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The North Atlantic
Wires In The Walls
We Put Out Records

The North Atlantic is a hodgepodge of musical techniques, coloring and unconventional scenarios. Their arrangements take influences from industrial rock, punk, blues, pop, post new wave, hard rock/heavy metal stylings, and the more current hardcore. Their music has samples of the B52's spontaneity, the challenging sharp crests of Megadeth, the heavy tones of Gratitude's intensity, the Cure's experimental curves and sound resonance, the blues rock implements of the Rolling Stones, and Cursive's fiery, circular motions. The North Atlantic dices up these elements into an emotional downpour of lightning sharp streaks, torrid rumbles, and ravishing sonic effects.

Their sophomore album Wires In The Walls, subsequent to their debut release Buried Under Tundra, is produced by Jason Clark and the three members of The North Atlantic, Jason Hendrix (vocals, guitars, lyrics, and the artwork for the album), his younger brother Cullen Hendrix (drums), and Jason Richards (bass). The album was recorded at Audio Design and Big Fish Studios In San Diego, California and includes the fine vocal symphonies of the San Diego Drunkards Chorus on the track "Drunk Under Electrics." The number blazons with aggressive outbursts forked by subdued inlets. The guitar effects are crimped, sharpened, beamed, and creased while the drums and bass lines spine the folds as the vocals steer the movements.

"Lotus Eater" has the amp'd beats of a cheerleading squadron composed of vocals and handclaps through the intro with a myriad of instrument coordinates coming in after the first verse. Songs like "The Man Who Saved Your Ass" and "Bottom Of This Town" have a collage of flashing guitar effects, puncturing vocals, and intense bass and drum motions. "Swallow Fire" has a wonderful drum prelude with expert precision on the voracious hammers. "Street Sweepers" is an uniquely tinkered melody fitted with symbolic images that reveal, "Here come the street sweepers/ Cover your eyes/ Cover your ears/ Here come the street sweepers/ Because they'll take everything you hold dear/ And when you're in the ground/ And when you're there/ The smoke grows so thick."

The song lyrics have a meditative confluence bridging symbols with real life. The North Atlantic don't write about fantasy, but about surviving in the practical world. On a metaphysical plane, the instrument scores represent the struggles, the carousing, and the losses that surge through real life. The track "Cities" mirrors real life scenarios, resonating with soft sounding vocals and laces of tribal and slamming drum beats along protracting guitar swells. The melody has a fluxing action like Queen's "Bohemian Rhapsody" in that the orchestration shifts tempo rates, extracts multiple phases like blues rock and industrial rock hooks and strings them together. The verses move from loose to rapid and tenacious, manifesting into unbridled coloring and vividly artistic forms.

The album concludes with the song "The Ministry Of Helicopters" which follows with the theme of liberally splashing sounds and carving out vibrations to form a hodgepodge of caustic and symphonic patterns. The North Atlantic create Art Rock with a conglomeration of every musical influence they can find. Everything fits in their songs even when the chords and wires stick out.

The North Atlantic's sophomore album Wires In The Walls is seeing a rebirth. The 2003 album is being released statewide in July 2006, branching out a local San Diego band beyond their secluded beach enclave.

-Susan Frances

1. The Lotus Eater
2. Drunk Under The Electrics
3. Swallow Fire
4. The Man Who Saved Your Ass
5. Scientist Girl
6. Bottom Of This Town
7. Street Sweepers
8. Atmosphere vs. The Dogs Of Dawn
9. Cities
10. Swallows Air
11. The Ministry Of Helicopters

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