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The self-titled EP from Chicago-based acoustic act Unlucky Atlas opens as epically as it concludes. Built around four 'pillar tracks' averaging over 7 minutes in length, Unlucky Atlas refuses to conform to the expectations of the modern acoustic genre. The distinct 'old world' resonance that encompasses the songs derives from the instrumentation. Although the quartet features minimalist percussion during live sets, the recordings do not. The lack of percussion is surprisingly irrelevant - André Foisy's percussively biting acoustic guitar, mandolin, and fiddle effectively drive the smooth cello of Kelly Rix. The sparse vocals, split between Erica Burgner and Terence Hannum, range from timid melodies to throaty harmonies. "Noble Enterprise" opens with crisp guitars and calm harmonies, soon breaking into multi-instrument arpeggios layered over cello. Burgner hauntingly sings, "Graveyards make firm foundations for our bright, bright mansions." The imagery of modernity juxtaposed with ancient ruins characterizes much of what follows. The anti-war track "Numbers" is led by ominous lyrics that reveal the slightest hope of moving beyond "talking heads and mouthpieces." The aptly-titled "Great Awakening" relies on its tension to guide the listener through Burgner's frustration, "I played the flute but you wouldn't dance. I sang a dirge buy you wouldn't weep." Taking into account the introductory "Jacobin Waltz," the closing track "Forward Presence" is an 11 minute epic. The nomadic, poetic narrative sang by Burgner is held together by breaks of what resembles monophonic chants. In the end, it seems as if neither the compositions nor the lyrics have been compromised in order to adapt to one another. The result is a completely dedicated effort that will not only transport listeners to another time, but likewise promote meaningful discourse dealing with current assumptions of modernity.

Unlucky Atlas at Amazon & Insound