CD OF THE MONTH

Judi Chicago — Judi Chicago

Recorded and mixed by Judi Chicago

Mastered by Randy Garcia

The latest offering from the Atlanta duo of Ben Coleman and Travis Thatcher, Judi Chicago is an infectious revelation of dance-synth hooks, funky kick-start drums and playful witticisms. Borrowing a little from ‘70s funk, ‘80s new wave and the electro-pop of the ‘90s, Judi Chicago is one part Parliament Funkadelic, one part Carter: The Unstoppable Sex Machine and one part Groove Armada. Though the music is obviously infectious and attention-grabbing, the ridiculous lyrics gain a spotlight all of their own, being unapologetically light-hearted, goofy and abstract.

The music rides high over feverish melodies and some truly movement-inspiring harmonies. But though the music rises one notch above a lo-fi aesthetic, the discordance of the drum machine can get a bit tedious. Still, the use of distorted guitars, cowbells, psychedelic sound waves and random snaps and pops thickens the hollow sound of sequenced riffs and staccato drum beats, taking the album a good few steps away from the monotenous.

The kinetic, foot-stomping rhythms in “Mad Ape” would probably feel at home at a dance club or as the soundtrack to a party. The slow-building space jam, “Chick Filler” is slightly reminiscent of The Gap Band’s “You Dropped a Bomb On Me,” only more lascivious and less soulful. It still remains one of the best tracks on the CD, though. At the end of the day, Judi Chicago’s latest raucous delight doesn’t disappoint in the freakout department, and it’s got enough grooves to entertain a party of one. (Self-released)

www.myspace.com/judichicago

-Charley Lee

Various Artists — Makeshift 5

Recordings compiled by Unclaimed Recordings in Memphis, TN

This fifth compilation in a series by Makeshift Music is a benefit to Memphis’s Church Health Center, a non-profit offering healthcare for the uninsured. All of the bands have Memphis connections. Featuring 22 tracks, the fare ranges from the singer/songwriter (male and female) and to the limits of post-punk. The difficulty with a compilation is that the tracks chosen may not be representative of what each act is really capable of achieving. The track “Boss Weatherford, 1933” by Frank and Murry is a bit underwhelming and simple, not revealing their formidable talent on the guitar that some of their other work does. The same could be said for Snowglobe; the band’s track “Blue” is a lullaby of glassy chimes but lacks the energy of Snowglobe’s full band instrumentation. Both groups are usually represented by pure gold in their music, instead of the low carat tracks that are shown here.

Like a solid radio playlist, a good compilation should also pay attention to proper transitions. Makeshift pulls it off well in a few spots, especially with the dark piano-oriented track from Oracle and The Mountain followed by the melodic Two-Way Radio. But sticking the new wave synth of The Original Cyndi right behind the whiny country of Paul Taylor is a disservice to both groups.

A surprising track is Cory Branan’s ode to Muhammed Ali, fittingly titled “Muhammed Ali (And Me).” The blase lounge song is punctuated with a strong brass section that adds credibility to Branan’s quirky lyrics. The post-punk tracks of The Secret Service, The Subteens and Pezz, along with the surf of Antique Curtains are all strong. One of the singer/songwriters that stands out the most is Brad Postlethwaite. His ‘60s style folk rock on “Particles Locked In a Chain” is impassioned by a crisp accordion and other surprising sonic elements.

Makeshift 5 provides a good glimpse into the underground and emerging rock scene of Memphis. If this is some of the best of Memphis, then Memphis is in pretty good shape. (Makeshift Music)

www.makeshiftmusic.com

-Josh Spilker

Nate Nelson And Cortright — Knobs Have Turned

Produced by Nate Nelson, Andy Baker, Andy LeMaster

Engineered and Mixed by Andy Baker and Andy LeMaster at Chase Park Transduction in Athens, GA

Mastered by Jeff Capurso at Chase Park Transduction in Athens, GA

Nate Nelson’s “Knobs Have Turned” veers between broken despair typical of singer/songwriters (“Hoping That Home Will Stay At Home,” “Advice From Veterans”) and full-band power pop (“The Fun Stuff,” “The One You Wish You Heard”). All of those tracks are good, but Nelson’s best sound is with the songs that vacillate between styles, the ones that feature Nelson’s strong writing, with simple band backup. “A Sing-Song Fashion,” also appearing on an EP by Nelson with the same name, is perhaps the best example. A folksy charmer of a song, it features Nelson’s acoustic guitar strumming with unobtrusive reverb to an unforgettable lyrical structure.

Cortright is Nelson’s band and features many Athens musicians, including most of the line-up of The Modern Skirts and members of Now It’s Overhead. The band structure complemented with Nelson’s lonely guitar tendencies does not create a fragmented piece of work but one with distinct diversification. Nelson also readily displays his piano proficiency, best highlighted by the cleverly named, “Marco Polo and Phone Tag,” a narrative song about mistakes and friendship.

Perhaps the only mistake Nelson commits is that his songs do not always feature an easily-recognizable chorus, which could lose some casual listeners. Instead, what Nelson offers is immediate vulnerability that does not come wrapped up in the neatest of packages. Compelling and pleasantly unique, Nelson and Cortright have set the bar high for themselves, and it will be fun to see what they deliver in the future. (Self-released)

www.natenelsonmusic.com

-Josh Spilker

Trances Arc — XOXOX

Produced by Trances Arc, D.W. Prasse, and Randy Sabiston

Mixed by D.W. Prasse

Engineered by D.W. Prasse and Danny Sabiston

Additional mixing by Alex Lowe

Mastered by Alex Lowe at Red Tuxedo Studio in Atlanta, GA

This latest release by Atlanta’s Trances Arc is straight ahead guitar-driven rock. The band members Eric Toledo (lead vocals, keys), Michael Dorio (guitars, vocals), Jay Propst (guitars, vocals), Daniel Silvestri (bass) and Brad Hagen (drums) have crafted music that is reminiscent of bands of the ‘70s when powerhouse rock was in its heyday.

Catchy lyrics and big choruses are abound on XOXOX, most notably in songs “Parliament,” “Tell Me Where You’re Going” and “Don’t Like Leaving.” A psychedelic vibe gives “Birds Collide” a diverse sound, while the guitars in “(XOXOX) Star Spangled” and “In You’re Out” make those tracks standout. Even the tender “Cold Drivers” and “Look Up” don’t stray far from the powerful sound found on the rest of the CD.

This album could have been made 30 years ago. The music harkens back to the days when rock was never without its roll, and there wasn’t any pretense to be anything else.

Eric Toledo’s vocals reign supreme here. Whether it’s a soft, tender ballad or a frenzied, high-energy rock song, his voice is lively, passionate and captivating, adding to the skilled musicianship that is the rest of Trances Arc. (Slush Fund Records)

www.trancesarc.com

-Kat Coffin

The Yum Yum Tree — Paint By Numbers

Recorded by Jason NeSmith at Bel Air Studios in Athens, GA

Mixed by Curt Wells at Big Ed’s Used Farms in Atlanta, GA

Mastered by Glen Schick at GS Mastering in Atlanta, GA

Indie-pop band The Yum Yum Tree has been making waves for years now, being featured on best-of lists and regaled in their native Atlanta and beyond. Paint by Numbers, released in October, is a testament to the hype, proudly proving that all the buzz and all the recognition surrounding the band is rightfully deserved.

Numbers, The Yum Yum Tree’s second LP, is fueled with the same grit and guts expected of the excitable quartet, yet there is something new about their latest release. The album differs from previous efforts in that the band used to be about the business of getting your attention. Now that they know that they have it, the band seeks to have its way with it.

The result is 13 songs that please the ear as much as they pierce it. The band’s jolting, schizophrenic guitars swerve from punk (“Inevitable”) to new wave (“Tetherball”) to even ‘50s doo-wop (“Februaries” and “Factor Me Out”) in the span of less than an hour. But despite the wild ride, the listener is left wanting more.

And of course, no Yum Yum Tree review is complete without a few words on singer Andy Gish. Her voice is in top form all throughout the record. She no longer sounds like a particularly pissed Hope Sandoval and has fully emerged with her own vulnerable, passionate sound.

The Yum Yum Tree no longer has to worry about getting out attention. We are all ears. (Two Sheds Music)

www.theyumyumtree.org

-Melinda Hanna

The Afromotive — Scare Tactics

Recorded and Mixed by Jacob Keller

Produced by Jacob Keller and The Afromotive

Mastered by Dan Gonko

Masterfully recorded and precisely performed, Scare Tactics is so well executed that it nearly sounds synthetic. The members of North Carolina’s The Afromotive have backed up international acts such as Eryka Badu and Kalakuta Moziak in their careers and their new album is rife with astounding technique and dizzying polyrhythm. As talented musicians, the members of The Afromotive are surely some of the best, but the album’s actual music falls into too many world beat cliches to truly stand out in the genre.

The recurring dynamic is simple: instruments drop out, then return, and horns punch in and out between lyrical phrases. The heavy reliance on repetitive grooves rather than traditional pop song structures make it perfect for sampling and creating loops, but the listener is not taken on much of a journey; typically, the parts of the songs are nearly interchangeable, and the intensity, albeit high, rarely varies. The tempo change in “Red E Yo,” for example, is one of the most enthralling parts of the album, but it stands out because it is a rarity. Were Scare Tactics to more often stray into a looser, Dionysian approach, not only would the band make more of an impact when it tightened up again, but it would also win over listeners who seek more than technical proficiency.

Singer Kevin Meyame’s lyrics are simple, but portray a certain charming wisdom; five of the eight songs are sung in broken English, two are in French, and one boasts lyrics in both French and Baoule, Meyame’s native West African language. The non-English songs are clumsily translated in the lyric booklet, which actually adds to their charm and impact. Meyame’s observations about nurturing the young, for example, are terse and to-the-point in a way that would escape correct grammar: “He go make young bring him beer / Make young want to drink / He go make young bring gun for him / Make young one go for gun.” Scare Tactics‘ strength lies in its juxtaposition of simple lyrical ideas over complex rhythms. Although it lacks diversity. Scare Tactics provides solid grooves and a refreshing departure from the maudlin attempts of most modern acts, and not a single performance falls short of perfect. (Harmonized Records)

www.theafromotive.com

-Harold Zimm

Pistolero — Getting Used to Decapitation

Written and Produced by Pistolero

Recorded and Mixed at Shabbey Road Studios in Atlanta, GA

Although cloaked in a traditional CD case, Pistolero’s Getting Used to Decapitation EP is laid out like an old book. The design is very similar to the 1995 Lookout! Records release JD Salinger by the Wynona Riders, but Getting Used to Decapitation is distinct in its book-like qualities, including a biblical, red ribbon bookmark draped inside. Each of the four songs is labeled as a “chapter” and each chapter refers to a period of life: adolescence, adulthood, middle age, and elderliness.

Despite the ambitious concept, the music itself is deliberately aloof and rough around the edges. A name like Pistolero implies swagger, and the band delivers: the drums are obviously not quantized, and the recordings have a natural, live feel. “The Children of Turbo Town” kicks off the CD with a raw two-step that shuffles along under perfectly raggedy guitar tones and overdriven vocals. “Ox Eyed Daisy” occasionally drops the ball vocally (raw is one thing, flat is another), but does justice to the simple sound pioneered by Elvis Costello in the late ‘70s and early ‘80s. The CD ends with “Honorary Plaque,” a Kinks-esque acoustic ballad that wisely focuses on a character rather than relying on second-person theatrics.

Getting Used to Decapitation is short, fun and to the point. Through five releases, Pistolero has been developing a distinct sound, and their songwriting is nearing its full potential. Another EP may be all it takes for this band to fly away. (Studio 5 Productions)

www.3bullets.com

-Harold Zimm

The Pine Hill Haints — Ghost Dance

Produced by Calvin Johnson and Lynn Bridges

Hailing from deep in the lower Appalachians, The Pine Hill Haints take their name from a late 19th century Native American movement. This collection, Ghost Dance, is a riveting mark of great creativity and musical prowess, a document of 19 songs that paints a picture of a society now gone and past.

With pulsating rhythms and passionate guitars, The Pine Hill Haints deliver the music with resonating lyrics that haunt listeners. Songs like “Spirit of 1812,” “For Every Glass That’s Empty” and “Say Something, Say Anything,” speak volumes of a time when spirituality was in full force and corporate machinery wasn’t even a daydream.

This group is complete and compelling, their songs delivered with passionate vocals and unique storytelling. Much of the work is as spontaneous as this band’s alluring makeup, other melodies date back 400 years. More notable tunes, such as “Phantom Rules” and “Raggle-Taggle Gypsy” channel Africa, the Cherokee Nation, Ireland and even rock and blues.

These recordings are meant to paint a portrait of ghost dances, runaway children, train jumpers, the mystery of life and death, and the smashed skull of the once mighty Choctaw Nation.

Jamie Barrier, Katie Barrier, Matt Bakula, Ben Rhyne, Mike Posey and Bradley Williams and friends make up the foundation of this collective. This album strikes the soul fiercely, and the beats and rhythms are fresh and full of life, with instrumentation that can truly take your breath away. In this record you’ll find everything under the sun, including snare drums, snake rattles, washtub bass, banjos, mandolins and saw.

These songs are colored with meaty personality, and their sub-three minute cuts make it all easily digestible. (K Recordings)

www.krecs.com

-Shawn M. Haney

Chuck Hodges — Rainin’ Again

Produced, mixed by Brain Fechino and Chuck Hodges

Mastered by John Trevethan

Chuck Hodges delivers passionate lyrics with descriptive storytelling in Rainin’ Again, heading up a backing band of beautifully meshed instrumentation.

“Since You’ve Been Gone” bleeds through the speakers, painting an empty room of loneliness, turning the sadness of a broken, lost relationship into rebirth and triumph. “Tears” seeks redemption and reflection. It’s a carefully crafted, simple song with only a few chords on the guitar, but the full impact shines through, as the band’s instruments are brilliantly layered.

“Trying to Forget” is another relationship song that shimmers with lush songcraft and a strong presence of dynamics.

Band members help flesh out the sound on many a track, with Brian Fechino helping with the arrangement of the aforementioned “Trying to Forget” and many of the songs, most notably on the alluring bridge in “Try to Forget.” Rob Ickes also lends a hand, delivering stunning opening dobro on one of the album’s most notable tracks, “Leavin’ for Atlanta.”

“Some Way Down” is a charming story of two friends who wind up in circumstances out of their control, leading them both astray. The composition is sound, the use of harmony in Hodges’ vocals impeccable. The subject matter is mostly reflective and melancholy, as Hodges nails the formula for romance and breakup songs with fervent success. That includes the title track, bringing about another stellar song structurally, complete with a romantic combination of guitar, organs and mandolins.

Hodges’ vocal style and songwriting talents compliment the musicians smoothly, and his voice is always stirring and compelling, never hanging out of range or hit notes that are unnecessary. (Self-released)

www.chuckhodges.com

-Shawn M. Haney

Doly Toro — The Greyest Hits

Produced by Jamin Belmont and Justin Tinkler

Recorded by Justin Tinkler at DT Studios

Doly Toro is a four-member band from Wilmington, N.C. who have been likened to Radiohead and Wilco, but the The Greyest Hits proves that Portishead, My Morning Jacket, The Jesus and Mary Chain, and the Lemonheads are also strong influences. Each song is like a Polaroid photograph of a mood, a journal entry scribbled down during a trip taken to get away from someone, but stuck beside them during the entire trip anyway.

Selena Thacher’s high voice counterpoints Jamin Belmont’s brooding croon. At times it may seem a conversation is taking place, but it’s not. Both sides still feel alone no matter what they say, still in different places emotionally.

“Garden’s View” starts the album off with whistling over acoustic guitar and strings. It tells a story about waiting for someone, a recurring theme on the album. “Far From Me” uses keyboards with a ‘60s quality and describes waiting for a lover who may never come around. “Goodbye” uses more percussion and subtle guitar with its vocals. It describes unrealized love, which didn’t end because it never got started. “Unsalted Wounds” has a nice acoustic lick to it that Belmont chases with the vocal melody. It has a peppier beat than other tunes, but it still expresses remorse from a relationship. “Actress of Change” describes a social scene where the protagonist realizes he and the girl could never work together. It features piano, guitar and solitary drumbeats that add to the elegant yet discomforting setting of the story. (Self-released)

www.dolytoro.net

-Kathleen Wehle

Christopher Denny and the Old Soles — Age Old Hunger

Produced by Christopher Denny

Recorded at Sellout Music in Little Rock, AR

Engineered and Recorded by Jason Weinheimer

Mastered by Fred Kevorkian

Executive produced by Abe Bradshaw

Christopher Denny, a 23-year-old native of Arkansas, looks to those who came before him for inspiration for his debut album, Age Old Hunger. With exposure to gospel, vintage country and rockabilly, his distinctive voice finds a home with older material as well as his own. Melodic, lilting, full of surprising highs and lows, Denny sings like Jackie Wilson and classic country rockers like Buddy Knox.

His writing voice is distinctive; a glimpse at lyrics shows an introspective old soul still young at the game of life and not quite jaded by experience. Denny wrote all but two songs on this album, and those two are Kris Kristofferson’s “Loving Her Was Easier Than Anything I’ll Ever Do Again” and Johnny Cash’s “I Still Miss Someone,” two tracks that fit easily with his themes of love both lost and found.

“When Am I Gonna Realize” is a song about childhood love and never being in just the right place, literally or emotionally. The title track pairs Denny’s voice with minimal electric and acoustic guitar, producing a declarative ballad. “Heart’s on Fire” features a saxophone, a welcome rarity on country records. It tells the story of a bad dream of love lost that thankfully just ended up a dream. “All Burned Up” describes passion for a girl that just doesn’t fade. “Time” tells a story with a Cash-style pace about the difficult relationship with time’s limits on our lives.

By the end of the album, it actually begins to seem like a possibility that, in the future, others will cover his songs for years to come, like Kristofferson and Cash before him. (Two Minutes Fifty-Nine)

www.christopherdenny.com

-Kathleen Wehle

Haloscript — Tomorrow Is Not...

Recorded and produced by Corey Lowery and Jeff Woods

Tomorrow Is Not..., the debut album from Atlanta metal-core group Haloscript comes at a daring time in mainstream metal. As the genre’s future becomes increasingly glummer, Haloscript and well-respected producer Corey Lowery (Dark New Day, Stuck Mojo) have created a hard-hitting, melodic flagship for this promising, young quintet.

It’s not like Tomorrow Is Not... is going to revitalize the mainstream metal genre completely, but the album shows a certain dedication and gives Haloscript a bold introduction in a highly competitive scene.

Musically, Haloscript is as tight and powerful as they come, although the album as a whole comes across a little overproduced and finds the band sounding disarmed and contrived at times.

Haloscript’s decision to add keyboardist/vocalist Charlotte Kelli to the lineup rescues the band from being lost in metal absurdity. Kelli’s soft, sultry and deceivingly viscous vocals mingling with vocalist Dust Johnson’s smoky growl give the band a depth and visibility, standing out from so many other similar metal outfits.

Haloscript gets a little celebrity help on Tomorrow Is Not... with Morgan Rose of Sevendust providing backing vocals on “Atlanta In Ashes” and ax man Clint Lowery (Dark New Day, Korn, Sevendust) lending his skills on all of the album’s 10 tracks.

Although Tomorrow Is Not... boasts several noteworthy tunes, “Scarlet Canvas” is the most single-worthy track, with its pitch-perfect meshing between Johnson and Kelli and a contagious chorus that surrounds itself with unflinching verses should any accusations of the band bending over for radio airplay arise. While the genre’s comeback may be up in the air, this metal upstart has hit the ground running. (Self-released)

www.myspace.com/haloscript

-Matthew Godbey

Jay Clifford — Driving Blind

Produced by Warren Huart at Swing House Studios

Mixed by Mark Needham

From time to time an album emerges whose sound encapsulates the musical equivalent of falling in love, songs draping emotional moments in life. It doesn’t have to be in the lyrics, but the tone of the music and the timbre of the vocalist.

On Driving Blind, former Jump Little Children front man Jay Clifford breathes life into emotionally-charged pop-rock, crafting songs with texture and strong musical arrangements that are heavy on feeling and rich in lyric imagery, like, “Why’d you take the long way around / Going nowhere?” on opening number “Know When to Walk Away.”

A noticeable aspect to the album is Clifford’s ever-changing vocal sound, from the soft cooing vocals akin to Bono on the piano driven “Driving Blind” to gentle graininess on “Paralyze” or “Yesterday’s Move,” in which Clifford’s smooth vocals eclipse the sparse arrangement, at once warm and silky — think John Mayer without the nasal raspiness. “Caught in the Rain” is another piano driven number but accompanied with string arrangements.

Driving Blind‘s laid-back feel is never stronger than on “Invisible Sun.” The staccato beat and ghostly vocals are appropriately dreamy as Clifford sings, “Shine like an invisible sun/Making the most of a lie called a daydream.”

Strumming guitar doled out in Cure-sized doses strides through “Paralyze,” blending ‘80s new wave with the modern singer/songwriter. This shirt sleeve music referencing continues on “Turning Sand to Glass” which recalls the pop-dread of Love and Rockets as Clifford croons against subtle guitar picking by way of Radiohead’s “Creep.”

The murkiness and moodiness of Driving Blind is buried deep, underneath bittersweet pop melodies and bare bones numbers “Dissolves” and “Waltzing Past the Grave,” the latter being the album’s best song, easily conjuring rich images and distinct emotion. (Thirty Three and 1/3 Records)

www.myspace.com/jayclifford

-Brian Tucker

Bishop Don — That Should Heal Nicely

Produced and engineered by Sean McPherson at East Atlanta Recording in Atlanta, GA

Additional engineering by Aaron Thompson

Mastered by Rodney Mills at Rodney Mills Master House

Rambunctious is the perfect word to describe this release by Atlanta’s Bishop Don. The music combines the high-energy sounds of rock with the attitude of punk, mixed with a rustic storytelling touch.

Lead vocalist, guitarist and songwriter Blair Crimmins pens lyrics that are vivid, visual, quirky and specific. The happy, poppy musical tone of “Killing in the Summertime” belies the subject matter evident in the title. The lyrics in “Passed Around” paint stark, stream-of-conscious images with lines like, “You can take that dollar bill and you can stick it up your nose / Or you can put it down the underwear of some girl you don’t know.”

With a stunning assortment of different styles and sounds, finding a standout track isn’t easy. Maybe the country-flavored duet with Lyndsay Wojcik on “Wasted Day” could be it, or the frantic pace of “Laughter and Lies” or “The Trigger” with its soft slow start and frenetic finish? But then of course there are “Trouble,” “Lips” and the title track, “That Should Heal Nicely,” to choose from with their impressive guitar solos. Then there’s the bouncy vibe from “Passed Around” and “Not the Only One” that make one want to grab an empty shine jug and washboard to join in.

With such a bombardment of sounds the listener is left as pleasantly and sufficiently drained as the band must be after a show. (Self-released)

www.bishopdon.com

-Kat Coffin

Sons of Roswell — Sons of Roswell

Recorded and produced at Studio 144 in Greenville, AL by Sons of Roswell

Mixed and Mastered at the Nutthouse in Sheffield, AL by Jimmy Nutt

If Kings of Leon started listening to more AC/DC, you would have something that sounds a lot like Sons of Roswell. In fact, Sons of Roswells’s self-titled album makes Kings of Leon’s Because of the Times seem pretty feeble in comparison.

Vocalist Kevin Keenum and company present an even mix of bluesy hard rock and punk rock attitude served with a distinctly southern flavor. As a result, the boys of Roswell have created an album packed with strutting, cocksure, optimistic tracks that provide a refreshing alternative to the whiny, jaded music that predominately populates the pop music charts.

The real magic of this album lies in the song craft. Sons of Roswell demonstrate a real knack for writing catchy hooks, energetic bridges and simple yet blazing guitar solos that continually revitalize the songs before they can wear out their welcome. It’s difficult not to become too derivative when plumbing the depths of a classical southern/hard rock musical heritage like Sons of Roswell’s, but they’ve managed to produce an album that not only holds up to repeat listenings, it demands them. (Self-released)

www.sonsofroswell.com

-David Feltman

Ten Story Relapse — Antidisestablishment­arianism

Produced and engineered by Geoff Melkonian at Go To Your Room Productions in Atlanta, GA

Mixed by Paul Mahern at Echo Park and White Ark Studios, Bloomington, IN

Engineered and Mastered by Alex Lowe at Red Tuxedo Studios, Atlanta, GA

Atlanta natives Ten Story Relapse offer something unfathomably rare these days: an album that is at once musically pleasing and intellectually satisfying. Drawing from ‘80s bands like Talking Heads and the Pixies while keeping with such contemporaries as OK GO and Interpol, the music on display is a veritable buffet of upbeat post-punk.

The songs sometimes switch tempos wildly, going from soft, ethereal verses to rapid and passionate bridges and choruses pulled off seamlessly in the quiet-loud-quiet blueprint. But the main attraction here is the lyrics. Antidisestablishmentarianism, as the mouthful of an album title suggests, is a concept album revealing a yearning to lead a spiritual life free from the political baggage and oppression often coupled with organized religion. This album is a simultaneous commendation and condemnation of every religion and, amazingly, it’s never preachy. Lyrics such as “Let’s just say I should shut up when I say this is beautiful / Let’s make it simple by making it futile / Let’s just change the subject / Do you think it’d be possible?” and “An apple, a seed and a kiss...an argument you don’t want to miss / Do you think he’s in it for the recognition? / The politics of personal ambition? Do I have to spell it out? / And ruin your days of doubt and temptation?” are eloquent and concise in their call for contemplation over prefabricated black-and-white world views. Of course, this is all well tread territory and Ten Story Relapse even has the humility to admit the redundancy in “The Devil You Know.”

The recording is clean and crisp, the songs are lively and charismatic, and the lyrics give you something more substantial to chew on than the general “about a girl” pop fare. (Self-released)

www.tenstoryrelapse.com

-David Feltman

VHS Or Beta —Bring On The Comets

Produced and mixed by Brandon Mason.

Recorded at Echo Mountain Recording in Asheville, NC

Engineered by Brandon Mason

Mixed at Blackbird Studios, Nashville, TN

Mastered by Fred Kevorkian at Avatar Studios in New York, NY

This Louisville, Ky., trio’s second full-length release swims neck-deep in more of the polished, hook-filled, retro punk/disco-inspired sound we’re used to from VHS or Beta. After the interlude-like intro, “Euglama,” “Love In My Pocket” begins with more guitar and distortion than the effect the album ultimately settles into and as the song progresses, it melts almost imperceptibly into the wider, poppier sound so characteristic of the band, and by the key change before the last verse, we‘re lost in bright, ‘80s glam gloriousness.

If the record has a downfall, it’s that the thumping backbone starts to become monotonous after a while. Though there are gaps between tracks, these don’t provide any sort of real mental hiatus. “Can’t Believe a Single Word,” the album’s catchiest song, seems to melt into “Burn It All Down” at the same tempo like a DJ switching songs, recalling the group’s house roots.

Still, several songs, especially the album’s piano-heavy title track, inspire an appropriately soaring, transcendent feeling. Emphasized by the unison notes following “You took my breath, took my sorrow,” Craig Pfunder’s voice echoes nostalgically before the song rockets into an overpowering bridge and chorus.

The irresistibly danceable nature of the album is compounded even more defiantly by mid-song key changes that drive the listener into the next track. The band utilizes a more guitar-centered, less electronic sound than many of its dance-driven counterparts, and the momentum keeps rolling forward during the first half of the album, finally slowing down after “Bring On The Comets.”

The album’s final cut, “The Stars Where We Came From,” recalls the rhythmic and melodic elements of the title track, becoming a sort of happy reprise. The bass drum only takes a short break during the middle bars of this song. It concludes satisfyingly like a night of dancing. Each song stands up as a carefully crafted piece of disco-punk artwork. (Astralwerks)

www.vhsorbeta.com

-Julia Reidy

Outformation — Traveler’s Rest

Engineered by Gordon Hammond

Mixed by Eli Atkins

This album represents an interesting blending between new and old musical influences. On one hand, it’s obvious that Outformation appreciates the jam band scene, as this album’s composition of keys, organs, second percussionists and heavy guitars parallels the sound of Widespread Panic. On the other hand, basic rock elements and sing along choruses in songs like “Toy’s Song” and “Winds” recall The Rolling Stones during Exile on Main St. Indeed, Outformation is an exciting newcomer for fans of rock n’ roll; they run the gamut of what is fabulous about the genre, from slow, beautiful songs with heavy drums to barnburners with syncopated organ and lead guitar parts.

Album opener “Carnac” is a bongo packed jam that rests on full piano chords during verses and catchy, danceable organ strains as the song loops between transitions. This song also demonstrates Outformation’s tastefulness in writing segments of music, as clean guitars unfold song-steering arpeggios in and out of choruses. “Dark Severinson” features choruses that pleasurably transition from minor scale descents into explosive major chords that give the song memorable color. Perhaps the album’s most Widespread Panic-esque song is “Into My Arms,” where rocking organs, bongos and fiery electric guitars are syncopated during verses creating a feeling of live heaviness straight out of a woodsy, middle-of-nowhere bonfire jam.

“Anymore” shows yet another side of Outformation’s inclination to capture their classic rock influences. This song’s vocals, as well as “Later,” have a down-home, Appalachian feel like that of Neil Young. More poignantly, “Anymore” owns a slow and beautiful melody that is backed by heavy but unobtrusive drums, giving the song a nostalgic The Band-esque sound. Title track “Traveler’s Rest” closes the album on a similarly nostalgic note, bringing to mind the country/mountain sound of The Band while still owning modern jam band and full band heaviness. (label)

www.foryououtformation.com

-Brian Gilton

John Pringle — Midnight Mass On The Williamsburg Bridge

Produced and mixed by Gary Pfaff and Tim Delaney

Mastered by Rodney Mills

John Pringle’s first album sounds like a juiced up David Gray record. His vocal performance, although pleasing, sits easily among most adult alternative singers, about as unique as any current top-40 vocalist. His warm, full vocals fit brilliantly, however, with the delicate acoustic sways of this album. Like much of Gray’s work, Pringle’s songs are all acoustic-based, backed by drums, bass, keys and a few more guitars. “Low Light” and “Blindsided” are packed, heavy tracks. There are no distorted guitars but the instrumentation and thick, stacked background vocals make the songs feel full and round. The band brings to mind the expansiveness of the Dave Matthews Band, and indeed, “So Sincerely” also features light but crucial cello parts so often used in Dave Matthews Band recordings.

These songs are not wildly distinguishable. Because Pringle’s fluttering acoustic guitar is the basis for every track, differentiation between songs is blurred slightly by the thick, earthy chord progressions. Most of these songs are radio-friendly, and some of them have the ability to stand on their own as unique pieces of music. “Transmission” features lofty vocal melodies that stretch Pringle’s abilities, demonstrating to listeners what his strained vocals are capable of achieving. The lengthy song is marked by catchy and complex transitions that speak to the compelling listenability of Dave Mathews’ “Don’t Drink the Water.” “Love Me” is a delicate folk song with powerfully pensive lyrics and a vocal performance with a Southern draw like that of Ryan Adams. “Busted in Stockholm” shares equally honest lyrics matched with airy, swaying verses and choruses.

Although songs are thematically very similar, this album shows an impressive feel for nuance and suggests promising possibilities for future songcrafting. (Rock Solid Entertainment)

www.johnpringlemusic.com

-Brian Gilton

Garrison Starr — The Girl That Killed September

Produced by Neilson Hubbard in Nashville, TN

Mississippi native Garrison Starr sings sweetly, rocks hard and dishes out catchy but smart songs on her fifth album, The Girl That Killed September. Starr’s vocal poetry lies somewhere between the splendor of Once Blue’s Rebecca Martin, the lofty pitch of Lisa Loeb and the gentle caress of Sarah McLachlan.

Starr sings passionately, and her charming delivery is anything but contrived. Her delivery matches superbly against both the fuzzed out guitar of “Understood,” with its stomping drum loops, as well as the alt-country playing of “Byhalia Road.”

In “40 Days,” the song finds its strength unconventionally in handclaps and violins backing up Starr’s singing. Starr has fun with “Stay Home Tonight,” using overdubs in which the final result is akin to the synthesized industrial pop of Shirley Manson and Garbage.

Starr’s singing ability is what the singer/songwriter category was made for. Hers is a voice singular enough that musical instruments aren’t pertinent to every song, soothing and sincere and able to fill a room as if a whole band were backing her up. This is most evident on the title track, in which Starr sings with only acoustic guitar as back up, “I’m ashamed of all my weakness / Cause you know where I keep it / Can you bring me back around?” Its sparseness is its brilliance, garnering the most attention with so little.

The Girl That Killed September opens with swagger and variety but takes its time, finishing up in a sober manner with a trio of acoustic numbers including the title track along with “Fireworks” and “Brightest Star” that reveal Starr’s best work. (Media Creature Music/12x12)

www.myspace.com/garrisonstarr

-Brian Tucker

Benjamin Olson — Sun Will Shine

Recorded and mixed at Studio 515 in Nashville, TN

Produced by Tim Grogan, Rod Lewis, and Benjamin Olson

Mixed by Tim Grogan

Mastered by Joao Carvalho Mastering

In the vast sea of singer/songwriters, there are only a very fortunate few that come bobbing to the surface. Nashville songsmith Benjamin Olson, though, has had an easy time staying afloat. But even though he struck critical and listener success with his 2005 debut White Window, his latest release Sun Will Shine may have more difficulty making itself heard in the crowded singer/songwriter waters, as at times it lacks standout qualities.

Sun Will Shine starts off a little slow but picks up with its third track “Afraid of Who?” which boasts fiery guitar riffs and an almost swinging rhythm in the bass line. The charging tempo and running of piano keys display Olson’s ability to manage rocking-out even with an acoustic guitar. Tracks “(Help You) Move On” and “6,000 Ways To Die” reaffirm his ability to blend the blues, swing, jazz, and rock in an energetically entertaining manner.

Sun Will Shine isn’t a one dimensional, speakeasy soundtrack, however, and Olson proves this time and time again with several softer, incredibly somber tunes including the tracks “Routine”, “Russian Decision” and “Withered Up Soul” which all showcase Olson’s talent for low-gear, moody songwriting.

What Sun Will Shine lacks is distinction. Olson and bandmates Tim Grogan (piano/percussion), Rod Lewis (bass/ backing vocals), Mattina Scarpino (backing vocals) and David Henry (cello) have composed flawless song structures, executed masterful musicianship, and built a colorful bridge between multiple genres. That, along with a strong voice in Olson, is enough to be labeled great songwriting. But as far as hit singles and infectious singalong’s are concerned, don’t cast your line just yet. (Self-released)

www.benjaminolson.com

-Matthew Godbey