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Lift Your Eyes to the Httts
Independent Release
tfs refreshing to hear singer-
songwriter Thayer Sarrano, who has
accompanied an impressive list of
bands, Anally take the spotlight on Lift
Your Eyes to toe Hills.
Although the album incorporates
organ, Meiiofron, pedal steel, guitar,
bass and more drums than previous
works to create a full-band sound, the
fairly sparse arrangements keep the
focus centered on Sarrano* lonesome
and haunting voice. The melancholic
melody oTThey Are All Used to
Your Beauty,* for example, sounds
as if its flowing out from a wavering,
underwater organ with tranquil vocals
rippling in from far oft. While the
vocals are generally even-toned and
composed, they occasionally dip into
slightly dissonant layering and uneasy
atmospherics.
Mary of the tracks use repetitive
lyrics to reinforce an image or mes
sage, reiterating the same few phrases
over and over.. 1 Miss My Lord* is one
such soog, lull of solemn chanting
and revealing a strong influence of
Souftem folk and gospel.
Jessica Smith
JOSH PANELS
Nothing but My Sod to Lose
Inrfapendent Release .
Reading the credits of Josh
tenets'Nothing but My Soul to Lose
is a lot like rotfng a list of who* who
in Athens music. Daniels gets some .
help from Andrew Heaton (Packway
Handle Band), Karotyn Troupe (Venice
te Sinking) and a whole host of others
who add much needed sparkle to an
otherwise average album
Soul is a collection of singer-
songwriter-driven. easy-going,
country-tinged numbers "Volcano* is a
standout track featuring John Watkins
on keys and Troupe adding sweet har
monies over Daniels' plaintive singing.
The Watkins/Troupe duo lend the song
a bit more tension, giving “Volcano'
more gravity than it may have had H
Daniels had gone it atone Instrumental
pick-test ‘Governors Reel* is another
highlight, providing a much need
diversion from fhe record's montony
The album doses w^r a cover of
Otis Reddings soul classic. *SWin' on
Ihe Dock of toe Bay,* which exampljftes
Dante# bid-back, ‘gather-rourxHhe-
campfire together* style. Whit it lacks
in passion it makes up tor in warmth;
Daniels' delivery is smooth, relaxed
and inviting. If you're up tor soft guitar
and sweet harmonies, by all means,
sing along.
Jordan Stepp
151a
Joyful Noise
Ichi-go ichi-e, also referred to
as 151a, is a Japanese term literally
meaning “one tone, one meeting,* and
is a cultural concept comparable to the
widety used Western phrase 'once in
a lifetime.* It's the recognition of life's
transience and, when applied themati
cally, signifies that each song on 151a
is intended to capture and cherish a
fleeting moment in time or musical
idea before it slips away
Kish* Bashi, who has performed
as a backing instrumentalist tor both
Regina Spektor and Sondre Lerche
in the patf and fa cwunUy a touring
member in of Montreal, creates an
intricate, orchestral sound through lay
ering lush arrangements His dreamy,
experimental pop is predominantly
driven by the violin, which varies dra
matically amid playful pizzicato, majes
tic flourishes and racing sweeps up Ihe
fingerboard. In addition to rhythmic
snaps and claps, Kishi Bashi frequently
integrates Japanese into his soulful lyr
ics, using the language as a percussive
toot for further orienting 15 ra as an
effervescent pop record.
Given the difficult nature ot repro
ducing each ambitious song in a live
setting, Kishi Bashi's soto shows rely
exclusively on looping, guaranteeing
that each performance will be slightly
dWwent from the nead.Wttti this in
mind, /5/ar exists not as a culmina
tion of Kishi Bashi* career, but as a .
documented glimpse into his creative
process.
Jessica Smith
MAO AXES
Debut Smash
Independent Release
From foe sfHI-smoktering ashes
of local secret society Deaf Judges
comes Mad Axes, a group featuring
ail but one Judge (missing is Austin
Dametl, AKA Produce Man) and every
ounce of its predecessors delicious,
delirious energy. The very first toing
you notice about Debut Smash is
toe breadth of the bats Producer
Cubenza once again heads up toe crew
in this department, though Mad Axes'
two other members—emcees Louie
Larceny and Walter Kovax (formerly
Rorshak)—claim a larger rote in it than
before. Swigs like ‘Clyde Drexler* are
fllltchy, sumptuous and nearly out of
control, featuring synttvsick bass lines
and ultra-computeri2ed electro over
tones that leap out of toe headphones.
In keeping with these feiias' M.O.,
Debut Smash is at times confounding
in its obliqueness, its unwillingness
to play by rap rules. (Check “Naughty
Girls,* a disturbing, Monkees-
sampiing somnambulist's love
anthem.) Still, there are the familiar
reference points—Wu, Kool Keith, Def
Jux—even if Mad Axes insist on skew
ing them all to the edge of cognition.
The esoterica-obsessed group's love
for the aurally otherworldly continues
with psyched-up tunes like “Star Junk,*
a glorious mess of snipped samples
and whirling sound effects that feels
both anachronistic and futuristic.
Which is all really to say, there's not
realty anyone doing what Mad Axes is
doing, in Athens or beyond.
Gabe Vodicka
90 ACRE HUM
Always Somethin’
independent Release
Recorded live over the span of two
days at Full Moon Studios, you'd never
know some ot toe tunes on Always
Sometoifl were written as much as 20
years apart. The live takes keep the
album fresh and cohesive, but more
importantly, 90 Acre Farm plays time
less music. Every original feels like a
classic, calling on toe beloved country
music tropes of love, loss and hard
living. Always Somethin' draws on toe
full gamut of Americana sounds—
sometimes bounding with quick pickin’
bluegrass barn burners, sometimes
slowing things down with a folk lament
or howling along with bluesy soul.
When toe band sings ‘come on train,
pick it up!’it might as well be a com
mand to your feet. Tick Up Train* is
perhaps the most instantly memorable
track on the album, and the most likely
to get you to do-si-do.
Todd White's warm baritone sto
rytelling is delicately highlighted by
toe lilting harmonies ot wife Jessica
Kirby White. Adam Poulin* versatile
fiddle almost acts like a third vocalist,
recalling Charlie Daniels on songs
like "Kentucky Valtey* or, as on *Old
Heroes,* singing its own lonesome
melody—his bow pulling toe listener s
heartstrings as it runs across the neck.
Ron Crescents bass and Joe Bennett's
mandolin are more understated, while
Russ Palmer* howling harmonica will
have you longing tor dusty frails you
didn't even know you missed.
Michelle Giizenrat
AIm Released this Month: Lera
Lyno-"RingofFire* • The Rodney
Kings- The Rodney Kings EP • The
Odd Trio-flrrtf> ot toe Minotaur • The
Fuzzters-ftjrcfr Lite • Green Thrift
Groctrt~8uy H Back!
14 FLAGPOLE.COM ■ M$CH 28,2012