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Review: |
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Following a relatively new local band is sometimes like being
team mother for the Bad News Bears.
When I first hear a band that seems to have potential, I think,
“You know, I can’t put my finger on exactly what it is, but they may
have something here…” However, their early live shows and first
album are rough, clunky, and stylistically all over the map. Every
performance is like a baseball game -- I hold my breath as it
begins, hoping they don’t drop the ball. I applaud louder than
anyone, even when they do. Defying the skeptical looks of friends
and critics, I keep supporting the band.
Then, over the course of a year or so, the various talents begin
to fuse, creating a more unified sound and stage presence.
Eventually, if the band members can survive near-fatal mishaps and
work out creative and personality differences, the collection of
musicians morph into a nearly symbiotic entity. And, if I’m lucky,
there’s a final post-season triumph that makes all the late nights
of alcohol and blind encouragement worthwhile.
As luck would have it, one of my favorite local bands, The
Indicators, have done just that. Their sophomore CD release,
Kill the Messenger, is one of the strongest albums
from the Atlanta music scene I’ve heard in awhile. It is a record of
a band in progress, a band that has evolved immensely in two years
from a rather haphazard trio of individuals to a flexible,
productive quartet. Their first album, Beauty is a
Whore, often felt more like a showpiece for Mike Goldman’s
guitar-pop songwriting and Dave McNair’s high-speed covers than it
did an ensemble effort. This second release is much better blended
and mixed, including integral musical contributions from all members
of the band.
Kill the Messenger also marks a shift in style for
The Indicators, from the garage rock of Beauty is a
Whore, to a more countrified roots-rock sound. With the
addition of guitarist/songwriter Ken Morton, the tunes often
resemble recent work by The Drive-by Truckers and Slobberbone.
Morton’s voice, in fact, sounds much like Mike Cooley, with a
similar gritty, heart-breaking lyrical style. Eye Spy plays
with tempo and vocals to produce a strong rock anthem, while Open
Road is a mature travel-epic that one could easily mistake for a
Willie Nelson cover. Goldman’s songwriting shifts somewhat for this
album as well, with songs that often remind the listener of melodic
travel ditties and drawling vocal harmonies a la The Bodeans. Two of
the most roots-pop songs on the album, Easier to Find and
Say Goodnight, most directly evidence this stylistic
shift.
Although Kill the Messenger certainly signals a
change in musical direction for the band, Dave McNair’s cover of
I Got a Line on You (by Spirit) is a direct reminder of The
Indicators’ previous wiz-bang garage rock, sounding more like a live
track than anything else on the album. It also reminds the listener
that The Indicators are still a collective work in progress and not
a fully collaborative project. Like many bands at this stage, most
songs bear the distinct signature mark of one individual member’s
lyrical and melodic approach. Ironically, the album’s first track,
I Guess By Now comes closest to melding the best of their
talents, hinting at more integrated work in the future.
Perhaps the album’s greatest strength is its thoughtful
composition and meticulous arrangement. Recorded by Rob Gal at the
Snack ‘n’ Shack studio, Kill the Messenger is actually
one of the best-mixed releases I’ve heard from a DIY band on an
obscure label. Adding to the sophisticated presentation are small,
impressive musical touches sprinkled throughout Kill the
Messenger. Most notable are the vocal and instrumental guest
appearances by other locals like Rob Rushin, Murray Attaway, and
members of Charm School, to name just a few. Several close listens
will also reveal a revitalized bass presence provided by new band
member, Michael Arnett, as well as other delicately placed
instrumental accompaniments, including short piano sequences
interlaced throughout many tracks and (my personal favorite) a
whisper of sweet mandolin to begin Say Goodnight.
Indeed, though The Indicators may not be quite ready for the
majors, they’ve pulled together a season-ending showstopper that
testifies to a year of hard work and passion. And, as the band
matures, I look forward to an even more collaborative team effort
that brings together their obvious talents and musical knowledge.
Now, I’m off to scout for another new local band to follow. |
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