Anna Kramer & The Lost Cause - The Rustic Contemporary Sounds Of...
Recorded and mixed by Rick Miller at Kudzu Ranch in Mebane, NC

"I don't need you to want me / But I want you to tell me that you need me." So sings Anna Kramer on "All Those Pretty Things," the opening track from The Rustic Contemporary Sounds Of..., the new album by Kramer and her band The Lost Cause. Over a relentless "Takin' Care of Business"-style backbeat, Kramer manages to magically convey a swagger and vulnerability simultaneously. She and her versatile band, featuring Kramer on guitar and piano, Shannon Mulvaney (Magnapop) on bass, and Adam Renshaw (The Forty-Fives) on drums, have a decidedly '60s vibe, yet they've somehow created an album that feels and sounds timeless. The live sounding, low-fi production and the pace of the record harken back to a time before iPods ruined the average listener's attention span and virtually eliminated the concept of albums. The Rustic Contemporary Sound Of... is not simply a collection of downloadable, three-minute pieces of pop candy, though several gems could fall into that category. The standout tracks are the straightforward "You Think You Know Me," with its sinewy guitar riffing and its humorous lyrics ("Only time you tell me how you feel is when you're [pause] drunk"), and "Da Da Rock," featuring an insistent Bo Diddley-on-speed rhythm courtesy of Mulvaney and Renshaw. But to only consider the obvious early Kinks-influenced side of Kramer and her band (indeed, they reverently cover a relatively obscure early Kinks song, "Got My Feet On The Ground") would be to miss out on the 12-string and organ propelled Spaghetti Western mood of "Yo Quiero Estar," (and its imperfect Spanish, which turns out to be saying "I want to be my girlfriend"), or the eerie banjo-driven sparseness of "Death Comes Knocking at the Door." Regardless of the style this multi-talented trio tackles, Anna Kramer's heart and soul shine through with her understated singing and her deft (yet never showy) guitar playing. To fully appreciate this CD, listen to it and enjoy it in its entirety. (International Hits)

www.myspace.com/annakramer

-Scott Roberts

Sealions - Luna Park EP
Engineered by Kyle Hale
Mastered by Rodney Mills

Sometimes five songs just isn’t enough. The EP from the Atlanta-based trio is as poppy as it is haunting, and to say that it is not infectious would certainly be a lie. The first track, “Collider,” brings to mind a slightly more upbeat Built to Spill in the mood and delivery. Layered vocals on this track break up the pacing and the result is melodic, all the while maintaining a kind of day-dreamy feel with Joey Patino’s Sonic Youth-like bass lines. The second track, “Insecure Hearts,” is of a faster pace: a dance floor hit of sorts. Sealions’ vocalist, Jason Travis, sings of a face made of “cold dead skin,” and a heart that is “ripping at the seams,” which seems as if this is a past relationship that is being dissected before our ears.
As a whole, the EP is cohesive, moving from sad material to slightly more positive and back. Each track breaks pacing at least once. For example, the final song, “Don’t Hesitate,” has a deliberate pause. These choices make the tracks more interesting and aid Sealions in keeping us reeled in. One song moves to the next seamlessly, and drummer Michaeal Kai delivers catchy beats which also help the album progress successfully. The tone might be that of heartache but the tracks swim through the bitterness and seem to discover hope around every corner.

-Lauren Begnaud

The New Whole Usuals - Martin Moeh
Produced by Andrew Dolfie and Daniel Scobey
Recorded, mixed and mastered at ITC Productions

The New Whole Usuals, a Murfreesboro, Tenn. oddball group with an inclusionary philosophy, declare that “you too can be a new whole usual.” This idea extends beyond general hospitality to tonalities, instrumentations and styles. The band’s latest release, Martin Moeh, encompasses as many different sounds and ideas as is really advisable. Through 15 tracks, the album runs the gamut from Brian Wilson-esque multi-part vocal arrangements to harpsichord counterpoint and to bizarre experimental sound effects.
Obviously using heavy classical influence, the eighth and ninth tracks, “Big” and “Small,” for example, fluctuate between cartoonish wind sequences and baritone-heavy vocal textures, sometimes expressing discernable lyrics, sometimes not. The New Whole Usuals definitely seem to have employed a full orchestra’s worth of ideas in this effort. Jazz chords and sudden time and key signature changes don’t frighten these adventurers. The very next song, “You Will Become,” transitions into sweeping ‘70s rock ballad territory, with banjo and electric guitar, followed by the psychedelic rock of “Microscopic Pete vs. The Angry Duck.” The latter incorporates trumpet improvisations over a rambling sing-a-long and full brass section.
Andrew Dolfie’s vocal stylings are equally changeable, varying between delivery reminiscent of Barenaked Ladies, Belle and Sebastian and Elliott Smith, alternately harsh and intimate. “My Friend Sheila,” the only track credited to both Andrew Dolfie and Daniel Scobey, includes an almost Debussy-inspired piano part and Smiths-like confessional lyricism. Never adhering to strictly one idea, the song incorporates whispering and other various sound effects. The words “At last” are uttered before the song slows and suddenly becomes a circus waltz complete with bells, then gives way to the acoustic guitar, laptop rhythms, and soft crooning of “Go to Bed,” a tale of insomnia and arguments.
At first off-putting, this infectious album ultimately crawls under the skin. It’s quicker than listening to 12 separate records, but it packs the same punch. (Me and the Machine Records)

www.thenewwholeusuals.com

-Julia Reidy

Vic Chesnutt - North Star Deserter
Produced by Jem Cohen
Recorded by Howard Bilerman at Thee Mighty Hotel2Tango in Montreal, Canada
Mastered by Harris Newman at Greymarket in Montreal, Canada

Vic Chesnutt has a rare ability to make incredibly somber music actually enjoyable to listen to. It’s a talent he has enjoyed since his 1990 debut, Little, first reached the masses. Eleven albums later, the 42-year-old Athens resident shows little sign of slowing as evident with his latest work North Star Deserter. Chesnutt’s poignant, shadowy voice floats through the grim, driving musical landscape with a kindred belonging that only Chesnutt can understand. North Star Deserter reverberates with a spirited echo of grungy, jazz-induced, folk rock that is as haunting as it is inspirational. Chesnutt seems to have recorded North Star Deserter in a creative world void of borders, fears or expectations of genre as each song plays with a noticeable distinction. It’s a feat not easily accomplished by the average songwriter. A few of the standout tracks are the polka-tinged “Glossolalia,” the wonderfully raw and hypnotic anthem “Everything I Say,” the garage-based madness of “Debriefing” and the infectiously peaceful “Splendid.”
Lyrically, Chesnutt is in a league rivaled by only a handful. His creative, rhythmic prose is more like harmonic poetry than song lyrics. A master of his trade for years, Chesnutt proves worthy of his praises once again with a near perfect display of intelligent, heartfelt songwriting that is so spiritually natural it’s almost eerie. (Constellation Records)

www.vicchesnutt.com

-Matt Godbey

The Ginger Envelope - Edible Orchids
Engineered by Asa Leffer at Darc Studios in Athens, GA
Mixed by Jason Robira and Asa Leffer
Mastered by Glen Schick at Glen Schick Mastering in Atlanta, GA

Originally from Louisianna, Athens-based The Ginger Envelope offer a follow-up to their debut EP. Their LP, Edible Orchids, successfully blends several genres of music: alt-country, alt-rock and at times, even folk. With peppy opener “Caretaker,” one might think this whole album would follow this same kind of upbeat nature. On the contrary, the album’s tracks become mellower as the album progresses and The Ginger Envelope’s vocalist, Patrick Carey, sounds like a more somber Tom Petty. The lyrics come out like near whispers and the songs have a very intimate feel, as if you were reading the pages of a diary in secret, or even as if the band might actually be playing softly in the next room.
Don’t let the description fool you into thinking that this album might be music you’d fall asleep to, though. “Dirty Penny,” proves to be a song of somber quality that builds and builds with use of cymbals and percussion crescendos. The same can be said for the rest of the latter half of the album, especially the tracks “Drift” and “Kite” (which sound vaguely reminiscent of early Nada Surf, or even Pavement). It is no surprise that The Ginger Envelope is comprised of a former alt-rock band, despite what the pedal steel might lead you to believe. The sound might be familiar, but the album is enjoyable from start to finish and the “country” feel seems more hopeful than other artists who might otherwise lean too heavy on the genre’s inherent melancholia. (One Percent Press)

-Lauren Begnaud

The Psycho DeVilles - Supercharger
Recorded, mixed and mastered at Reel 2 Reel Studios in Jonesboro, GA
Engineered by Jonathan Beckner
Mastered by Steve Rawls

Nostalgia is clearly an obvious part of the allure of Atlanta’s Pscyho DeVilles. Listening to the band’s sophomore release, Supercharger, one can’t help but picture leather jackets, greased hair and fast machines speeding down fresh American asphalt. Its themes of thrills, fast cars, women and wild living make for an obvious counterpart to the album’s untamed but precisely played rock ‘n’ roll.
On the opener “Thrills for Sure,” singer Hot Rod Walt belts out, “Shout it loud / Keep it real hardcore,” setting the rollicking tone. The band follows up with a cavalcade of musical influences ranging from Carl Perkins on “Rebel” and “Blame” to The Stray Cats on “She Left She Split” and Chris Isaak on “Beg and I Beg,” in which Steve Barnett’s drums are perfect, the cadence sounding like men ordered around a marching field. Despite the precision and force of the military-style drumming, Hot Rod Walt doesn’t spit fire and brimstone in his vocal delivery. Instead, his voice is smooth and sultry with just enough country twang to make it a cool mixture, like a rockabilly version of The Mighty Blue Kings.
The foundation of the band’s sound is rockabilly, but sometimes you’ll find a dash of punk. Check out the crash and burn guitar playing on “Supercharger” and “Real Deal.” And “Roots Rock” - talk about a barnburner. If that number can’t get people on their feet then nothing will.
Like The Cramps, The Blasters or The Speed Kings, The Psycho DeVilles reach back into the feel of early rock ‘n’ roll, bringing it back to the future for modern listeners to chew on. (Self-released)

www.psychodevilles.com

- Brian Tucker

Hammer No More The Fingers - Hammer No More The Fingers EP
Recorded and mixed by Jay Murphy at Hotel Ponchartrain in Durham, NC
Mastered at Bluefield Mastering in Raleigh, NC

If Steely Dan was born out of the early ‘90s Seattle scene, the band would have produced the melodic and sometimes pounding sound of Durham, N.C.’s Hammer No More The Fingers’ EP release.
Youthful indiscretion, drugs and jealousy punctuate the seven tracks, coupled with raw, fresh music themes. Recognizable flavors ranging from Red Hot Chili Peppers to The Flaming Lips faintly underscore the band’s sound without being front and center.
The pretty, soaring guitar riffs of “Bossman” are quickly displaced on “Fall Down, Play Dead” with circling notes and punching jabs, not to mention its fine sonic finale. This back and forth is welcome, complimenting the band’s dogged wall of sound. The playful honesty of “Mushrooms” centers the album, bridging melody with the theme of life. Duncan Webster sings, “So tired / The only way to get out of bed is to / Feel inspired by elephants bouncing on a wire / I got mushrooms / They are my doom.” Its personal psychology doesn’t resort to mere cliché.
“Black Harmony” navigates old Weezer territory while marveling at someone else’s success: “You’re moving on up kid / You’re sleeping with the girls / That I liked in high school.” Both “Black Harmony” and “Vodka Grasshopper” have fun with crunchy, fuzzed out guitar.
As a trio, Hammer No More The Fingers aim to sound large and succeed, pushing a wall of sound one moment and pushing forth jagged ideas of sound the next as Webster’s vocals float distinctly above it all. (Power Team Records)

www.hnmtf.com

- Brian Tucker

Sharaab - Evolution
Produced by Sharaab

Asian Massive is growing in popularity as a genre in world music. Atlanta-based DJ, composer, and producer Sharaab is one of the forerunners, combining his electronica skills with the rich musical heritage of Eastern cultures. His mastery of ethnic-techno shines on his latest release Evolution.
Each song has its own personality created by the varying degree of fusion between electronica and Eastern cultural sounds, adding in diverse vocal tracks plus a sprinkling of modern rock flavors to make each song strikingly different.
Some songs have only sparse vocals, making the instrumentation more of a focal point, as in “Zindago,” “Nosering,” and “Poison.” In “Incomplete” and “Breath Natyam” the lyrics and vocal style give them more of a modern rock edge, while maintaining an Eastern essence. “Shankara” and “Sweeper” have a more Far Eastern flavor commingled with heavy electronica layers.
“Awakening” has a heavy reggae beat and vocal interspersed with both Eastern sounds and techno wizardry. The most commercial song here, “Indian Rain,” has an almost pop rock identity, making it surprisingly accessible.
Sharaab has created a massive blend of sounds on Evolution, skillfully merging many differing styles, while still maintaining the unique identities of each, into 12 songs of complex character for the listening pleasure of any fan of the genre. (Undo Recordings)

www.myspace.com/sharaab

-Kat Coffin

Down By Avalon - Down by Avalon
Produced by Dan Bryk and Down by Avalon
Recorded and mixed by Dan Bryk and Dempsey Elks at The Rubber Room in Chapel Hill, NC and Flabby Road in Raleigh, NC
Mastered by Jeff Carroll at Bluefield Mastering in Raleigh, NC

Chapel Hill, N.C. quartet Down By Avalon steer clear of modern bells and whistles and find solace of the simplicity of the ‘60s and the ‘70s for its debut. Like last summer’s next-big-things Peter Bjorn and John and I’m From Barcelona, Down By Avalon seek to let relatively unembellished melodies do the talking, and the end results reflect a deep admiration for traditional pop music. However, though the band prides itself in its ability to write classic pop music, the real strength lies in the warm, folk, almost hippie vibe it projects into and onto the listener.
It is felt within the first few notes singer Alan Martin drips out over the album’s opener “Yes She Said.” An earthier-sounding Cat Stevens, Martin’s wise, soulful voice hugs this song (one of the album’s best) with the same sage affection as he does in other tracks like “Stand Me Down” and “All the Crazy Things.”
The good vibrations are not merely picked up by Martin’s voice, however. While the disc’s instrumentation is sparse, it is never hollow, and little adornments such as an organ in “Everything I’ll Ever Need” and a far-out time-change in “I Am Not” are subtle enough for the music of Down By Avalon to hold its own without overpowering the singer.
Down By Avalon’s debut stands as a reminder that music is not merely about the arrangement of notes or words, but about the feelings it brings when listened to. (Urban Myth Recording Collective)

www.myspace.com/downbyavalon

-Melinda Hanna

The Autumn Offering - Fear Will Cast No Shadow
Recorded and mixed at Audio Hammers Studios in Sanford, FL

Seasoned fans of the metal genre and heavy music know that Florida has for many years been home to some of the industry’s best. The latest release from The Autumn Offering is no exception. The album Fear Will Cast No Shadow features the group’s new lead vocalist Matt McChesney and new drummer Allen Royal in a well-produced collection of songs about the darker moments of life. This piece is destined to become a classic for any who appreciate angst-filled, guitar-driven music.
The Autumn Offering successfully create a harmonious balance between elements of both classic and contemporary metal music. With arpeggios reminiscent of guitar god Joe Satriani, the band’s melody is complimented by the warm, thunderous, machine gun rolls of a double-bass drum similar to Igor Cavelera when he pounded the skins for Brazilian thrashers Sepultura. The band intricately articulates its arrangements, offering at times snarling vocals to compliment brutal guitar attacks and at other times clear lullabies to match the mellow flow of the carefully orchestrated musical scores. McChesney’s singing is similar to Pepper Keenan of Corrosion of Conformity, while the band’s mixture of snarling death-metal vocals with mellow singing is similar to contemporaries Bullet for My Valentine or My Chemical Romance.
This CD offers listeners elements from many styles and genres of music, but its guitars maintain the work’s metal sound and feel throughout the 11 songs. Virtuoso guitar playing and a crisp, clean sound hold the listener’s attention. The rolling thunder of the drums combined with the blistering, heart-pounding riffs takes each listener on a ride not soon to be forgotten. Often, when a band goes through a change in lead vocalists, many fans are lost when the sound and styles change along with it. Fans of The Autumn Offering need not worry about the excellence of this album, though. (Victory Records)

www.theautumnoffering.com

-James Hester

Shalini - The Surface and the Shine
Recorded at Gravity Studios and at the Fidelitorium
Engineered by Doug McBride and Mitch Easter
Mastered by Brent Lambert at The Kitchen Mastering

Shalini is a five piece out of Forsyth County, N.C. that started in 1999. It is made up of Mitch Easter, Eric Marshall, Jane Francis, Paul Chastain and Chatterjee. Easter and Marshall hailed from Winston-Salem torchbearer “jangle pop” band Let’s Active. Jane Francis hails from Velvet and Paul Chastain from Velvet Crush. To say each member brings an extensive career in music to the band is an understatement.
On The Surface and the Shine, the band’s third record, bandleader Shalini Chatterjee masterfully blends the energies of new wave and grrrl rock into her sound. This is most evident on tracks like “White Widow,” “Gloria in Transit,” the title track, and “Need to Be.” “Take the Train or Fly Away” and “Where Are We” have more bluesy classic rock feel. “Take the Train...” is a restless, gotta get away track with great wah-wah. By the final track, it is evident that Chatterjee’s voice creates a mood of wonder and perennial innocence that contrasts really well with grinding bass, tinkling lead guitar and thumping percussion.
“Escape Velocity” has a ‘70s rock ballad feel with a slower tempo and excellent harmonies. This tune allows the listener to easily pick up Chatterjee’s and occasional co-writer Mitch Easter’s gifts as songwriters.
It is not surprising that Benatar, Blondie, The Go-Gos, and REM are among Chatterjee’s favorites. Fans of The Breeders, Veruca Salt, Matthew Sweet or the Foo Fighters would appreciate this album’s rich indie-pop offerings. (Electric Devil Records)

www.interbridge.com/shalini

-Kathleen Wehle

Music in the Glen - Fuar
Produced by Music in the Glen
Engineered and mixed by Tim Anderson
Mastered by Colin Leonard

Fuar, meaning “cold” in Irish, is a perfect compliment for the winter days ahead. The 14 shimmering tracks on Music in the Glen’s debut pull off melodies of traditional Irish in stunning fashion.
Susan Moran delivers breathtaking, earthy vocals, complimenting her talents on bodhran in “The Verdant Braes of Skreen.” “Humors of Tulla” is a gleeful, firey dance, with Katherine Irwin Thomas and Suzanne Harner performing a splendid dance on the fiddles, creating a hauntingly beautiful sound.
Encompassing a bright atmosphere, one feels swept away and taken to the heart of an Irish town, as these songs blend a mixture of love and hope. Jason Killingsworth sends a mighty cry of emotion through his delicate painting of Uileann pipes, whistles, accompanying vocals and lush guitars.
Doug Murray rounds off this unforgettable Irish five with deftly crafted notes on bouzouki, guitars and sweeping tenor guitars, richly layered of with echo-drenched chorus and sweet sustain.
“God Rest Ye Merry Gentlemen” is four minutes of Christmas joy, and “Christmas Day” brings back memories of family get-togethers past. Composed by Faithless brother and sister alumni Dido and Rollo Armstrong, the vocals help bring out such outstanding lyrics and songcraft, as Killingsworth and Moran reflect in chilling, hypnotic fashion, “Yes, I swear to you I shall return on Christmas day.”
A powerful highlight of the album has to be John McCutcheon’s “Christmas in the Trenches,” as the singers cry, “As Christmas brought us respite from the war,” and the soldiers of France and Germany, “We met hand to hand/We shared some secret brandy / And wished each other well / We traded chocolate cigarettes / And photographs from home.”
The instrumental performances are stirring, full of emotional lift and resonating life. Feel the drone and sonic moods of “An Buachaill Caol Dubh.” Each of the five compliment each other, spinning their respective notes in a circle, as they feed off each other to create such fine chemistry and energy. (Self-released)

www.musicglenatlanta.com

-Shawn M. Haney

Ronnda Cadle and the String Poets - After
Recorded, mixed and mastered by Don McCollister, at Nickel & Dime studios in Atlanta, GA

After, Ronnda Cadle’s second full-length is a work of great atmosphere and serenading charm, and the String Poets weave together a thread of 13 gorgeously layered songs, folk rock qualities that peel away at the heartstrings and bring one’s soul home.
After is fully instrumental, yet Cadle’s lead acoustic is rich with warmth and energy, a vibrant combination of blues, folk, country and rock. Each song is recorded and mastered by esteemed Atlanta producer Don McCollister (Nickel & Dime), the overall sound quality pristine and full of shine.
The follow-up to The River Runs, After is dedicated in loving memory to Cadle’s dear friend and guardian angel, Joyce Tree, a major life influence who passed away this past New Year’s Eve.
The first notes of opener “Roots of a Tree” cut like a knife, and the adventure begins. Written for Tree, its haunting melody entrances you, eerily close to the gentle classical guitar piece, “Afro-Cuban Lullaby.”
Highlights feature the title track “After,” the sonorous “You Are Beautiful,” and “Letting Go,” all painting a lush setting of acoustic guitars. The gentle, humble viola of Carol Statella, droning bass of Sherry Iles, and dazzling percussion of Jordan Marshall (all three Atlanta scene veterans) complete the makeup of the Poets.
Musically, this is truly the work of great poets, artists who provide a deep mixture of vibrant color and texture, touching a wide spectrum of emotion. Feel the meter and mood of “You are Beautiful” and one is left breathless with its peaceful resonance.
Throughout, this album blends wisdom and thought, as a lot of time and care went into its creation. Full of well-orchestrated musicianship, the instrumentation is flawless at times, utterly complex — yet the overall scope and meaning is purely simple. (Self-released)

www.ronndacadle.com

-Shawn M. Haney

Digby - what’s not plastic?
Produced by Digby
Mixed by Kevin Ratterman and Digby
Engineered by Kevin Ratterman
Mastered by Chris Bellman

After a tumultuous period that was almost its undoing, Kentucky’s Digby has returned with what’s not plastic?, the first of three EPs the band recorded in 2006. The remaining two EPs will be released in the near future and, in the meantime, Digby is promoting the current release in Louisville with a string of live shows. Taking a cue from Radiohead, upon the release of what’s not plastic? Digby publicly stated “As a special gift, we have decided to make it available on our website as a download ... if you choose to help keep us out of the poorhouse, you can donate any amount of money that you feel the songs are worth.”
Since Digby is a guitar pop band reminiscent of the mid-1990s, further comparisons to Radiohead, particularly early Radiohead, are hard to avoid. Through the verses, Digby’s track “Bad Swing” is the Radiohead B-side “How Can You Be Sure” almost note-for-note, with only a slightly different vocal approach. Singer Paul Moeller’s smooth croon closely resembles that of Travis front man Fran Healy, and the strength of his voice makes more compelling songs out of otherwise blasé ideas. In this case, his melody may keep the band out of court for copyright infringement.
Moeller begins and ends “How Long,” the EP’s final song, pleading, “Tear myself apart and put me back together with something better.” The band’s catharsis — resulting from, collectively, a divorce, the death of a close friend, and Digby’s near-breakup (all touted in the bio) — comes across poignantly. “How Long” is the most distinct and honest-sounding of the five songs.
Digby offers tight, well-produced pop music that blends right in, and what’s not plastic? is no exception. Hopefully, the following two EPs will challenge listeners more without sacrificing the band’s pop sensibilities. (Label X/Toucan Cove)

www.digbyonline.com

-Harold Zimm

I Was Totally Destroying It - I Was Totally Destroying It
Produced by I Was Totally Destroying It and Al Jacob and Mitchell Marlow
Recorded and mixed by Al Jacob & Mitchell Marlow at Warrior Sound in Chapel Hill, NC
Mastered by Jeff Carroll at Bluefield Mastering in Raleigh, NC

Sonically, I Was Totally Destroying It falls somewhere in the 1990s. What separates this band from yet another North-Carolinian, Merge-Records-influenced pop smear, however, is its near-perfect use of triumphant choruses, dead-on harmonies, and strategic keyboard arrangements. The band’s new, self-titled CD somehow squeezes life out of a sound that has been milked almost to death over the past 15 years.
The album’s opener, “To Nomenclature,” crowds the verse with a busy melody that sounds more like that of a chorus, then stacks a countermelody on top of that. This starts a pattern that recurs throughout the album: a sub-par verse tries too hard, then a great, simple chorus rescues the song. “Sugar-Coated Lullaby,” for example, opens with a truly good riff. The band kicks in magnificently and the chorus soars, but the repetitive “stop sugaring me” pre-chorus drags the song into Blink-182 territory.
“My Favorite Haunt” ventures into a math-rock verse reminiscent of Jawbox, then opens up into yet another gorgeous chorus that ties the song together perfectly. It’s a great payoff, but the infectious melodies don’t end there. “Hey Alright!” is another standout: the verses bounce along merrily, and quickly yield to a chorus catchy enough to make Fountains of Wayne jealous.
Though its members have previous experience, I Was Totally Destroying It has only been a band for a handful of months. The scope of their CD is impressive, but more impressive is the fact that the songs are of such high quality. If their next release is a little more Enon and a little less Superchunk, they will be not only a good band but a culturally significant one as well. (Self-released)

www.myspace.com/iwtdi

-Harold Zimm

Moros Eros - Jealous Me Was Killed By Curiosity
Produced, engineered and mixed by Jay Clark at Two Sticks Audio in Seattle, WA.

When your band’s name is a conjunction of the Greek goddess of night’s son and the Greek god of love, a certain sense of brooding frustration is expected. It’s an assumption that Ackworth, Ga. quartet Moros Eros doesn’t deny with its dark, indie pop concoction that seems to teeter on the ever so narrow line between insane and ingenious.
In as little as a year, Moros Eros has released a three song demo and two full-length albums, including its most recent, Jealous Me Was Killed By Curiosity. The band’s sound is reminiscent of a young, dark Modest Mouse, albeit a little more polished. The band battles an urge for punk chaos throughout Jealous Me..., but always snaps back into focus before the breakdown can occur. It’s this delicate touch and musical awareness that makes the band’s tender age so hard to believe. And while the album’s two singles, “On My Side” and “Safety Net,” command a lot of the album’s attention, the lawless, raging track “Pride and Joy” and the upbeat, bass laden “Lows and Highs” provide the album with a certain, very respectable range. Another impressive showing from this young and ambitious band on the rise.
(Victory Records)

www.moroseros.com

-Matt Godbey

Phil Keaggy - The Song Within
Produced by Phil Keaggy and Dennis Patton
Executive Producers Matt McPherson and Don Boyer

Legendary guitarist Phil Keaggy’s latest release, The Song Within, is an acoustic instrumental CD specifically written for and featuring McPherson acoustic guitars.
This CD is just the latest addition to a prolific career spanning over 30 years and more than 50 recordings. The 16 songs here take the listener on a meandering journey through the countryside. But instead of seeing all the sights, one gets to hear all the sounds and just use their mind to visualize the trip. “Water Day,” “Trailwalker,” and “Seems Like Yesterday” have a gentle, soothing vibe that nourishes the soul and promotes feelings of tranquility. “Wow’s The Weather” starts off with the same feel, but the middle of the song picks up a Spanish Flamenco tone and then slides back to its earlier, gentler tones.
“Early One Day” and “McPheronought” have an underlying slightly darker, urgent tone to the music while continuing the excursion. “New Year’s Eve” features Muriel Anderson on guitar as the two guitar virtuosos alternately play off each other and in harmony with each other. “The North Folk” and “A Sense of Time” bring the journey to a soft, peaceful end.
Phil Keaggy has the ability to create such flowing, vivid portraits in the listeners mind with just his guitar mastery that words aren’t needed in this collection to make it feel complete. (Sebastian Boy Music and Autumn House Music)

www.philkeaggy.com

-Kat Coffin

We Versus the Shark - EP of Bees
Recorded by Joel Hatstat at Goblin Campground
Mastered by Jeff Capurso at Chase Park Transduction

We Versus the Shark could be listened to as a gang of drug-addled maniacs out to offer an obscure dose of loud music, or as wildly brilliant musicians who practiced nuanced discrimination in crafting these bizarre four-and-a-half-minute Mars Volta kind of prog-rock songs, but how can one be sure? Indeed, there has and always will be an incredibly thin line between the inspired and the rubbish, and it is down that line that We Versus the Shark careens.
Album opener “I Am a Fantastic Battle” is slammed with heavy guitars playing slippery, angry riffs, similar to those found in early Incubus. Lead guitars play oddly juxtaposed, abrasive lines to accommodate this track with suitable weirdness. Are these aesthetics desperate or ideal? Odd time signatures matched with clearly intentionally strained and sometimes cacophonous vocal melodies suggest that the weirdness is visceral and sincere. That is to say, this sound is unavoidable when this group of musicians collaborates.
“The Lament of Sue Richards” offers interesting dynamics between heavy and clean guitar riffs and male and female vocal melodies. The sound of dissonant chords over a snappy and inventive drum performance drives this song forward like a bitchy black snake rattling through the mud. This song represents We Versus the Shark’s most definitive verse/chorus effort, although those compositional elements are trumped by even the song’s most benign sections, which are adorned with eerie, reverbed guitars.
“Versus the Inevitability of Death” includes airtight bass-and-drum-linked verses on the cusp of early funk rock, which turns to spacey psychedelic pulsations and dissolves into utter obscurity as vocal melodies turn to screaming, guitar riffing becomes less articulated than Kurt Cobain on a bad night and ProTools allows for weird background noises of people talking in an echoed hallway.
This is simply a must-listen for fans of the bizarre. The question that remains: is that the only audience this band attempts to attract? (Hello Sir Records)

www.wevstheshark.com

-Brian Gilton

Laura Reed & Deep Pocket - Soul:Music LP
Produced by Katherine Powell
Executive producer John Powell
Recorded at Echo Mountain Studios in Asheville, NC
Engineered by Bill Reynolds
Mastered by Seva at Sound Current Mastering Studios in Knoxville, TN

Laura Reed digs deep into her conscience to deliver a powerful portrait of soul and funk rock music. Soul:Music LP is the first collection of songs that will most likely pave a bright future for this stunning and highly creative artist.
Reed’s backing foundation of musicians make up Deep Pocket, and their music is stirring and highly infectious. “Well” opens with drive, harnessing the rich, sultry and sonorous vocals of Reed, complimented by gripping dynamics of Ben Didelot (bass), Jim Bonk (percussion) and the thick sustain of Ryan Burns on Hammond B3 organs.
“Forces at Play” really pushes the album’s overall atmosphere into high gear, sending energy through the room, most notably because of the brilliant lead guitars of Josh Phillips and dazzling horn section of Greg Hollowell and Derrick Johnson.
The music of this epic work is honest and full of soul, as the album’s title so aptly expresses. Laura Reed takes her international roots and background (born in Johannesburg, South Africa) and succeeds in bringing together a collection of funk, world groove and soul, igniting the listeners with melodies that reflect on social themes and major global issues.
“Rise Up” truly raises the roof off the venue. While “Don’t Go” paints a subtle and beautiful portrait, reflecting the pains and heartaches of relationships coming to an end. The album’s pace is quite well orchestrated, with songs composed in refreshing fashion, full of spunk and spice.
Her voice is captivating, following in the footsteps of great vocalists Billy Holiday, Ella Fitzgerald and contemporaries Amy Winehouse, Jill Scott and Erykah Badu.
Reed and her fellow musicians play with ease, strong in form and chemistry, and impeccable melodic and percussive delivery. (Self-released)

www.laurareed.com

-Shawn M. Haney