CD OF THE MONTH

The Selmaniares - The Air Salesmen
Recorded and mixed by Ed Rawls and Justin Mckneight at The Living Room in Atlanta, GA
Mastered by Ed Rawls

Three years after their glorious psychedelic garage rock debut Here Come The Selmanaires, Atlanta's Selmanaires are back with a sophomore effort that sees the band driving in some new, more intricate directions with different sounds, ranging from the esoteric to post-punk, snaking their way throughout the record.

Though the group all share vocal responsibilities, with twins Herb and Jason Harris taking the leads, it's Herb's voice that most of us are familiar with, taking charge with force. Landing somewhere between the ecstatic cry of early John Lennon and Spandau Ballet, Herb's voice sounds like the '60s British Invasion has been put through a filter of Talking Heads reinvention, matching the sharp yet groovy sounds laid down by the rest of the band. Capable of crooning while yelling out loud on tracks like "Broken Mirrors In The Mud" (featuring The Coathangers) and "GMAFB," Herb's vocals are at once strong and sensual, a la Lennon's rendition of "Twist and Shout."

Jason's voice is the far more subtle of the two, accompanying the flowery, folky '60s-inspired "Verdigris Intrigue" with lines like "She was an eyelash / On the face of a dial tone" echoing the hazy, smoky rooms of the Summer of Love with a modern twist brought by the random noises interrupting the song in an abstruse fashion.

The record meanders from the scrappy styles of "Reason and Chance," which becomes almost esoteric with its opening blips and strong percussion joined by Herb's terse monotonic yells echoing, to the incredibly danceable with "A Small Room," made wholly addictive by multi-instrumentalist Mathis Hunters world-inspired percussion. (International Hits)
www.myspace.com/theselmanaires

-Leila Regan-Porter

King of Prussia - Save the Scene
Recorded and mixed by Trey McManus, Brandon Hanick and King of Prussia
Produced by Trey McManus and King of Prussia at Psychedelicatessen in Athens, GA
Mastered by Rob Gainer at Sea Note Studios in Myrtle Beach, SC

Save the Scene is the debut album from Athens band, King of Prussia. Dreamy, atmospheric, experimental pop teeming with lyrical secular melodrama; this first effort is more than meets than eye. Though it meanders between Beatles’ pop, Flaming Lips’ psychedelia and a touch of front porch Americana, the multi-layered instrumentation and clever arrangements make Save the Scene all the more accessible. Waxing poetic about love, home, consumerism and science, the boys in the band (Peter Alvanos, Brandon Hanick, Trey McManus, A.J. Rownd and Nathan Troutman) make sure there’s a little something for everyone. And while it was recorded in bedrooms and back rooms all over Florida and Georgia, it lacks that lo-fi aesthetic and has the appearance of a professionally recorded CD. The best track on of the CD would have to be the eerily bleak piano and acoustic track, “The Doctor and the Mathematicians.” Conversely, “Spain in the Summertime” is a wonderful tambourine and jangly, guitar-laden track that effortlessly channels early Beatles. “Shades of Hippiedom” is another gem that starts upbeat and cheery enough before the harmonizing vocals and synths take over and nosedive into space rock territory. Though Save the Scene is only seven tracks long, the album is rife with enough catchy melodies and feel-good hooks to warrant continuous play on your iPod. (Kindercore Records)
www.myspace.com/wearekingofprussia

-Charley Lee

Wax Fang - La La Land
Engineered by Doug Easley at Ardent Studios in Memphis, TN and Kevin Ratterman at The Funeral Home in Louisville, KY
Mixed by Wax Fang and Mark Nevers at The Beech House in Nashville TN
Mastered by Jim Demain at Yes Master

Wax Fang’s 2005 release of Black & Endless Night has given the Louisville trio a lot of buzz to get rolling with, but for a while now it’s been time for something new. December of last year saw the release of the group’s second album, La La Land. The set of 10 tracks lifts the atmospheric style of their first album and fills it out with choruses of voices, guitars and even kazoos.

All the tunes are new, though a good number have been polished in live shows on the road over the last few months. “Cannibal Summer” is one song that jumps out from the first few tracks. It starts slow and quiet, as most of La La Land‘s tracks do, but then shuffles through riffs one after another with solo guitar riding a surf of driving bass and simply pounding drums.

Most of the songs’ high points are characteristic of Wax Fang’s intricate writing and anthem-rock guitar they’ve laid claim to in recordings and shows before now. A few twists sneak in towards the end of the album. In the last three tracks, the band hits a quiet alt-country moment in “Oh, Recklessness,” a bluesy rage in “Black & Endless Night Revisited,” and something like an ‘80s power-pop rock single in “Wake Up, Sleepyhead.”

La La Land is in many ways a first album. Wax Fang’s previous release was conceptualized and written mostly by guitarist and singer Scott Carney before even meeting the band-mates Kevin Ratterman and Jake Heustis, but these songs and recordings are clearly a group effort. The performances on La La Land were also polished on the road, and unlike the performances on Black & Endless Night the band’s interaction has a tightness representative of what they do live. Carney’s vocals and guitar are far more nuanced, and the arrangements in general seem to include a greater amount of thought and polish. La La Land is an album that represents a band that could soon cast a shadow on local rock far beyond Kentucky. (Don’t Panic! Records)
www.waxfang.com

-Matthew Beale

The Fervor - Bleeder
Produced by Kevin Ratterman and The Fervor
Recorded and mixed by Kevin Ratterman at The Funeral Home
Mastered by Kevin Nettleingham at Nettleingham

The warm din of a Wurlitzer band organ opens “Moment of Truth,” humming elegiacally and ushering listeners in as if part of a funerary procession. An androgynous voice, something in between the likes of Ben Gibbard and Suzanne Vega, greets the audience kindly, forlornly. The march proceeds, a mixture of stringed instruments, woodwinds and percussion, plodding along an up-and-down path until ending in a cacophony of swirling guitars and frontwoman Natalie Felkner’s voice assuring that “you won’t feel a thing.”

So begins Bleeder, the aptly titled debut full-length record of Louisville, Ky.’s The Fervor. Composed of Felkner, her husband Ben of the same last name and steadfast drummer Mat Herron, the group offers up a 10-track gathering of similar dirges. Upon first listen, the album wants to be partially summed up by one word: lament.

But one would be remiss to pass judgment without taking another listen. “Old State Road” plays as a ramble on a rural road for the first two and a half minutes, then kicks into a PJ Harvey-esque verbal assault on an unnamed person during the last minute of the song. “The Void,” the album’s obvious highlight (and soundalike of material produced by The Fiery Furnaces), muses on the futility of trying to be something novel and original in a world where “it’s all been done,” but does an about face in tone and lyrics towards the end. Felkner reassures us, “It’s not too late.”

And indeed it isn’t. While The Fervor knows that the material breaks no untilled ground, the group reminds us that old digs can be revisited in a brand new way. Or, as Natalie Felkner so eloquently puts it, “We’re born again.” (Self-released)
www.thefervor.com

-Mike Isaac

Fishhawk - Fishhawk
Produced, mixed and mastered by Andy Slagle at Early Morning Studios

The eponymous debut album from Atlanta band Fishhawk is truly an exercise in experimentation. From the opening track to the last chord, there is no telling what direction these boys are going in or where they’ll wind up. Dabbling in everything from electro-trance to jazz inspired soul, to post-rock hip-hop, this first effort promises only one thing: to keep you moving. No matter if it’s spacing out or popping and locking, it will be hard to keep any limbs and extremities still. The quartet of Nick Nickerson (lyricist, vocals), Andy Slagle (songwriter, vocals), Matt Williams (vocals) and Chris Euton (bass) has created an album that takes the idea of electronic music to another level. Drum machines, sequencers, keyboards, synthesizers, loops and samples pervade this record, but in terms of musical comparisons, it’s definitely more Massive Attack than Autechre, with a lot more swearing. A look at the band’s MySpace belies a wide range of influences and there’s no doubt that The Four Tops and Dr. Octagon probably did play a part in influencing the album. The themes of most songs range from fun with illicit substances to starting the revolution, with maybe one love ballad thrown in for good measure. It’s hard to pick out the highlight tracks with such a diverse CD, but “Cash and Remedies” and “Closing Doors” are probably the most representative of the band for first time listeners. And with a sound that’s this engaging and energetic, the only problem now is finding out where to get a copy. (Self-released)
www.fishhawkmusic.com

-Charley Lee

Paleface and Just About To Burn - A Different Story
Produced by Jeff Wood and Paleface
Engineered by Tony Chance

Following traditional folk and rock song structure, New York and Concord, N.C.’s Paleface and Just About to Burn expand on expected sounds and subject matter. As evidenced by his compositions, anti-folk songster Paleface has rubbed shoulders with several bluegrass, grass-core, folk and indie rock heavyweights. Through tight instrumental layering and baldly honest lyrics, Paleface and Monica “Mo” Samalot create an atmosphere alternately mysterious, confident and optimistic. “I’ve had about all the B.S. I think I can stand,” Paleface relates in “Brooklyn Girl,” reflecting the lack of pretense so thoroughly communicated, musically and lyrically, throughout the album.

Which is not to say the record isn’t masterful. Through 11 tracks, Paleface’s gravelly voice rides over banjo, acoustic guitar, harmonica, melodica, lap steel, mandolin and just a touch of electric guitar, as well as a handful of other instruments. The group’s blend is excellent. On certain tracks it becomes difficult to distinguish the orchestration used because the sounds mesh so seamlessly into one another. Samalot provides backup and harmonic vocals, and her much higher register and sweeter tone contrast happily with Paleface’s lower, rougher voice texture. She sings lead on “Ya Me Voy,” accompanied by only acoustic guitar and bass, a bare-bones composition that ranks among the most intimate moments on the record.

The album sweepingly straddles the area between beauty and bounce, reaching its most moving and transcendent moment in “Brooklyn Girl,” with bowed bass by The Avett Brothers’ Bob Crawford. Shimmering lap steel and an extremely wide pitch range in this untraditional love song create an atmosphere of nostalgia under lyrics that communicate a complete lack of regret.

The album draws to a memorable end with standout track “I Can See The Light,” featuring guest vocals, banjo and acoustic guitar by Seth and Scott Avett. It begins and ends with an a capella sing along, the middle a rolling folk groove. This song is perhaps the best reflection of the creative collaboration and compulsion communicated throughout the album. “I’ve got to find a tune to play,” Paleface confesses in the album’s opening track. “I Can See The Light” brings a record full of clean melodies and compelling arrangements to a hopeful conclusion. (Green Frog Skins Music)
www.palefaceonline.com

- Julia Reidy

David Seale - After You Leaned In...
Recorded, engineered, and mixed by Wes McDonald at Terry’s in Birmingham, AL
Mastered by Jeff Capurso at Chase Park Transduction in Athens, GA

Birmingham native David Seale propels to the forefront this winter with a scintillating collection of nine rockers full of spirited pop and lyrical and emotional resonance.

The album opens up with Seale’s signature mellow, hypnotic phrasings to create the intro, repeating the lyrics “after you leaned in.”

Highlights include “Sunday Morning” and “Did You Mean It?” both of which show off Seale’s songwriting prowess. The album is short, just nine songs, yet it is distinctly developed through the journey of the band’s live shows and rehearsals, with subsequent recordings at Terry’s Studios in Birmingham.

“Stronger Than a Promise” certainly brings Seale’s passion and potential to light, resonating with a Southern rock/soul fusion feel, complete with sizzling guitars and melting organs.

Here you will find the simple power of Seale, an adventurous and daring songwriter, supported by a group of backing musicians, some of the best in the local Alabama scene. The songs are full of vibrant hooks, thoughtful and witty lyricisms, driving guitars and mesmerizing bass and percussive statements.
The piano and keys are very engaging, accompanying the rest of the band as a critical piece, bringing a more appealing overall look into the record’s production quality.

These are mostly simple songs, superbly performed and arranged by a veteran songwriter, and more positive music should be expected from Seale in 2008.

Even with all these upbeat observations, perhaps more effort, time and attention to detail should be paid to the sound quality of the record, as most the songs seem muddled and distant. This idea can most likely help the record soar through the room, sounding more appealing and full of life (One-Fifteen records).
www.myspace.com/davidseale

-Shawn M. Haney

Fusion of Da Elements - Fusion of Da Elements
Produced by Shrien
Mixed by 2 Gran Productions
Mastered by Ambidextrous Arts Mastering

Atlanta’s Fusion of Da Elements bring a refreshing mix of progressive lyricism set over hip-hop beats. It’s a mish-mash of Poet Grace’s spoken word stylings interspersed with MC Shrien’s confrontational yet thought provoking rhymes. The debut album from the Jamaican-rooted duo stirs the proverbial pot with tracks ranging from the tried and true love/lust song theme (“Hot Kisses on the Sofa”) to extended rants on unemployment and layoffs (“Corporate Drama”)

Unfortunately, the pair falls short of putting forth a truly impressive album. The mixing feels chopped together, with some of the harmonizing vocals on the guest tracks drowning out Shrien’s words (see “Twisted Love”). Many of the loops start out promising, as heard with the plucked harp on “Lifelong Struggles” and the Roots-esque “Napalm,” but quickly trail off into mediocrity with a lack of variation.

Shrien’s rapping is by far the most prevalent and noteworthy on the effort, overshadowing partner Grace. The latter’s angry outbursts seem to lack the emotion that the words want to carry, and leave listeners wanting for MC Shrien’s more dynamic sense of sound.

Yes, Shrien’s desire to “hear a different sound” coupled with his wish to “change the world for the better” seem like familiar placations from a hip-hop group that lacks gunslinging and dope running themes. Still, there is promise in the group, shining through particularly on album bookender “The Woman’s Soul.” Hinting at a follow-up album in their artist’s bio, it remains to be seen what first-album kinks can be worked out with the next record. (Self-released)
www.fusionofdaelements.com

-Mike Isaac

Gray Young - Kindle Field
Recorded and mixed by Nick Petersen at Track and Field in Carrboro, NC
Mastered by Carl Saff at Saff Mastering in Chicago, IL

Chas McKeown (guitar/vocals), Dan Grinder (bass/keys) and Jeff Dopko (drums) have crafted songs looping and weaving many different sounds, rhythms and beats until there isn’t just one specific genre or niche to describe the music. “Spacey” and “ambient” are about the best you can do with the music on this short, six-song CD.

The first song “A Weighted Lull,” has a slow, stark beginning, then rhythmic beats join in bringing to mind pulsing lights and writhing bodies flowing along to the music, then the tempo abruptly shifts going ever faster until it drops off to match the beginning. “Release” is another song that abruptly shifts tempo midway through the song, and then falls off fading to blackness.

“Proxy Moon” is a bit repetitive in its flowing layers before switching gears and closing out with a dose of reverb. “Tilling The Wind” starts off slowly, then builds layer upon layer and then dropping off to a spacey, ethereal end to close out the CD.

Neither the title track nor “Proxy Moon” have any vocals, but on the songs that do have lyrics, words are sparse and buried down into the mix, seemingly secondary to the soundscape of the songs.

This quote from Brian Eno off the liner notes of Music For Airports, is probably the best way to describe Kindle Field, Gray Young’s debut release: “Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.” (Self-released)
www.myspace.com/grayyoung

-Kat Coffin

Nathan Lee - Down at the Rutledge
Produced by Winn Elliot, George Landolt and Nathan Lee
Recorded live by Frank Sass May 18, 2007 at The Rutledge in Nashville, TN
Mixed by Winn Elliot & Mark Linger
Mastered by Jeff Baggett.

“Coming like a wrecking ball / Coming like a long black train / Coming like a shotgun shell / Better get out of my way.” That’s the opening phrase of a killer song, “Wrecking Ball,” which sums up Nathan Lee’s drive and strength, in both his vocal and lyrical delivery, painting the portrait that defines his career and journey in music.

Nathan Lee is a 13-year veteran of the Nashville scene. The pianist singer/songwriter has delivered spellbinding sold-out shows each week at The Rutledge, and here is a close glimpse into the psyche and character of Lee, a “wrecking ball” that deserves a look.

This collection, recorded live at the Rutledge this past May, presents an intimate performance of subtle beautiful ballads and passionate rockers by Lee and his backing group of mesmerizing talent and energy.

In “Back Yard in Brooklyn,” Lee tells a story of the innocence of home, and the earnestness of a lost soul wishing to return there. This tune, like most of the record, reminds us of what it means to find a real home in life, how it feels to find peace of mind through life, from youth to later years.

Each song is a stellar example of wit and crafty songwriting, and Lee’s haunting voice and piano is eerily reminiscent of greats like Springsteen, Joel and Waits.

Most notably, one can experience the lush sound of Paul Seykora on the Hammond B3 organs and Todd Cooper and his scintillating saxophone. Dave Simms lays down searing grooves on bass, Justin Johnson packs a tight, cunning percussion, with Dave Graef spilling out soaring notes of melodic heaven on lead guitars. Tony Lacito and Richie Penna get into the act on the bonus track “Almost Doin’ Fine.”

Produced by Winn Elliot and George Landolt, the sound quality and overall mastering is superb, as the record shines clearly through one’s sound system or car radio. (Self-released)
www.nathanleemusic.com

-Shawn M. Haney

Real Live Tigers - This is Sometimes a Riverbed
Recorded, mixed and mastered by Steve Degennar at Studio 42 in Austin, TX

Delving into the power and awe of life, feeling free and finding harmony and peace of mind, Real Live Tigers present This is Sometimes a Riverbed, a collection of beautiful and soft melodies. It’s a near perfect attempt at constructing a loose concept album.

The songs are simple, serene and, at times, sad, dealing with issues of hope and mental health. Yet the production and performance help raise the songs to uplifting heights with delicate, careful touches.

Songs like “Yes, Still,” “Other Lives” and “Flood Plains” are crammed with thought provoking, deeply woven lyrics, stories of heartache and war, soldiers coming home, the kindness of everyday strangers, and the beauty of trust.
Frontman Tony Presley sings, “Why can’t we believe in each other / Because I think that’s were we went wrong.”

Touring endlessly since 2004, Presley is backed up by the beautiful violin of Marcus Rubio and gorgeous harmonies and acoustic guitars of Karrie Hopper.

Eleven songs packed with real life experiences, emotion, with delicate yet highly engaging instrumentation, The Real Live Tigers are a group not to be forgotten. This is an album to use to find peace, meditate, look for quiet time, or reflect on life’s directions. (Sanitary records)
www.sanitaryrecords.com

-Shawn M. Haney

Lauren Lapointe - Butterfly
Produced, engineered and mixed by Tom Prasada-Rao
Mastered by Bill Wolf at Wolf Productions, Inc.

Lauren Lapointe is an acclaimed live performer of folk acoustic music. Born Canadian but raised in Georgia, she left her nine-to-five desk job in 2001 to start songwriting. Trusting her instincts yielded well-received live performances and her acclaimed first album, 2005’s Beautiful Shadow. Butterfly is more personal, allowing Lapointe to focus on feelings and moods, places she’s seen and people she’s known.

Lapointe wrote all but one song on the album, with the only cover being The Eurythmics’ “Here Comes the Rain Again.” On this track, the mechanized ‘80s pop percussion and keyboards are replaced by cello and an organic feel and the mood of the words really comes through beautifully. “The Last Tree” is an environmental ballad with Joni Mitchell-like observations, but “Canadian Belle” has more in common with Mitchell, musically. “My Baby” feels more bluegrass in style and sound. It’s a simple beat, but it’s not solemn or forlorn. Lapointe’s persona is deeply in love with a man, flaws and all. He makes her feel extremes of emotions and she can’t get enough.

Harmonica, upright bass, and twinkling mandolin show Lapointe’s Southern exposure, sans the accent. “Lonely Road” seems to capture a vision quest in song, with simple piano and cello accompaniment. “I Don’t Know” and “The Sound of the Sea” are in the Celtic vein, using mandolin, flutes and violins to convey mood. “Ballerina Girl” tells the true story of a middle-aged accountant being inspired to start a career in ballet. “La Loca” tells the story of a princess driven mad by love. “Lady Charlotte” tells the true story of one of Lapointe’s ancestors eloping with the gardener to start a new life in Canada.

Lapointe has definitive gifts with melody and lyric. Her choices in life, love and passion inspired this album. It is evident she has plenty more stories to tell in the coming years. (Self-released)
www.laurenl.com

-Kathleen Wehle

Pilots Wish - Pilots Wish
Produced by Mark Niemiec at MuggyTone Productions in Nashville, TN and by Shaun Lopez in Los Angeles, CA

Rest assured real alternative rock hasn’t totally disappeared - Pilots Wish doesn’t just revive it, they keep it alive and kicking balls. There is a lot of fantastic restless energy to this album — even when the lyrics aren’t necessarily easy to understand, it still rocks. The production is really well done and all eight songs are originals. It’s hard to make comparisons to previous acts because, while instrumentation might sound familiar for a second, it takes new directions that aren’t familiar at all. For example, “Idle Hands” might remind listeners of the harder rocking tracks of Coldplay’s first album, but it takes things a step further and doesn’t let up
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Moods of the album are deliciously dark. Vocals are used emphatically and are full of desperation at turns, yet they fall back to more sedate and observant. “Far From Home” has has a deconstruction sound, its lyrics seem to be pleading with God and fate. “Alight” and “Sailing” take a quieter turn, featuring a focus on the higher notes of the piano keyboard, played in repeating circles of tone. “Dying Tree” uses haunting piano and guitar. “Half a Letter” is a unique piece, focusing more on keyboard and lead vocal, which ranges from falsetto to softer lower tones. Layering of guitars and voices nearer the end of the track of what sounds like all six members singing creates an intriguing effect not often heard with such lucidity.

This album is sure to whet the appetite for a Pilots Wish live performance, which isn’t a usual feat. But at the end of the album, Pilots Wish hardly seems like just your usual alternative rock band. It’s worth noting this band’s brilliant melding of North and South - the six-piece has members from Philadelphia and Nashville. (Self-released)
www.myspace.com/pilotswish

-Kathleen Wehle

Skeptic? - EP’s and More 2001-2007
Recorded by Bob Russom for Gin Town Sound and by Emanual

The members of the Alabama quartet Skeptic? may not be saviors of punk, simply because punk has never cared enough to need saviors, but they are certainly torch bearers of hardcore punk’s original purity.

This title to its recent release, EP’s and More 2001-2007, is a good indication to the straight forward spirit of a veteran band with very little expectations or concerns for anything other than making honest music. The 19-track, 40-minute album is a collection of previous demos, splits, live recordings and unreleased material from the band’s six-year recording career. Some of the album’s highlights are the raging Black Flag cover “Depression” and the politically charged crying out of the album’s opening track “Nobody Cared.”

Skeptic? provides an unwavering look, perhaps even a nod, back at hardcore punk’s past with relentless, high-octane rhythms, socially conscious lyrics and a sanity teasing vocal style that’s reminiscent of the likes of Minor Threat or Dead Kennedys.

It’s not all snotty punk for Skeptic? though. The band exhibits a respectable, melodic consciousness that so many hardcore punk bands either overuse or leave out altogether. The combination results in a full-bodied sound that snaps back each time the simple, uncomplicated punk spirit is compromised.

Perhaps the motive behind Skeptic?’s clear vision and cultural understanding is the band’s veteran age. With most of its members well into their 30s, Skeptic? finds itself firmly grounded to the genre’s roots. Punk purists are quickly finding the band to be a rare flame in punk’s darkening underground. (Self-released)
www.myspace.com/skeptic

-Matt Godbey

ASG - Win Us Over
Recorded, mixed and engineered by Matt Hyde and Chris Rakestraw
Mastered by Dan Shike at Tone and Volume Mastering in Nashville, TN

Wilmington, N.C.-based hard rock quartet The Amplification of Self Gratification (ASG) is back with its fourth album since its 2001 formation. Win Us Over steers a straight line alongside the band’s hard-hitting, alt-metal past.

At first glance, ASG might look like a pack of metalhead stoners that would, most likely, be playing Metallica and Pantera covers from a friend’s garage. A closer look, however, reveals something else.

Musically, Win Us Over is a barage of tenacious, punishing distorted breakdowns and guitar-laden riffs that echo the sounds of stoner rock and metal while singer and guitarist Jason Shi’s resonating growl casts the band into a post-grunge light. Despite the band’s abrasive exterior, ASG’s songwriting skills manage to exude a polished cultivation and intelligence that many hard rock bands often lose between the screams and overcomplicated song structures. Although ASG’s hallucinatory metal style is extremely active and constantly shifting, the songs never feel cramped or overly bustling.

Recorded in Los Angeles with acclaimed producer Matt Hyde (Monster Magnet, Strung Out), Win Us Over eases the band towards a more balanced and refined direction while keeping a firm grasp on the band’s aggressive rock ‘n’ roll spirit.

The track “Taking Me Over” is an example of ASG’s gritty, distorted oozing-of-rock style melding nicely with an enveloping stoner rock hypnosis that completely submerges the listener in the sonically addictive aftermath. While “A Number To Murder Two” sees the band giving a subtle wink at its Southern roots with dueling acoustic guitar picking in an almost bluegrass fashion and a surprising display of pitch perfect harmonies. (Volcom Entertainment)
www.myspace.com/asgmusic

-Matt Godbey

Swank Sinatra - Joseph Merrick Was a Handsome Man
Recorded at The House of Garcia
Produced and mixed by Randy Garcia

Atlanta’s Swank Sinatra plays over-the-top, in-your-face, guitar-driven rock ‘n’ roll. The extended instrumental intros and repetitive vocals of the tracks on their debut LP Joseph Merrick Was a Handsome Man allow the band to focus on what they enjoy most - rocking out. Fast-paced electric guitar solos and creative percussion wind throughout songs such as “Pennies” and “Shake It To the Rhythm.” Lyrically, the band offers up overly simple lines like “Get nasty / Get funky / Get stanky / Get swankified” on “Eternal Nightlife,” while the songwriting on the rest of the album tends to offer little more. The simplicity and stupidity of the lyrics, however, adds to the charm of these guys. There are no mixed messages here - this thing is a drunk mess from beginning to end.

Joseph Merrick... makes it clear that this band needs to be seen live in order to be fully appreciated. The energy and antics contained within the nine tracks (clocking in at less than 32 minutes) aren’t always pleasing but sound like they’d at least make for a fun night in a crowded dive such as The Star Bar. The quality of the songs fades towards the end of the album, as “Balls For Breakfast,” “Sailing Shipwrecks,” and “Peg-leg Bill” will make most listeners believe that Joseph Merrick... would have made more sense as a six-track EP. While there will always be a place for cheap, fun, sophomoric rock ‘n’ roll, it will be interesting to see if Swank Sinatra offers lasting substance or simply a short-lived soundtrack to the type of drunken nights that most listeners will soon regret. (Self-released)
www.swanksinatra.com

-Micah McLain

Wink Keziah & Delux Motel - Working Songs for the Drinking Class
Produced by Mark Stuart & Wink Keziah
Recorded and mixed by Mark Williams at Mitch Easter’s Fidelitorium Recordings

Working Songs for the Drinking Class, the unfortunately titled second LP from Charlotte, NC-based Wink Keziah & Delux Motel, runs the entire honky-tonk gamut — from upbeat hillbilly stompers to steel guitar-led ballads. As is often the case with the honky-tonk genre, the album’s diversity tends to water down the effectiveness of the various types of songs. Keziah’s exaggerated Southern drawl on disc opener “I Can’t Stop” is initially hard to handle. Thankfully, the harshness of his vocal delivery lessens with exposure to each track that follows. “A Hot Woman and a Cold Beer” and “That Ain’t Me” are fast-paced, bar-bred, lyrically-shallow tunes that work effectively enough for what they are: fun songs about the Southern honky-tonk lifestyle.

Delux Motel, Keziah’s band, is a diverse and experienced group of musicians that helps provide continuity from song to song. The more serious tracks on the album are excellent, both lyrically and musically. “Til I Pick Up the Telephone” and “Laredo” show what the band is capable of when they focus on crafting well-written songs as opposed to pandering to the hard-drinking, rowdy good ‘ol boys that no doubt comprise a large portion of their barroom audiences. The flowing guitar riff and steel backing of the stand-out “As Long As It Ain’t Here” make it an instantly appealing track that would sound at home on any country radio station. Here’s to hoping that Wink Kezia & Delux Motel choose to focus more on writing songs for the working class as opposed to the drinking class on their subsequent releases. (Great South Records)
www.winkkeziah.com

-Micah McLain

The Paper Champions - Sounds from the Cutting Room Floor
Tracks one through Eight recorded by Steve Slavich at The Jam Room in Columbia, SC
Tracks nine through 11 recorded by Greg Drews at Blue Cloud Studios in Marietta, GA

This latest offering from Atlanta’s The Paper Champions, Songs From The Cutting Room Floor, is a digital-only collection of B-sides, extras and early recordings from the band’s formative years. It’s unusual to get a retrospective from a band that’s only been around for a few years (since 2002) - one usually finds this kind of treatment given to bands that have been around a lot longer and have a much larger back catalogue - and this doesn’t make a very strong argument for that practice to change.

Songs one through eight are not particularly remarkable. Although each one sounds different on the surface, the glaring tempo shifts during most songs just makes them sound disjointed. Combine that with the limited vocal range on all the songs, there’s just nothing to hold much interest.

The last three songs here - “Some Saturday,” “The Electric Side” and “The Wall V. 1” - are vastly superior to the others. These songs have a much more polished, fuller sound while still maintaining their alternative/indie spirit. The musicianship and the vocals on these songs sound so much more improved than the other songs. The really confusing part is these three songs pre-date most (if not all) of the others.

A retrospective is a hit or miss concept, sometimes some brilliant gems can finally see the light of day, other times songs that were on the cutting room floor were there for a reason, and should stay there. If The Paper Champions had more songs lying around like the last three on this one, it would make this into a must have CD. (Reason Y Records)
www.thepaperchampions.com

-Kat Coffin

Dixie Whiskey - Honky Dory
Recorded and mixed by Andrija Tokic at The Bomb Shelter in Nashville, TN

It seems like the harder Nashville tries to move away from its country base, the more young bands pop up trying to bring it back. Which is actually a good thing, because this isn’t studio-approved country, nor is it new-fangled Americana. Dixie Whiskey brings back older song structures, such as with “Southern Belle” and “Mississippi Boogie,” that are upbeat narrative folk songs. Dixie Whiskey is anchored in the place and time of the South, making multiple references to cities and highways that have a congenial feel and push towards what a country record should be. But this isn’t horribly whiny or pitiful, it’s fun and flavorful, making it more honky-tonk than anything else.

“Landlady Dead” is a classic rock romp of dark comedy and “Birmingham” satisfies with a few steel guitar-twinged punk rock chords. The standout, however, is “You Knew I Was A Snake” for its buoyant, clever picking and humorous narrative. The song shows off everything that Dixie Whiskey does well - putting on a fun show backed by excellent ability. At eight songs and 21 minutes, Honky Dory creates a penchant for a deeper and longer effort about Dixie Whiskey’s well-informed and impeccably performed hard-luck stories. (Self-released)
www.myspace.com/dixiewhiskeymusic

-Josh Spilker

Joe Buck Yourself - Joe Buck Yourself

Few people can simultaneously play guitar and drums, but hellbilly dynamo Joe Buck makes it seem easy. As bassist for Hank Williams III and former Legendary Shack Shaker, Buck is no stranger to the darker, more aggressive style of country. But on his first full-length solo album, he one-ups every band he has ever played with and does it all by himself.

Joe Buck Yourself is a hostile, high-speed barnburner of an album. Starting with the searing and sleazy slide of “Dig a Hole,” every track brings a new perspective on what the hellbilly/cowpunk genre should be and does it at full force. The influence of such peers as Those Poor Bastards, Unclefucker and Jon Wayne are all here, but Buck blends the angry roots country with the stripped down stylings of The White Stripes, the punk posturing of Dead Kennedys and even channels Tom Waits on the acoustic “Bitter is the Day” and the noir instrumental closer “Intreatment All.” This album is raw, it’s violent and it’s perhaps the best album to come out of the genre. Rob Zombie, eat your heart out. (Self-released)
www.joebuckyourself.com

-David Feltman