Local country-pop troubadours Dixie Whiskey have released their first full-length offering (self-titled), and it's definitely an interesting listen from start to finish. D.W. is comprised of former Pink Spiders rhythm section Jon Decious and Bob Ferrari, Jon Davis, and former Scatter The Ashes/Paper Rival/Outlaw Lovers drummer Dillon Napier (albeit not on the drums this time around). There is a palpable element of the pop songwriting strengths that carried them so far in TPS, and an obvious fusion of these elements with country sensibilities in Dixie Whiskey. The record starts out strong with "Steeldrivin' Woman", a Flying Burrito Brothers-esque ode to your typical country heartbreaking jezebel, and from the beginning it's clear that there are hooks strong enough to support a pickup truck. These guys obviously wear their influences on their sleeves, and as the record progresses on there are a wide array of them on display (particularly the Dylan inspired sound of "Odelay"). These songs are based on the most classic of subjects including heartbreak, father issues, traveling the "lonely road", etc etc...Sometimes feeling a tad bit uninspired, the record has some pitfalls with that element in the sense of being right on the line of traditionalist and unoriginal, but there are subtle little accoutrements throughout that put a unique stamp on the material. The lyrical content proves quite clever in many places due to the heavy reliance on wordplay, which is executed quite well. Despite having very strong, creative instrumentation, some of the simpler, more stripped down songs work best and feel the most honest (such as "Wheels on the Wind" and "Somedays it Takes All Night"), but overall the record as a whole plays out quite nicely and is definitely a different sort of local release altogether. - Jesse Baker - website

We don’t need more girl bands; we need more good girl bands. Those Darlins, thankfully, aren’t one of those attempting to change rock music with diluted, angsty bitch-rock. What they do have is a 21st century take on a rustic roots sound pulled straight from the Grand Ole Opry in its prime time.
Those Darlins – three Mufreesboro-based wildwood flowers – took their self-titled debut seriously enough to produce 12 tracks in the voice of the country queens who have gone before them. It sounds far-fetched to draw comparisons between big names and emerging artists, and yet it is difficult to listen to “Glass to You” without being reminded of June Carter’s voice coming through the static on an old Philco.
But Those Darlins are not so serious that they can’t craft ballads of drunken nights in “DUI or Die” and “The Whole Damn Thing.” As a band that likes to share, they switch off on vocals, bass and guitar, and keep it all from going stale by adding organs, acoustic slides, steels and accordions, or throwing in revised covers like Uncle Dave Macon’s “Keep My Skillet Good and Greasy.”
Imagine the prim and proper Southern Belle that plays music like Mama taught her, then imagine her adding her own lyrics after getting trashed on a couple bottles of Jack in a wild night. Like the track “Wild One,” Those Darlins seem to love putting some wild, raw, and empowering messages within the frame of an old-fashioned verse-refrain country song. Think country-rose romanticism with a sense of humor. - Jessica Pace - website

Dewey Decibel’s debut album The Dusting has been written off by many as a pop album, and that is true in many ways; however, it is not a sufficient description. There are moments, in fact entire songs, that would be difficult to categorize as strictly pop. For instance, the third track, titled “ I Am Walking”, sounds like something that would come off the latter half of Radiohead’s Amnesiac-- it almost forces you into a hypnogogic state. The swells of alarm clock bells sweep in and out while a stolid, haunting vocal line sews together moments of crashing drums and nearly complete silence. Hardly pop at all.
To be fair, “I Am Walking” is a relative departure from the overall happiness (not to be confused with poppiness) of the rest of the album. There is no doubt these guys have a knack for writing a catchy line. The first song, also the title track, politely introduces the listener to a gentle electric guitar riff above accordion pads and a chugging acoustic guitar. Half-way through the drums finally kick in, and the bass joins with a shake and a wobble to keep things interesting. A simple but powerful chorus of "whoas" leads into the climax—“And I fail to be scared. I want you there”—simple as pouring syrup on your pancakes, and just as sweet.
There is something for everyone on this album, from calm, rainy day songs, to energetic sing-alongs. If you like Arcade Fire, Andrew Bird, Jeff Buckley, or early Weezer then you’ll find your place in The Dusting. Catch them at Little Hamilton on June 9th, their live show is totally worth it. - Fletcher Watson - website

Brother and Sisters – we have gathered here today to celebrate the Gospel according to The Tits! When I was a child I walked as a child, but now that I have heard The Tits I have grown into a man. Coming in at just under twenty minutes, The Tits' new record, Jesus Says Relax, is a gathering of fast paced garage rock devotional songs, which sound as if fallen angels were handed guitars and amplifiers and commissioned to rock by Satan himself.
Imagine if The Stooges teamed up with AC/DC, and by some divine miracle they played a show with Motorhead in your basement, while you were hooking up with a super-fine hussy (or dude, whatever) in the bathroom. That’s what it sounds like to crank The Tits' new album, Jesus Says Relax.
It is a true testament to sleazy salvation and one of the best records Nashville has seen in a while. By blasting unholy hymns and irreverent psalms, like, "My dick's gonna be bigger than Jesus" and "I like it Raw", The Tits want you to make some totally awesome mistakes. Though some might accuse them of being sultans of the rock and roll cliché, this is a most un-righteous assessment. The Tits are enlightening us with some most excellent doctrine, and it’s all in good fun.
Jesus Says Relax was just released for FREE! That's right, for free. You know, like, you don't have to pay for it at all. So don’t forget to attend their sermon/CD release this Thursday, May 7th, at The Basement, and you can pick up your own copy. In Jesus’ name, Amen. -David Bermudez - website

This 4 song buzzsaw from local amalgam group Kintaro is as catchy as it is simple. And in this case, simplicity is an awesome thing. With very defined vocal melodies and hook after hook after hook, it's almost like listening to an organized version of three kids getting high in a basement and "accidentally" churning out 4 anthemic, uplifting indie-rock tunes. With traces of Jawbreaker, The Replacements, and The Damned, the material on Powerlove still comes off as feeling new but with beloved elements of classic rock jams that are pulled off in a stellar fashion by Wes Traylor (Meemaw, Turbo Fruits, etc.), Josh Shearon (ex-Hollywood), and Zach Martin (Turbo Fruits). Far from being simply a side project, the sheer cheerful tone and poppy song sensibilities of the Powerlove EP evoke a youthful picture of a kid running around in the woods trying to find out what kind of mischief he can fall into. Ironically, it's also the perfect yell-along, fist pumping music to play at any keggger ever. You can get ahold of it through the band's Myspace page, or come get it from the band themselves when they play the End on April 8th. - website

I was driving a car full of friends down to Atlanta when we first slid Kindercastle's new EP Dot To Dot To Dot into the CD player for review. After just one listen, it immediately blew us all out of the water. I’ll be the first to admit I wasn’t in the most analytical mindset at the time, but after consecutive listening I am prepared to stand behind two bona-fide thumbs way up for this album.
It has been said that Kindercastle is reminiscent of ELO, and in some ways they are. The first track “Running the Gauntlet” starts with a naked and pleasant vocal melody. In just a few bars and in true ELO fashion, an expansive string section slides underneath as the real song begins. Then it all suddenly starts to make sense. The bass and drums drop and lock together as the whole orchestra (so it would seem) descends. Sparkles of bells, synths and trumpets poke through while lead singer Cody Uhler weaves a melody that shifts effortlessly in and out of falsetto. Glittery glitches fill in the gaps between transitions keeping you on your toes in anticipation. All this in just two minutes and twenty seven seconds.
The next track that deserves a bit of applause is “New Way of Life”. The song starts off with a serene and almost brooding backdrop but takes a quick turn, as the harmony morphs into a modern day “Good Night” from The Beatles White Album. Beirut-esque trumpets support the vocals and congregate to lift the song to an entirely new level. The rest of the album follows suit, delivering one great track after another. Kindercastle has created another triumph with their unique style and expertly crafted pop songs. Definitely give this one a listen, and be proud to call it Nashville music. – Fletcher Watson - website

The debut recorded offering from Nashville ambient-rockers Mother/Father is like a small promise of huge things to come. A tasteful mixture of Depeche Mode, some subtle but important arrangement pieces a la The Smashing Pumpkins, and the epic choruses of U2; the self titled disc is definitely a pleasure to take in. Opener "The Bells Above" seems to capture the most quintessential sound of the 3-song EP, offering equal parts punching bass, precise drums, ominous keys, lofty vocals, and guitars that lay a texture so complex you can almost see it as you're listening. "Light Thieves" stands out as the hooky, more pop-oriented track with a chorus that makes you feel like you're driving late at night watching a hard rain pour at your windshield going 80 miles per hour. The closer, "Youngest God", is definitely the most stripped down representation of the band's sound, offering more focus on the passionate croon of lead vocalist James Robert Farmer. All in all this sample of Mother/Father's potential rings of a modern classic sound that hasn't been heard in a long time. It doesn't seem like something you've heard before, but it definitely feels like something you should have, and the artfully executed build throughout only 3 songs merely indicates that there is a ton to look forward to from this band's debut full length. - Jesse Baker - website

The Nashville music scene has yet another promising new act springing out of our already fertile underground soil. Recorded at Glass Onion Studios (another hopeful upstart), The Blue Cadet Three's recent self-titled seven song debut offers enough gems to make the whole record sparkle. With a sound that nestles somewhere between seafaring gypsy (think Neutral Milk Hotel / Decemberists / Beirut) and bluegrass-indie-western swing (Old Crowe Medicine Show/Elliott Smith/Bright Eyes), the Blue Cadet Three have truly crafted a unique record. They offer a more laid back style than the ever-so-popular psych / punk / garage / noise sound that has flooded so much to the underground music scene in this town.

The record is laden with acordians, mandolins, fiddle, banjo and even a singing saw, which give the record an organic old world feel while lead singer Jacob Davis's gruff yet listenable voice adds even more depth. The songwriting is solid with well penned lyrics that suit the melencholy mood of the album, which remarkably makes no noticeable freshmen mistakes. Musically the band is quite in sync and adept at their instruments which really helps them rise above the number of Nashville acts that depend on attitude and charisma to pull them through. For a first release, the album is excellent; you can look for the Blue Cadet Three to really grow as a force to be reckoned with as 2009 continues, and I eagerly await their future releases. - JP Conger - website