. Even with 16 tracks, the record clocks in around 40 minutes with precise punk rock speed. There are no smooth edges here; just the buzz and murmur of Tiger! Tiger!'s rock 'n' roll roar. (Chicken Shack Records)

www.tigertigerrocks.com

-Michelle Gilzenrat

Reagan Boggs - Right Now

Produced by Eric Fritsch and Reagan Boggs

Mixed by Eric Fritsch at Eastwood Studios in Nashville, TN

Engineered by Jim Price at Hog Holler Studio in Gray, TN and

Maggard Studio in Big Stone Gap, VA

Mastered by Jim Demain at Yes Master in Nashville, TN

The second release by Reagan Boggs, Right Now takes the songwriter's stories of small town folks and layers her vocals with a dobro, banjo, mandolin, fiddles and guitars to create a country album. It has big shoes to fill, since her first album made American Highway's top 30, but she delivers.

Boggs blends the vocal-stylings of Patty Griffin, Martina McBride and Patty Loveless to ensure that though her music sounds familiar, it only makes the listener feel at home long enough to settle into her original tunes. Traditional pedal steel guitars whine in the background and remind fans of days when there was a tear in Hank Williams' beer. However, her young voice creates a contemporary offering. Kevin Jackson and other guest musicians make appearances throughout the album, offering plenty of Southern talent.

Instrumentally, "The Graves" outshines all the other tracks on the album. Fancy banjo picking and steel slides paired with fiddles and guitars make this track a bluegrass, honky-tonk lover's delight. The title track shows Boggs can be soft and controlled and she can deliver the higher range with clarity and heart. This song proves that ballads are Boggs strength. Lyrically, "Plastic Flowers" grabs attention. The track tells the story of a woman caught in an unfulfilling marriage as she grapples with whether to stay or go. "Clifton Branham" trails in a close second, telling the story of an Appalachian no-gooder through his own words. The album finishes strong with "Wait a Minute," a combination of the talent of her musicians, captivating harmonies and booming vocals. (BMI)

www.reaganboggs.com

-Selena Lawson

Infradig - Ecstatic Everywhere

Produced by Carl Cadwell

Mastered by Stephen Nichols at As Elyzum

For fans of Infradig, Ecstatic Everywhere is painfully bitter and exceptionally sweet. On top of being the group's latest offering, it's also the last. In fact, once this review is printed, the band will be no more. But Ecstatic Everywhere is a glorious way to end a career that has turned critics into believers, believers into fanatics, fanatics into complete psychos.

Infradig reaches deep into their instrumentation skills, with flawless work performed by all members of the group and near-symphonic arrangements. At one moment, the lush melodies guide listeners into a state of musical comatose, only to be interrupted by off-kilter guitar work, an absurdly complex drum part, or any array of keyboard-produced oddness.

While the album makes use of a wide variety of electronic sounds, purists should remember that all sounds produced come from the hearts, souls and fingertips of this imaginative quartet. From Carl Cadwell's keyboard work to Joshua Caleb Green's drumming madness to Dave Kauffman's low end to the guitar perfection of Bill Robinson, there isn't an ounce of mediocrity or insincerity throughout the disc's 47 minute duration.

More than an album, Ecstatic Everywhere is a soundtrack that demands full attention. It's the slow drive to work, the fun times during breaks between classes in high school, the innovation that could change the world. It's also the last bit of musical history available from this one-of-a-kind group. (Self-released)

www.infradig.net

-Daniel Brantley

The Dexateens - Hardwire Healing

Produced and mixed by David Barbe and Patterson Hood

Mastered by JJ Golden at John Golden Mastering

Tuscaloosa-based rock band The Dexateens enlisted Drive-By Trucker Patterson Hood and long-time DBT producer David Barbe to man the controls during the creation of their most recent album. The group's mix of influences and abilities is a perfect match for Hood and Barbe, and the resulting LP, Hardwire Healing, offers a near flawless blend of dirty, up-tempo southern rock and stripped-down, guitar-based rhythm and blues. "Naked Ground" is a stomping rocker in the vein of Drive-By Truckers and Lynyrd Skynyrd with a paced guitar and vocal lead-in that slows down and builds up to a surprisingly satisfying rhythm and lead guitar jam session. Another track that shows off The Dexateens' rock sensibility is "Fyffe," a looser garage punk take on blues with telling lyrics such as "I know I'm getting older now / But I still ain't seen it all." This track also allows the band to further display their tendency towards classic guitar solos and a hard-played drum backbeat.

The guys slow it down a bit for tracks such as "Downtown," a finger-strummed ballad attesting to the emotion-numbing effects of alcohol. This track contains some of the best lyrics on Hardwired Healing with lines like "Every time it rains I pour / H0ead out on the same grand tour / Darken all the same old doors / And swear that I won't do it anymore." "Some Things," another of the album's stand-out tracks, is a love song that deftly blends steel and lead guitar for an instantly catchy blues rock sound. It is nice to know that the future of southern rock is in such capable hands as those of The Dexateens, especially when they have the current giants of the scene guiding them in the right direction.

(Skybucket Records)

www.dexateens.net

-Micah McLain

Jesse Payne - Songs from Beyond the Leaves EP

Produced by Jesse Payne and Jason Elgin

Engineered and mixed by Jason Elgin at Synchromesh Studios in Tarrant, AL

Mastered by Roger Lian at MasterDisk Studios in New York, NY

The four tracks on Jesse Payne's second EP, Songs from Beyond the Leaves must have been written in a cemetery. The lyrics are full of tombstones, skeletons and lost love. Although the songs are not always uplifting in subject matter, Payne's unforced blend of indie pop and alt-country sensibilities help to pad the blow. Lyrics such as "we are tragic like our youth" on "Skeletons" are both instantly catchy and thought-provoking, inviting the listener in with upbeat acoustic guitar and holding them there to ponder the parallels between physical death and the ending of a relationship.

"Thief Among Us" takes an electric guitar solo and heavier percussion into the fold after an initially sleepy piano-based intro. With lines like "All the branches but one swing together...Everyday we get a little farther from the ones that we love," Payne uses Thoreau-like images of nature to set the stage for a bond that is fading away at the fault of no one in particular. Payne sounds like a melancholic Chris Martin on "Comfort There," a slow-flowing layered acoustic and electric guitar ballad full of ohhh's and oooh's. Strong lyrics once again lead the way with "You can run / Until your bones / Turn towards home / Like a garden in the sun." Payne saves the most upbeat track on this EP for last, with "Until the Roots Surface." This instrumentally diverse track attempts to reassure the listener that everything will be alright one way or another, while ending in a steadily building jam of finger-picked guitar and the repeated chorus, "You can't say that there's nothing better / Than sitting up drinking with you." (Self-releasedl)

www.jessepayneonline.com

-Micah McLain

Charles Ashley Moore - Charles Ashley Moore

Recorded, mixed and produced by Charles Ashley Moore at The Barber Shop

Mastered by Frankford Wayne in New York and at Replication in Oasis, NJ

Moore is your traditional singer/songwriter musician with humble instrumentation and honest lyrics. Album opener "Sunflower" is a swaying pop-jazz song that leaves space between chords for Moore's warm, John Mayer-like voice. He also owns a subtle southern twang that surfaces on nearly every track but perhaps most poignantly in "Blue, Blue Bridge."

Moore avoids studio tricks, playing some intricate licks and fills between his chords that could easily have been overdubbed on top of a rhythm track but instead are left alone, unadorned and strong and carrying the song. Even when guitar soloing, Moore opts to leave his one acoustic as the only instrument on the track. This stripped down aesthetic renders some perhaps typical pop-acoustic songs into interestingly vulnerable pieces of music. Moore calls this approach "Dirt Road Rock." The imagery of this expression comes through most glaringly in "The Plow," "Walking Tall" and "Live Your Dream," where the romance and spookiness of a rambling lifestyle shimmer within the lonely echo of that guitar. "The Plow" is a slow and sexy, Southern folk track that grooves over snappy acoustic licks and is highlighted by Moore's unafraid, sometimes cracking vocal performance. This track is Moore at his best, a catchy acoustic song that doesn't give over to a radio friendly sound while still having undeniably listenable elements.

"Modern Slavery" offers highly pensive and delicate lyrics that demonstrate why a long, careful evolution from notebook doodling to album recording. Not every song on the album is entirely authentic but the success of songs like "The Plow" and "Live Your Dream" show great potential for a sophomore effort. Keep walking that dirt road, Charley.

(Self-released)

www.charlesashleymoore.com

-Brian Gilton

Hammertorch - This Hammer Fell from the Sky

Recorded by Bobby Holland at Studio 515 in Nashville, TN

Mixed by Jared Forrester and Jason Yeary

Mastered by Keith Cordell

This Hammer Fell from the Sky, Hammertorch's new Southern classic rock EP, comes at us with Cinemascope vision - big long songs, allegorical stories that flesh out worlds of motels and long windy roads to nowhere and open minded use of feedback swells and sheets of white noise. But one senses that "concept album" wasn't really all they had in mind here. Abstract sounds are utilized in "This Hammer Fell from the Sky (Part I)," but otherwise the songs are radio-friendly and delightfully listenable, the way The Band and Neil Young used to be. Songs like "Dark Country Night" and "Flat Tire" are soulful sing-alongs that, with the help of Jason Harding's ambient steel guitar, bring these artists to mind.

This pack of songs feels a bit redundant (four of the seven tracks share the same title making two of them reprises) but there's evidence they were chosen with careful intention. Although there seems to be no overt lyrical or instrumental theme, playing the songs reveals a gradual thematic arc. Opener "Murfreesboro Motel" offers a classic rock, lighthearted feel, but as the hammer continues to fall, the tracks take an intentionally affective dive through obscure noise rock in "This Hammer Fell from the Sky (Part I)" into the despairing lyrics in "Flat Tire" and, gaining momentum, into the heavier and faster Wilco-esque indie-rock riffing of "This Hammer Fell from the Sky (Part II)." The mood finally elevates with the earnest hard rock of "Where I Belong" which explodes at the end with a fiery guitar solo. Once genial again, the album opens wide once more into an upbeat southern rock song "Dark Country Road (Reprise)," highlighted by its excited and redeemed refrain, "We knew it all along."

This Hammer Fell from the Sky is a fine first release that represents impressive ingenuity within EP length and framework. (Self-released)

www.myspace.com/hammertorch

-Brian Gilton

Greg Summerlin - All in Good Time: The Life and Times of Polly Shields

Produced by Ed Ackerson

Recorded and Mixed by Ed Ackerson at Flowers Studio in Minneapolis, MN

Mastered by Bruce Templeton at Magneto Mastering

Greg Summerlin's album, All in Good Time: The Life and Times of Polly Shields was just released earlier last month on his own Superphonic Records, but the Alabama native's debut CD would be just as accessible had it been a product of the '80s. Though Summerlin's disc is shrouded in a contemporary cloak of modern alternative rock, underneath lies a very vintage sound.

His voice, reminiscent of a grating Morrissey, whines its way through the happy musical backgrounds of many of his tracks with a careless attitude of an amateur punk rocker. You can tell he's a big Postal Service fan by they way he pulls in vocalists Erin Tumlin and Janey Winterbailer to pretty up the background of a few songs, including "Unlucky in Love," one of the best on the disc.

But despite testing the waters of alternative rock, the album feels most comfortable wading in the retro of the '80s. He sneaks in some new wave influence in "A New Birth" after channeling stripped down punk feel for most of the disc, specifically on "Just Listen Tonight" and "He's a Faker."

Summerlin mainly drops the ball with his difficulty connecting the songs and genres. The album's title refers to a character Summerlin created, and he tries too hard to make the story of her life flow throughout the 14 tracks.

Still, Summerlin's work is worth checking out. Despite some flaws, it is an excellent start from a new artist. (Superphonic Records)

www.gregsummerlin.com

-Melinda Hanna

Coyote Run - Places

Produced by David Doersch

Recorded and mixed by Mike Seddon at Live Sound Inc./Brunswick Recording

Recorded live at Williamsburg, VA and Troy, NY

Coyote Run creates music that conveys joy and happiness that goes straight to the soul with this intricate album woven out of live recording sessions in Williamsburg, VA and Troy, NY.

Places sparks up a memorable offering of 13 songs, full of grand storytelling and breathtaking instrumental delivery. The band embraces several genres and each tune packs a punch of enthusiasm, energy, wit and intelligence.

A daring and unique work, Coyote Run fires a creative bullet into the heart of a candid spectrum of genres. The record makes a melodic and spiritual impact, communicating rich emotion with an avid use of splendid vocal harmonies and highly textured instrumentation.

David Doersch, Steve Holliday, Les Kayanan, Gabe Stone and producer Paul Mills bleed with such chemistry. Each performance is a message of many genres and styles, including Scottish-Irish, Shoshoni and English. "Wise Men" shouts out "Peace on Earth, Good Will to All" in the Christmas spirit. "Finnean's Dance," a song celebrating the dark, mysterious forces of fairies, provides the album with a touch of magic. The album then launches into an opening melody with passionate a cappella in "Down to Old Maui."

On Places the listener will find a dazzling array of instruments like pipes, harps, Bodhran drums, acoustic guitars, and fiddles. Each track blends a formidable mix of grainy textures as the instruments truly breathe, letting go a strong bite of refreshing energy. All this is interwoven with a luscious and beautiful blend of vocal harmonies, with trinkets of a cappella thrown in for good measure. (Wild Run Records)

www.coyoterun.com

-Shawn M. Haney

Mike Strauss - After All

Produced by Randolph Lewis

Recorded and mixed by Chris Garges at Old House Studios in Gastonia, NC

Mastered by Brent Lambert at Kitchen Mastering in Carrborro, NC

Mike Strauss' third offering, After All, could easily have him voted "Most Likely to Appear on Farm Aid." The Charlotte, NC native conjures images of Bruce Springsteen (without the E Street Band) and John Mellencamp. Though it's not quite rock, it's not country either. This album is a true, down home, American rock-country album. Strauss pours warm grit onto his listeners, making his voice the most prominent feature of this record. With the soul of a storyteller (think Neil Young's Harvest), Strauss creates more than just another singer/songwriter album. He puts raw emotion, life experiences and love on a platter to sacrifice to the listener.

The album offers as much of a physical experience as it does a musical ride. The opening track, "On Accident," forces fans to snap their fingers and tap their feet while Strauss lures them into the tune. Then, they sway back and forth as he sings "words unwanted and unreal" guided by pedal steel in "After All." Southern gospel harmonies and slaps from the upright bass, gets them to their feet, while saloon-style keys ensure they'll shimmy and skate across the floor.

The musicians showcase their talents so well throughout the tracks, and Strauss' voice remains so consistent that earmarking a hallmark track proves difficult. However, "How Did it Get So Late?" offers the softer side of Strauss and could be the one must-listen. "The New One" calls for a little dancing, so grab a partner and press play. Get ready for this journey, which is just what this artist's masterpiece is. (Independent Release)

www.mikestrauss.net

-Selena Lawson

The Paint Sisters - The Paint Sisters

Produced by John Carter Cash and Liz Ficalora

Engineered by Chuck Turner

Mastered by YES Mastering in Nashville, TN

Recorded at The Cabin in Hendersonville, TN

The Paint Sisters are a trio out of Franklin, TN who blend blues, country and rock on their self-titled debut album. All three women have distinguished careers on their own.

Melissa Sigler is a lauded blues singer and writer hailing from Louisiana with a voice that is deep, resonant, and sultry - everything a lady singing the blues needs. A wailing guitar and saxophone back her keyboards as she covers Bill Withers' "Ain't No Sunshine." Self-penned tracks like "Quite Alright," "She's Gone" and "Change My Heart" are sure to be instant classics on the blues circuit. "Tell Me You Can Cook" has a classic blues-rock feel to it, describing comically how tastes in men can change with time. All four songs show that Sigler's music writing voice is as strong as her vocals.

Jill Sissel hails from Utah. She is an accomplished, highly poetic songwriter of rock and country music. Fans of Karen Carpenter and Carole King are bound to enjoy her work, and her songs form an interesting counterpoint to the blues pieces. "Under the Blue Sky" and "Take A Picture of This" are full of exuberance and resounding faith in possibilities. "The Builder" is a more solemn, reflective personal story told using the analogy of a structure being shaken by a fierce hurricane, tearing away the surface for a new start. It is backed by simple piano and Liz Ficarola's harmonizing vocals.

Ficarola is a New York native and skilled percussionist. She backs on vocals beautifully, especially on the first track, "Angels Singing" She produced the album with John Carter Cash and co-wrote "Take A Picture of This". (self-released)

www.paintsisters.com

-Kathleen Wehle

Sarah Mac Band - Countdown to Silence

Mixed by Stratton Glaze

Mastered by John Scrip at Massive Mastering

Sarah Mac Band's first EP, Countdown to Silence, is one of those EPs that functions exactly how its supposed to. Within the span of the eight songs featured on the disc, the listener gets a firm grasp of everything the acoustic Tallahassee trio has to offer, everything it lacks musically, and everything it has the potential to accomplish. And while the band's sound - rounded out by guitarist, keyboardist and vocalist Sarah McHaney, bassist Claire Swindell and guitarist Charlie Vanture - is both pleasant and promising, it also proves to be ultimately forgettable, as the music's potential cancels itself out inside the stuffy confines of the coffee house genre. By the end of the 32 minutes, just as quickly as Mac's charms take hold, they cool off like a half full cup of java left out a little too long.

The trio opens with the surprisingly infectious "I Can't Change," showing off what they can do with a couple of acoustic guitars and McHaney's restless, soulful voice. The song perfectly captures the best of two worlds - the glaring melodies of more mainstream music and the blunt honesty of acoustic folk.

The problem lies in the other songs trying to keep up with the first. While the band admirably tries to do something new with something old, the album spreads itself too thin as it cannot decide whether to play up the riffs or the rawness.

The Sarah Mac Band does what it can with what it has, and at times does so very well. Its main problem, however, is that it never quite does so memorably. (Self-released)

www.sarahmacband.com

-Melinda Hanna

Juliana Finch - How To Take the Fall

Produced, engineered and mixed by Danny Howes at Red Door Studios in Atlanta, GA

Mastered at Glenn Shick Mastering in Atlanta, GA

How To Take the Fall, Juliana Finch's latest release is almost a completely self-penned album with the eternal themes of love, loss and longing. The girl who is throwing her heart around so easily doesn't belong to a particular age or fashion era - she's any girl who has taken chances on love since her teens. If she's like most of us, she's taken more than a few chances, and the characters in Finch's songs reflect this tendency to lead with the heart.

"Joshua" talks about longing for a boy oblivious to how the narrator pines for unreturned affection. "Carrying You" is another song, sung in duet, about a reluctance to let go after creating phenomenal memories with someone. Its story is reminiscent of Dylan's "You're Gonna Make Me Lonesome When You Go."

"Love Like You" is a first person narrative song told with Biblical analogies, accompanied by pedal steel and electric guitar for an old-fashioned country mood, it is one of the strongest tunes in the collection.

"The Wind that Shakes the Barley," a Celtic ballad about losing a lover in a brawl, is the only thing here that's not original. The song is accompanied by strings while an authentic bodhrán keeps rhythm. The same violin is combined with saxophone and electric guitar in "Rattle Snake" for a modern female self-declarative ballad. The listener takes a 150 year leap in American History between these two songs, one moment its 1860 among Irish-Americans, the next its 1995.

"Glass Heart" and the title track use Finch's vocal and loops, or guitar, resembling Annie Lennox's solo work. If Lilith Fair had a reunion show, Finch would easily share the stage with Sarah McLachlan, Paula Cole, Tracy Chapman and Shawn Colvin. But this album is not so much about being female as it is about crafting material where every word of every story is meant and felt. (Self-released)

www.myspace.com/julianafinch

-Kathleen Wehle