Album of the Month
 Mary O. Harrison
Factory Of Days
Recorded at Bel Air Studio by Jason NeSmith
Except French horn track recorded by Bob Gal in Atlanta
Produced by Jason NeSmith and Mary O. Harrison
Mastered at Rodney Mills Masterhouse, Duluth, GA
Factory Of Days is the debut solo release from Atlanta-based singer/songwriter Mary O. Harrison, formerly of Charm School.
Musically, the CD features an artful arrangement of many instruments aside from the conventional acoustic and electric guitar, bass, drums and varied keyboards. The stark piano and vocal intro on “Surrender” evolves fluidly with the addition of the viola, violin and French horn. “Supper Song” and “We’re Not Alone” also effectively use the violin. “My Old Island” relies on the flute for its character while the cello gives “Orange Blossom” its distinction.
The lyrics are diverse, ranging from the mundane, “This is what I wait for / Someone call me in to supper” in the opener “Supper Song,” to the fanciful, “When I turned into a man / I was just a stone in the palm of your hand” in “Orange Blossom,” to detached spurts, “Close / Breath / Falling down again” in “We’re Not Alone.” The drawback is the vocal delivery on most songs falls flat, never drawing the listener in. One exception is the quirky “Born Pretty.” Its upbeat rockabilly flavor and catchy lyrics making it a highlight of the CD.
The 12 songs here are standard folk rock fare, maybe a little too standard as they aren’t compelling enough to make this a must have CD. (Two Sheds Music)
www.myspace.com/maryoharrison
-Kat Coffin
 Chimere
Turn Me Up
Produced by Chimere Scott and Regina Scott| Mastered by Mindzai Recording Studios in Atlanta, GA | Engineered by Scott Weatherwax at Mindzai Recording Studios in Atlanta, GA
Atlanta native Chimere has released her debut CD titled Turn Me Up. An experienced singer, songwriter and dancer, she has toured the world with a variety of acts such as India.Arie, 50 Cent, Ludacris and Lyle Lovett.
The first track, “American Girl,” starts out with shrill, forced vocals, covering the substance behind the lyrics. “American Girl” expresses the feelings of an independent southern woman, but is lost by the screeching
vocals. The second track “Other Girls” is a better representation of Chimere’s natural range. She sings, “The typical type of introduction starts with what’s your name / And usually after that introduction comes some type of game / Saying what you think might impress me, talking out the way / Those are all the things I’m afraid of.” “American Girl” and “Other Girls” run with the same independent woman, I-don’t-needa- man-to-take-care-of-me theme.
“Love Struck” has a disco backbeat, but lacks the Donna Summer-esque feel, lost again in the shrill tone. “The One” is a slower paced song and highlights Chimere’s vocal range as an alto. The lower range suits her better than the soprano range. Comparing Chimere to Chaka Khan is a poor comparison, only the latter can successfully hit the high notes and leave a lasting impression.
Turn Me Up has a variety of songs at different tempos. Chimere’s voice resonates at a lower tones; the higher soprano levels leave her voice sounding pitchy. She has a solid voice and with experience will come improvement. Turn Me Up is a decent attempt at a debut album, but may leave some listeners saying turn it down. (Southern Chocolate Inc.)
www.myspace.com/chimeremelodies
-Kelly Tenedini
 The Broken
Letters
Sing the Burning Alphabet
Recorded by David Hickox
Mastered by Chicago Mastering Service in Chicago, IL
Dynamic duo and former Plate Six members David Hickox and Brad Davis return to
follow up their debut vinyl LP I, with their first full length CD. I Sing the Burning Alphabet captures all of the somber and introspective dispositions of their first release coupled with richer tones and more intricate compositions. Yet in spite of the complex melodies exhibited here, the album as a whole seems simpler and more focused than its predecessor.
Dread and anxiety pervade the lyrics and Hickox’s wounded vocals flawlessly convey every ounce of failure and adversity contained therein. This is the ideal music to listen to while you read Kierkegaard or Faulkner. The two-piece band only offers guitar, drums and keyboard (if you see them live you’ll occasionally see Davis playing the drums and keyboard simultaneously) but the music is not left wanting. Burning Alphabet will give you an image of a larger band complete with banjos, violins and organs due to the sheer mass of the sound. And somehow, behind that grander illusion are just the two bearded bandmates.
If there is a grievance at all to be had here, it’s only that you’ll wish it was longer. The 10 songs found here last just long enough for you to drift into a reflective state of mind before it comes to halt and jerks you back into reality. The problem is easily solved by hitting the repeat button because this is an album that only gets better with consecutive listens. This may not, however, be a pick for the post-hardcore loving fans of Plate Six. The Broken Letters are about as far apart from the deafening and dissonant aggression of their former outfit as you can get. But give the album a serious try, as longtime Plate Six fans can find room in their hearts for both bands. (Bent Rail Foundation)
www.myspace.com/thebrokenletters
-David Feltman
 Morning State
You Know People,
I Know People
Produced by Morning State and Asa Leffer |
Recorded and mixed by Asa Leffer at DARC
Studios in Athens, GA | Assisted by Jeff Cobb
| Mastered by Glenn Schick
In the overcrowded field of power pop, Morning State is trying something that hasn’t been done for quite a while: writing good songs. In their eagerness to stand out, most bands in this genre rely on kitsch. With Morning State’s You Know People, I Know People, however, it’s just about the music.
Having lost their original tape reels to the now-defunct Livewire Recordings in a custody battle, the men of Morning State re-tracked this album from scratch with the help of Athens engineer Asa Leffer. Though Livewire’s recordings have historically been great, Leffer is no slouch in the tracking and mixing department. The band’s controlled energy comes across as polite yet confident, and the songs about driving, yard work, school and neighborhoods are real and easy to fall into.
“Sad Is When I’m Driving” kicks off the CD with more angst than sorrow, and “Hurry, Hurry” carries a sense of judicious franticness reminiscent of The Whigs. The catchy “Never So Strange” shows the band’s ability to write tight, jingle-worthy melodies, but emphasis track “Oh Yeah” is the album’s standout. Singer Russ Ledford is almost grunge-rock in his melody and delivery, but guitarist Dave Williams’ minimal, dynamic playing keeps “Oh Yeah” in modern-rock territory. The album slows to a finish with “Knives,” a song that could nearly pass for an unreleased track from Arcade Fire’s Funeral sessions.
Stripped down and straightforward, You Know People, I Know People is anomalous in its simplicity and honesty. The band has plenty of room to experiment on future releases, but for now the guys are showing the world that they can write and execute good pop songs. (Indie Outlaw)
www.morningstate.com
-Harold Zimm
 April Cope
Petals Fall
Produced by Gabriel Shepard, April Cope and
Jeff Cleland | Recorded at Hyde Street Studios
in San Francisco, CA | Engineered by Gabriel
Shepard | Mastered by John Greenham and
Michael Romanowski at Paul Stubblebine
Mastering in San Francisco, CA
With subtle musical play on her Appalachian roots and an Emmylou Harris-like voice, April Cope sings heartfelt lyrics on Petals Fall. The compositions use open chords and Cope has a good band, but while some songs work, she needs more time to mature.
Mandocello, country piano licks, tenor banjo, mandolin and judicious accordion create a country-folk feel, and all the players know their stuff. Eric McFadden takes a crisp mandocello solo on “This Garden” and Dave Parnell’s electric guitar sounds great on “Move Mountains.”
The best songs are the ones closest to Cope’s North Carolina roots. In “Swinging Bridge,” a song about leaving her home behind, she’s standing on the swaying country bridge near a field of Black Eyed Susans, “dropping Susan’s yellow tears / Watching them sail into the glass.” Cope uses piano and accordion against her acoustic guitar, anchoring the tune with bass and frame drum. “Black Wing,” a bird whose “babies live in a dark nest,” is a metaphor for sorrow. With a cameo by singer Chuck Prophet, it has the foot-stomping lilt of good old country ballads.
“Angel Under Barbed Wire” is about a girl who helps failures and won’t let herself succeed. Opening with guitar harmonics, it adds an accordion that sounds like a junior B3 and pretty mandolin-electric guitar fills. Cope’s gentle voice makes for a good ironic counterpoint to the song’s straight-punch theme.
One thing’s for sure, April Cope is telling great stories of love, her man and the loss of innocence. Now she needs to listen to stories written by other people and keep on writing, so she can push her own work to the next level. (Self-released)
www.aprilcope.com
-Roanna Forman
 Dylan Gilbert
The Quiet Life
Produced by Dylan Gilbert | Recorded and
mixed by Dylan Gilbert | Mastered by Dave
Harris at Studio B in Charlotte, NC
In the Southeast alone there is an endless desert filled with singer/ songwriters searching for that big break. There are a select few that stumble across that oasis of good fortune but for most it’s a horizon of mirages and false hope that only leads to noisy bars and street corners.
For Charlotte, N.C. songsmith Dylan Gilbert, however, his thirsty wandering seems to be leading him to the right places. Since Gilbert released his 2005 debut Oh No Oh Now I Know at the tender age of 17, the eyes of critics and labels have been tightly focused on Gilbert’s vast potential. His multi-instrumental capabilities, smart yet poetic songwriting and smooth vocal ability have catapulted Gilbert to distances far ahead of his peers.
Gilbert’s junior effort, The Quiet Life, is further proof of his remarkable ability to not only write great songs but to also produce and execute them as well. The album is a 14-track collection of jangly pop tunes with hints of Brit-pop and indie rock making frequent appearances throughout the record.
Gilbert’s most obvious comparisons would be groups like The Decemberists and Death Cab for Cutie while subtle similarities are akin to the likes of Elliot Smith and such British Invasion groups as The Zombies or The Yardbirds. Gilbert’s writing is like the work of a musical tailor; intricately woven with layers upon layers of harmonies, rhythm changes and instrumental experimentation. The result is a thick patchwork of music that explores several important avenues of great songwriting.
Just when he seems to sound cluttered, Gilbert’s rare ability for diversity carries the album through the sometimes hook absent moments. On the track “If You Leave Me,” Gilbert boldly displays his ear for simplistic songwriting. Using little more than a soft guitar strum, Gilbert croons his way through the brutally honest core of the song with flying colors. On the track “Math,” Gilbert reveals his fun-loving side with perhaps the album’s catchiest and most energetic tune.
What Gilbert lacks on The Quiet Life, however, is an initial impact on the listener. Listen to the record four or five times and you will be blown away, but until then the songs are easy to forget. The record isn’t instantly memorable and, due to its complexity, sometimes gets lost within itself.
Nonetheless, Gilbert’s ability for songwriting is one of the strongest around and at the mere age of 20, the future knows no limits for this up and coming artist.
www.dylangilbert.com
-Matthew Godbey
 Twin Tigers
Curious Faces/Violet Future
Recordedand mastered by Twin Tigers and
Joel Hatstat at The Bakery in Athens, GA
The debut EP from Athens band Twin Tigers is an incredibly solid first release. Twin Tigers is the culmination of former Psychic Hearts member, Matthew Rain, and former And Friends members Aimee Morris, Enoch Bledsoe and Richard Young. After only a year together, the quartet proves with Curious Faces/ Violet Future that this new collaboration should not be taken lightly. Curious Faces/Violet Future echoes refrains of psychedelia and belts out shoegazer melodies on top of fuzzed out guitar and distortion. Between the spacey layering and the dynamic arrangements, elements of bands like Electro Group, Jesus and Mary Chain and perhaps even a little She Wants Revenge emanate from the speakers. Though the CD relies heavily on multi-layering, nothing gets lost amidst the arsenal of sound. The clear distinction in instrumentation and well-polished production was attained with the help of Pegasuses XL member, Joel Hatstat. The song “Red Fox Run,” a 1960s rock-driven track that delivers a blistering hook before pummeling the ears with a static-filled chorus, is one of the best on the CD. “Invisible Zombies” is another charmer that goes for a minimalist beginning before instruments ebb and flow throughout the song as rhythmic devices rather than as additions to melody. The misleading direction of sounds results in a unique track that’s altogether engaging. Curious Faces/Violet Future can be summed up in Rain’s line, “How many does it take to get hooked and how many have we done so far?” Well, the answer is one. (Self-released)
www.myspace.com/thetwintigers
-Charley Lee
 When Rocky Beat
The Russian
Reason Your Way Out
Recorded at JAM inc. and Zook’s House in
Atlanta, GA | Produced by Jesse Astin and
Mike Hardin | Mixed and Mastered by Jesse
Astin at Antennae in Burbank, CA
The first release for When Rocky Beat The Russian, Reason Your Way Out, is a four-song exploration of alternative hardcore. With its origins in post-hardcore of the early 1990s, this album attempts to reach outside of screaming vocals and fast-paced guitar rifts. The opening lyric of the almost eight-minute-long first track “Genes Is” screams, “Be afraid,” a refrain we hear throughout the song. The song tells us to fear the state of affairs and the survival of the human race. The accusatory song holds that we are “Asleep at the wheel / Your mind’s in a ditch / Keep on trusting.” These blatant apocalyptic messages reach over into the other tracks of the record as well.
The beginning of the second track, “Nosebleed,” finds a slow piano intro, not unlike those used by Muse, leading into a heavy metal guitar riff and repetitive drumbeats. Though the lyrics on the first track are sung in an alt-rock style, these vocals are for hardcore purists, screaming discernible words that can only evoke images of angry moshing teenagers.
The third track, “Circus,” has slow, drawling whispered vocals heard in the middle of the song for about 20 seconds, but it quickly transitions back to the electronica-laden instrumentation heard in the first half, sounding like a fusion of rock-based drum sequence with hip-hop beats in the background augmented by the ever-present guitar lead.
The final and title track of the record steps into yet another genre that harkens more to Radiohead than to any hardcore band. This dark yet heartfelt lament is based mainly on acoustic guitar with spooky “ahs” sung by a background choir. The singer repeats, “You can’t reason your way out of this mess” as the drawling chorus. This, coupled with the conversation about drugs at the end of the track, leave the listener with an ominous feeling, like passing through the eye of a storm. (Free Records)
www.myspace.com/whenrockybeatstherussian
-Bryn Gravitt
 Sean O’Bryan
Smith
Tapestry
Produced by Sean O’Bryan Smith |
Associate produced by RichKrainak |
Mixed by Jonell Polanksy at DaCapo Music
in Nashville, TN | Mastered by Don Cobb
and Eric Conn at Independent Mastering,
Nashville, TN
For decades, Nashville’s Sean O’Bryan Smith has been a highly soughtafter musician for stage and session work, and with the release of his first solo CD Tapestry his talent as a composer will only increase the demand.
Tapestry is defined as “something felt to resemble a richly and complexly designed cloth,” which is an apt description for the music on this CD. The nine instrumental songs weave an elaborate aural tapestry for the listener, blending smooth jazz with a variety of other musical genres, giving each song a unique sound.
The soft, mellow beginning of “Sweet” transforms when the bass comes in and then again as the sax and then guitar come to the forefront surrendering again to the bass before its climactic finish. “Fresh Cup” is more laid-back, featuring the piano with sax and guitar interludes, while the harmonica and novel percussion give “Sprung Chicken” its character.
The title track is notable for its distinctive loops, organ, synthesizer and funky guitar, while the dreamy floating whistles of “Rain” make that track stand out. “El Corazon” has a significant Spanish flavor, easily creating the vivid portrait of flamenco dancers in the listeners mind as the song unfolds.
The sax driven “Last Call” has a mellow pace as well as “Vashon” with the organ, synthesizer and guitar all flowing softly throughout. “Just Being Me” is the only song with vocals, but they are sparse and buried in the mix, more like an additional instrument blending in, while the forefront switches between bass, sax, organ, and guitar.
Tapestry is not only something a jazz aficionado would appreciate; any music fan could enjoy this eclectic collection of compositions. (Groove Therapy Records)
www.myspace.com/seanobryansmith
-Kat Coffin
 Mad Tea Party
Found A Reason
Produced by Jason Krekel & Ami Worthen
at Swing House Studios | Engineered by
Doug Williams at ElectroMagnetic Radiation
Recorders | Mixed by Alex Hornbake |
Mastered by Seva at SoundCurrent Mastering
in Knoxville, TN
If The White Stripes and Southern Culture on the Skids mated, had fraternal twins and raised them to rock out with ukulele accompaniment, we would have Asheville, N.C.’s Mad Tea Party. The newly-minted duo’s new release Found a Reason is playful old school rock that is both straightforward and wonderfully melodic. It’s B-52s meets Buddy Holly with a lot more thump; Americana with a funky fire underneath the plaintiveness of Jason Krekel’s smooth vocals and Ami Worthen’s jukebox-era delivery.
The rootsy stomp of “Polly Put The Kettle On” has a bluesy cadence that stands in contrast to — but fits just fine on the shelf by — “I Went Out,” a song whose guitar pattern feels straight out of a 1950s-era car flick. Worthen’s cooing and bouncy vocals recall ‘80s group Altered Images singer Claire Grogan. “Every Way” is on fire; a rapid ascending and descending guitar assault. Krekel and Worthen’s vocals are fuzzed out and the song is a hip shake-inducing rave-up.
But the album’s true gem is the barn-burning severity of “Move You” in which Krekel and Worthen sing “Nobody’s gonna love you baby like I do / Nobody’s gonna move you / Shake pretty baby.” Krekel’s guitar playing packs punch like a Howitzer and it sounds as if flames must be coming off the strings and his fingertips. However, Mad Tea Party is more than clever to craft songs beyond its rockabilly strengths, taking a gentle walk with the soft strut of “Yellow Trees,” the reflective “Waltz of Despair” or the sexual push and pull of “Whaddaya Want.”
Found a Reason shows Mad Tea Party to be a band with more to offer than retro artifices. The group takes traditional styles of playing and puts a good, fresh coat of paint on it. (Nine Mile Records)
www.themadteaparty.com
-Brian Tucker
 We Versus The
Shark
Dirty Versions
Recorded, mixed and mastered by Joel Hatstat
at The Bakery in Athens, GA
Ever see a scene in the movies where acharacter picks an object up and flails around the room with it maniacally, or just flips out wonderfully for no reason? It’s the kind of hyper visual that sometimes accompanies We Versus The Shark’s latest release Dirty Versions, an album recorded mostly live in December 2007 (with minimal overdubs) that sought to capture the raw, sweltering energy of a live show. Good work all around. Dirty Versions is an absolute blast. The album is hard charging; an onhigh blender mix of tarnished guitar, intense rhythms and varied vocals. Starting off like a firing-on-all-cylinders party,
Dirty Versions gets thick about half way through, as if the alcohol just climbed over your shoulder and is whispering dread in the left ear. It begins with “Dogs” and is full on weight by the end of “I Am A Caffeinated Corpse.” “Dogs” is a howl from somewhere harsher than melancholy — lonely but accepting. The guitar feedback and reverb play elegantly over a frantic drumbeat. Things pick back up with choice cuts “Gothic Y’all” and “Keep it Wolf.”
The crash and burn aesthetic mixes well with the band’s punk ethos — it’s fun and furious simultaneously. Dirty Versions is like opera only faster, with sticks beating against abandoned aged automobile quarter panels and scowling vocals trying to be heard. It’s a creation unto itself regardless of the history it owes to Henry Rollins, Fugazi, Nirvana and The Soundtrack of Our Lives. But it doesn’t matter who begat who when the result is fresh and carnivorous to the human ear.
We Versus The Shark was smart to record the album live, because if these songs had been given too much attention over too much time would have made them too clean, too over-thought. It’s just hard to imagine ,them sounding right recorded any other way. Quite simply, it would have removed the energy. (Hello Sir Records)
www.myspace.com/weversustheshark
-Brian Tucker
 Benj-O-Matic
Hi Test Vol. 1: The Infinite
Amplification of Silence
Produced by Benj-O-Matic | Mastered by
Ty Tabor at Alien Beans Studio in Houston,
TX | Recorded at Earthtones Recording in
Greensboro, NC
Heralding back to the days when bands weren’t afraid of being experimental, a la Mother’s Finest circa ‘79 or Sly and the Family Stone during the Stand! years, is the latest release from North Carolina band Benj-O-Matic, Hi Test Vol. 1: The Infinite Amplification of Silence. The 12-track stomp and stamp showcases lead singer Benjy Johnson’s multi-instrumentalist talents and quirky, beatnik-for-the-newmillennium writing style. Coupled with a body-hugging tight groove from Scotty Irving on drums and newest member Jeff Carmichael on bass, Benj-O-Matic is a testament to what a three-piece should be. It is clear that after a few test runs, Benj-O-Matic has centered on the right amalgam in its musical science experiment.
While former releases such as the self titled Benj-O-matic and New Tales for Broken Radio were solid in their own right, Hi Test Vol. 1: The Infinite Amplification of Silence is a more mature, “this is how we can really sound” CD that the band had not produced previously.
Mastered by Ty Tabor of Kings X fame (www.alienbeanstudio.com) and recorded at Earthtones Recording in Greensboro, N.C., tracks move easily within different genres but — have no fear — the ride is scene-ridden and not bumpy. This is not music for the masses or the uninitiated looking for melt-in-your-mouth ear candy. The collection is chewy and crunchy — palatable rock with a funk/soul undertone. The aftertaste? Long lasting and worthy of replay.
Standout tracks include “Gary Busey Crazy,” “Rise Children” and “Well.” Finally, if you’re looking for a collective rather than a vanilla singular sound you will have it in this musical miscellany. (Earthtones Recording)
www.benjomatic.com
-Kim Thore
 Pacifico
Anthology
Track 1 engineered and mastered by Don
Schuler, Produced by Matthew Schwartz |
Track 2 engineered, mixed and produced by
Matt Goldman at Glow in the Dark Studios in Atlanta, GA | Tracks 3-10 engineered and mixed by Marc Mcclusky at Fireball Sound Studios in Atlanta, GA, produced by Matthew
Schwartz, additional engineered by Jeremy Zamora | Tracks 11 engineered and mixed by Mike Wilkes, produced by Matthew Schwartz and Mike Wilkes | Tracks 12-19 engineered and mixed by Jeremiah Edmond, produced by Matthew Schwartz and Jeremiah Edmond at Vintage Sound Studios in Atlanta, GA
Bored with the mundane sounds of the office room’s quiet storm? Then run to your doctor for a prescription of Pacifico’s Anthology. Pacifico is not a band; it’s an idea. The brainchild of singer/songwriter Matthew Schwartz, Pacifico is alternative at it’s finest, fusing Brit-pop, glam and good ol’ rock ‘n’ roll.
Pacifico maintains an exceptional blend of aggressively high vocals complimenting its signature electric guitar. Pacifico’s tunes may sound familiar, as they’ve already served as background on MTV sitcoms. Anthology is a compilation of Schwartz’s best works as well previously unreleased songs. The age-old breakup anthem is given a new twist with Pacifico’s “Walking Away.” This bipolar ballad belts out a play-by-play of how to successfully find love, lose love and recoup from it.
“So, So, Radio” doesn’t aim at becoming your iPod’s best friend. Instead the song demands modern radio to “wake up” and replenish our airwaves with substance. A standout track from Anthology, “So, So Radio” takes everything you learnt in Anger Management class and throws it out the window.
Sandwiched in the middle of the album is “Lacklustre,” but this kickdrum track is far from that. “Lacklustre” succeeds at being a pivotal climax of the album relying much on its high-energy cords and bass.
Pacifico’s Anthology shouldn’t be categorized as easy listening, however, it is quite fair to say that the album’s balanced tone is safe for pace makers of all ages. (Allalom Music)
www.pacificorock.com
-Chas Jackson
Josh Preston
Exit Sounds
Produced, mastered and engineered by Josh
Preston | Mixed by Josh Preston and Lisa
Reed Preston | Recorded at MATM Studios in
Nashville, TN
Josh Preston, Nashville singer/songwriter and co-founder of Me and the Machine Records, has released his third full-length, Exit Sounds. It’s 13 tracks of his lilting tenor exploring well-conceived minor melodies. Preston’s greatest strength lies in his voice and in his intelligent lyricism. The songs ring emotionally true, rich with sensation-heavy descriptions like, “Soft as breath felt down the hall,” from the opener “If I Had A Light In You.” This first track features two vocal lines and acoustic guitar, the most poignant instrumental configuration for Preston. Several of the tracks (“Dry Run Road,” “Safety Feels The Exit,” “Leap Year” and “Speed Of Sound”) sport shinier production, complete with keys, strings and percussion, effects that lend the songs a more fleshed-out, Nashville Americana feel, but take away a little from the intimacy of the more
stripped-down arrangements (“Addict”). The exception is the solid “Temptation,” perhaps so much more effective because of its quicker tempo and beautifully energetic guitar part. A fully acoustic version of this song appeared on March’s The Complex Wooden Heart EP, and succeeded equally in that incarnation as well.
The sweet “Song for Kate” also stands out from the pack with its echoing sentiments. “Angels drop like butterflies in simple paper cups,” he sings. “Simplicity is more than enough.” Here, Preston supplements his guitar with keys and hand percussion, but in a minimalistic and wholeheartedly endearing way. The clarity of the album’s production really comes through, each part ringing separately and gorgeously.
The breathier “Lullaby” concludes the record (excluding bonus track “Please Tell Me You’ll Be Home For Christmas,” inexplicably included in this May release). It wraps up the album satisfyingly with vibraphone, drawing out Preston’s pretty sound collage to its conclusion. (Me and the Machine Records)
www.joshpreston.com
-Julia Reidy
 Roof Rabbit
The Huffenfuss
Recorded, engineered, mixed and
mastered by Jamie Uertz at Sarcophagus
Studios in Auburn, AL | Produced by Roof
Rabbit
Roof Rabbit, a bluegrass rock fusion quartet out of Auburn, Ala., recently released its debut album The Huffenfuss. The record combines elements of folk music, contemporary rock and punk spread throughout the 14 tracks. Following in the footsteps of other modern folk bands such as Old Crow Medicine Show and Blanche, the band strives to re-introduce a new generation to the sounds and melodies of traditional bluegrass music. Every song utilizes the banjo and the mandolin, creating dance melodies that incite foot stomping and sing-alongs that harken back to porch-pickings and revivals of the early 20th century.
The first track, “Believe,” features rock-interjected bluegrass coupled with lyrics such as, “You won’t believe the sound,” and embodies the spirit of the band and sets the tone of the rest of the work. The themes reflect the traditional music as well, with songs based around love, work and simple living. Track four, “Pining,” speaks of the possibility of marriage and reforming old ways with lyrics like, “Please believe me / I’m a changed man who’ll never raise a jealous hand / I’d rather worry than not have you / So quit stalling and say you do.” The final track “Boxes” talks of country living (not in “that stack of boxes”) and country eating, by digging “out in the yard any time we need more food to eat.”
The Huffenfuss is a romp through an underappreciated genre with everything the listener needs to gain a new or improved understanding of southern culture and heritage as well as experience other influential styles. (w6 Records)
www.myspace.com/roofrabit
-Bryn Gravitt
 Win Win Winter
A Brief History Of...
No Production Information Available
With influences ranging from the classic rock of Pink Floyd and The Beatles to the experimental stylings of Beck, Tampa, Fla.’s Win Win Winter are carving a sound for themselves based on southerntouched riffs and sweeping lyrical builds. Combining the indie melodies of D.C. post-punks Dismemberment Plan with the raw twang of Wilco, members Tommy Simms, Matthew Bennett, Alan Relkin, Brian Schnack and Joshua Greenberg have barely been together a year but have already played some of Florida’s biggest festivals, sharing the stage with Spoon, Minus the Bear, Dresden Dolls, Mates of State and The Stills.
A Brief History Of... marks the group’s first EP on Tampa-based indie label 24 Hour Service Station and is a solid outing from the Florida fivesome. Effortlessly transitioning from quiet country melodies to up-tempo pop, the songs all build and break at several points within their time allotment, creating a consistently undulating feel throughout the record. Attempting to maintain a juxtaposed mood with lyrics and melodies, it ends up that the one far outshines the other. It is the combination of Simms’ and Relkin’s fluctuating guitars that draws you in more so than the vocals, which can seem a bit too high-pitched and out of place at times. Midway through “Doves and Uppercuts,” the group nails it with Relkin and drummer Matthew Bennett creating a gorgeous sound scape over which Simms’ vocals float perfectly, and you’re left wishing that sound would have filled all five minutes of the song rather than just the last two.
By far the strongest track on the EP is “Exit Rows.” Captivating you immediately with a building synth and easing into a bit of bluesy guitar, the track perfectly exemplifies the balance of experimentalism and classicism you could feel the group had been striving for from their opening song. This is the point where all five members’ singular talents
finally meld together to form a cohesive and moving piece of music.
Although it’s easy to say that these boys are simply riding the coattails of other southern crafted rockers like My Morning Jacket, the brightest spots on A Brief History Of... solidify that the group is well on its way to finding and honing that balanced sound that will set them apart. Experimental enough to capture the attention of discerning musical tastes, and yet not so much so that it makes them inaccessible, Win Win Winter are more than poised to successfully build on what those before them have laid out. (24 Hour Service Station)
www.winwinwinter.com
-Lindsey Ibarra
Various Artists
AthFest 2008 Compilation CD
Produced by Russ Hallauer | Mastered by Jeff
Capurso
This compilation CD, produced by Ghostmeat Records, is just a glimpse of what the local and regional music scene in and around Athens had to offer at its annual AthFest on June 18-22. The summer festival, which showcases over 150 bands and artists every year over the course of one weekend, releases a compilation CD a month or so before to promote the festival and the local musical talent. This year’s CD features 19 bands from the Athens area and over 60 minutes of non-stop independent music. 15 of the 19 songs are unreleased tracks and 12 bands mark their first appearance on any AthFest CD. Also, the compilation offers a wide variety of genres and tastes such as jazz, rock, country, bluegrass and more.
The CD kicks off with the alternative sounds of Bicycles and Gravel’s “Curious Markings.” The song starts with a simple kick-and-snare drum solo and slowly but surely is caught up by catchy choruses, guitar riffs and an up-tempo bass line. Things take a more relaxing and soothing turn with melodic trumpets and sliding electric guitars on “White Carnations” by jazz group kEnOsHa KiD.
Genres are intertwined and blend well from one song to another throughout folk rock singer William Tonk’s “Painter Paints” and the acoustic guitars and violins on “Don’t Fail Me Now” by local country group Timber. Following Timber is The Packway Handle Band, with its fast-paced bluegrass song that is sure to have listener’s singing, “Gets Me Every Time.”
The best songs on the compilation are towards the end. The Inflatable Orchestra’s “Phil’s Fro” is short, lasting only two minutes, but would fit beautifully in the ending scene of a Quentin Tarantino film with the credits rolling up the screen and Uma Thurman driving down a desert road. Russian Spy Camera also delivers a memorable track with nothing but foot stomps, handclaps, vocals and a few piano notes.
The AthFest compilation CD is made up of a good mix of Georgia musicians and serves as a great promo for showcasing such talent to a nationwide audience.(Ghostmeat Records)
www.athfest.com
-Wahid Khoshravani
 haj
Outside Myself
Produced by Ryan “Ry-Star” Young for
Hand Me Down Soundz | Recorded and
mixed by Scott Slagle at Asylum Digital
Recording Studios in Charlotte, NC |
Mastered by Dave Harris at Studio B
Mastering in Charlotte, NC
On his sophomore LP, Outside Myself, Charlotte-native MC haj let’s his listeners know early on that although his style may be from the oldschool, his music is not to be categorized into a cell. Over a funk-looped sample layered with a rhythmic bass line and swaggering high-hats, he raps, “Outside of the box is where you’ll find me / Those confined to it can step behind me,” on the third track “I Got Options.”
But haj doesn’t strictly focus on battle raps and witty wordplay. The soft-spoken MC steers away from chauvinistic, testosterone-filled stage personalities of many rappers these days, revealing his more vulnerable and sensitive side on songs like “Strive” and “Situation.” “Strive” deals with the everyday struggles of getting by with little money and lots of bills and the reccurring doubts of making it big, while “Situation” tells of the responsibilities and challenges in being a father of two and a husband at an early age.
Haj’s vocals are mostly accompanied and guided by long-time producer and friend Ry-Star, with a few songs created and arranged by Scott Slagle. Overall, the beats on the album reflect an early 1990s-era hiphop influence with a combination of samples and keyboard sounds. Yet Ry-Star manages to venture into other avenues of hip-hop with “Clap Ya Hands” and “Music (Life Line).” On “Music,” Ry-Star’s production flourishes the most with 808 drums gliding over a ‘70s soul-groove sample, joined by additional melodic vocals of LaVita Harris and Lloyd Williams. On this song, where the music truly grabs hold of the listener more than anywhere else on the LP, haj falls short of doing the same, stepping in and out with short verses and an even shorter presence.
“Outside Myself” has its ups and downs. Although the production varies from song to song, haj’s presence remains the same: in the music, yet outside of himself. (Scratch N Sniff Music)
www.myspace.com/haj2
-Wahid Khoshravani
 Enrichment
Center Percussion
Ensemble
Ten Songs
Produced by Aaron Bach
elder and Erich
Hubner | Engineered by Morgan Kraft
and Erich Hubner | Mixed by Mitch Easter
at the Fidelitorium in Kernersville, NC |
Mastered by Brent Lambert at Kitchen Mastering in
Carrboro, NC
At first listen, the Enrichment Center Percussion Ensemble’s third album, Ten Songs, seems like nothing more than a relatively random collection of simplistic indie-rock instrumentations coupled with some homage to the band’s favorite singers and songwriters. However, upon further inspection, a new appreciation and understanding for the album can be gained.
Most importantly is a second or even third listen to the album. While every album needs a second or third listen to be fully appreciated, this album seemingly achieves more and more after each and every listen.
Another travel through the album reveals more layers to the seemingly unending attention to detail that has been paid to many different aspects of ECPE’s music. The mixing, done by Mitch Easter, brings forth the group’s unbelievable devotion to the idea of harmony and unity. Each of the seven instrumental songs on the album strongly conveys an emotion or theme and flows with an ease that is sorely missed in most indie productions.
That ease and intricacy comes forth perhaps most triumphantly on the nearly eight minute journey of “Parallax II.” The sixth track teeters on psychedelic rock, but also owns a compelling structure that is difficult to find elsewhere. Written by the group’s director, Aaron Bachelder, “Parallax II” virtually embodies the nuances that dance throughout the album both musically and in production value.
Ten Songs takes a different approach to the music scene and it pays off. Instead of focusing on catchy harmonies or lyrics that delve deep into the human psyche, ECPE has put out an album that pleasantly wanders to the more simple side of music while delving into something that is so much more complicated. The harmony and technical quality of Ten Songs is an achievement indeed. (Microearth Records)
www.myspace.com/ecpe
-Michael Aguilar
 The Instruments
Dark Småland
Engineered by Derek Almstead and
Heather McIntosh in Athens, GA and
Brooklyn, NY | Mixed by Derek Almstead
and Heather McIntosh in Athens, GA
and Brooklyn, NY | Mastered by Derek
Almstead at Pixel
Dark Småland is an album of ups and downs. The album showcases what Heather McIntosh can bring to the indie/folk scene and the things she should leave behind.
The album opens with “Ode to the Sea” and “Ode Pt. 2.” Both are epic, slow-moving ballads that feature McIntosh’s brilliant work on the cello. McIntosh has arranged these songs in such a way that they evoke the ocean and the sea so perfectly that when listening to the album one can almost feel the water moving beneath them.
The Instruments list in their influences “the forest and trees,” and songs such as “Mountain Sons” and “Arabesque” use repetitive instrumentals and haunting vocals to transport the listener into the forest and trees of McIntosh’s mind.
It is not until the instrumental “Pastorale” that the album awakes you from the peaceful slumber. The cello, in what seems to be a tribute to folk predecessors and celtic music, demands the attention of the listener. The work of McIntosh and her star studded cast of friends and collaborators reaches a fever pitch in this piece that is the diamond of the album.
Unfortunately, the rest of the album does not live up to its first half. While the slow pace of the first half of the album is endearing, the slow pace of the second half begins to drag | 
