Unlucky Atlas

Reviews

Radio Free Chicago Live Review by Jason Shanley

Locals Unlucky Atlas took the stage first. Unfortunately, I think the cold weather and Sunday evening in general meant that there weren’t many there to see this wonderful band. That was too bad for them since they missed a good half hour of The Dead Can Dance meets This Mortal Coil meets The Incredible String Band . Using mostly acoustic instruments (there were 2 electric keyboards on stage) that included cello, violin and autoharp they literally beat out the most dark and swirling gothic Americana I have heard in a while. They were a little reminiscent of another local band Spires that in the Sunset Rise both in mood and texture. What I liked better in the live setting compared to the sample tracks on their site was that the vocals were drenched in a nice amount of reverb that blended well with the rest of the sound.

---Jason Shanley RadioFreeChicago

Leicester Bangs (UK) Review by Will F.

Part instrumental, part song, Unlucky Atlas' EP / mini LP is an experiment which absorbs textures of cited influences as diverse as Nick Drake and Fugazi! Played in the main on acoustic instruments the guitars are played with low tuning and strummed with abandon whilst fiddle, cello and auto harp softly compliment. The sounds of hardcore distorted guitar can be heard but are kept low in the mix so as not to distract from the album’s intention. The sweet sounding vocals of Erica Burgner are a total contradiction to the sinister and grim anti-war narrative. The result of this experiment is an unnerving, yet compelling death-folk music that should be explored further.

---Will F. Leicaster Bangs

Terrascope Review by Simon Lewis

Working out of Chicago, Unlucky Atlas play Gothic-Folk music on their self-titled album which is filled with grandiose moments, some beautifully arranged songs, that feature a whole array of stringed instruments, and some dark and intense lyrics, creating an album full of passion. Featuring four longer pieces interspersed with three short instrumentals, the album flows in dramatic fashion with some stirring and emotional melody lines adding depth to the songs, the instruments blending perfectly with the wonderful voice of Erica Burgner. Saving the best until last, the album ends with the brooding intensity of "Forward Presence", a song so powerful it could ring a tear from the devils eye. (www.unluckyatlas.com)

--Simon Lewis Terrascope

Fake Jazz Review by David Barnes

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 - Andre 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.
--- Fakejazz.com

Outside Left by Alex V Cook

Unlucky Atlas is a group that came into my view just as I was putting this piece together. Like were I putting a garden together, and wondering, ìHmmm what should go here?î Unlucky Atlas would be a potted seedling coincidentally dropped on my head from a passing plane. This quartet from Chicago, a city most fertile to ornate musical combos but lacking in convivial warmth, defies that stereotype, by creating majestic rambling paths through their dense thickets of guitars, autoharps, cellos and mandolins. The opening title track is the kind of thing whose sense of panic and urgency mimic rushing lost and hurried through the woods. Music of this sort has a tendency to run long, so Unlucky Atlas have been kind enough to separate their opii with short Balkan numbers like ìElegy (for Maria)î and the all too brief rackety ripple of ìIn Paradisumî each flowing into the larger number after it. ìGreat Awakeningî sparkles in its spare cello pulse and small tinkle so f mandolin, allowing singer Erica Bunger a moment to croon before the maypole undulation of sound commences again.

I just got back form a Renaissance Festival and for better or worse, Unlucky Atlasís music might fit in with the skittery ambiance of minstrel, but the tornados and demons they conjure up when they get going would surely wreak havoc on the weak-accented carnies hawking turkey legs and copper wire jewelry. This music takes that Renaissance form, built off the piercing but soothing rattle of mandolins and makes something fresh and even dangerous out of it. ìForward presenceî marches like a funeral dirge, the drumming of a zombie regiment led by a songbird. It is welcome powerful stuff, gleefully smashing the notion that all folk music is placid and flaccid with each swipe of its sword."
--- Outsideleft.com

Aversion Online Review

"In the note accompanying this CD, a member of Unlucky Atlas referred to the quartet as "all older ex-hardcore kids", though you'd never really know it considering the credited instruments herein are mandolin, six and 12-string guitars (most, if not all, of which are acoustic), fiddle, cello, autoharp, and of course vocals. But don't get the wrong idea, this isn't some weak, folked-out hippie bullshit at all, and in fact the combination of brooding melodies and at times subtly socio-political lyrics can be quite moving/powerful. Seven tracks appear in all, several of which are brief instrumental interludes, with three of the four remaining compositions all topping seven minutes without a second thought, flowing through densely layered instrumentation that crosses some pretty involved ground in terms of interaction between differing instruments/melodies, as well as more sparse and stripped down segments - some of which let some exceptionally awesome vocal work shine through. Both male and female vocals are present at various points, and each singer has a great voice, so I think I'd like to hear them harmonize with one another a bit more often and really milk their talents to some degree. It's pretty damn cool when a band can test the waters like this and come up with something of their own that sounds nothing like their influences, thus coming across as creative and original without losing its musicality or intrigue in a murk of experimentation. It seems to be relatively early on in Unlucky Atlas' recorded history as well, so with time I could envision them really nailing the emotional impact of the already curious niche they're exploring.

The new American century waits and weeps to dream, not all a dream, a new frontier. The wrath of the lamb. Our days among the dead have not passed, tenuous and tense. The giant despair. The forward presence. The wrath of the lamb.

Oh, and it's also worth mentioning, of course, that this professionally pressed CD-R comes in a great looking chipboard digipack printed in green and metallic silver inks, with a color insert for the lyrics and whatnot. Nicely done.

If you're interested, I'd recommend contacting the band directly via their website or MySpace to inquire about getting your hands on some of their material."
--Andrew, Aversionline.com

Foxy Digitalis by Jeff
"This mysteriously named (perhaps a bastardization of Unlucky At Last?), coed (two men-two women) quartet from Chicago brings mandolin, fiddle (AndrÈ Foisy), cello (Kelly Rix), autoharp (Erica Burgner) and 12-string guitar (Terence Hannum) to the party on this angry collection of tunes, that are full of heartfelt cynicism and anti-America/Bush/war sloganeering. However, their extraordinary musicianship saves the day, with Hannumís 12-string serpentining around Foisyís mandolin and the galsí autoharp and cello weaving headswirling tapestries of delight throughout.

The earthy, folky vibe seems perfectly suited for a night on the town at some radical, left-wing coffee house and successfully reintroduces the political card and the protest song into the folk movement. So whether you endorse their political views or not, it is encouraging to hear the youth of today at least take a stand on something instead of disappearing up inside the anus of MTV buffoonery or American Idol-atry, and their musical creativity will mesmerize as their lyrics invite lively discourse on important issues of the day.

Musically, I canít help thinking what a welcome addition they would make to the Secret Eye roster, as they would slot easily into your collection alongside other neo-folk-based projects like Black Forest/Black Sea, Urdog, or Larkin Grimm."
Foxy Digitalis

Babble and Beat Review by Stacy Sardelli
Noble Enterpriseí is playing and all I can say is that it is absolutely gorgeous!
Iím not even 4 minutes into it the cd when I realize that Iíve already been on a medieval journey, as well as a futuristic one. As I finish that sentence, I am now enveloped in a folksy and soothing female voice. The guitar and cello work are stunning!

I think I now understand their name, Unlucky Atlas. Their music is an array of flavors - you could end up anywhere on the map, in your mind, while listening to them. Seems more lucky to me!

Do I really have to try and compare them to something? Well, they're unique but there are moments where I feel comfortable stating that in a very small way this cd reminds me of parts of Rev Hammer's 'Freeborn John' album. That is a huge compliment by the way.

Wow. I'm on track 4 of the EP already?! The songs mesh together so nicely that I hadnít noticed just how far Iíve gone. I'm now listening to the track 'Great Awakening' which is hauntingly lovely.

Their style appears to be one that makes the instruments the focus ñ at least thatís the case with this EP. They use a mandolin, fiddle, cello, autoharp, 4-track, and guitars. There are some vocals but they are never louder than the instruments. In fact, the vocals often sound like an instrument (you forget they're there). You'll have to give it a listen to understand my point, I think.

Forward Presence is the very pretty and lengthy (9 minute) final track - the length of this last track helps ease the pain of the end that's nearing.

These are gifted musicians folks and ones who tell moving stories, providing an escape from the ordinary. There are elements of sadness, intelligence, adventure, and romance in their sound. I also suspect that seeing them perform live would really be quite an experience."
Babble and Beat.com

Review from SicZine.com

"This act comes from Chicago, IL and play a beautiful experimental sound which includes instruments such as: Mandolin, guitar, fiddle, cello, autoharp, 12-string guitar, 4-track and beautifully sung male and female vocals. Previous to this release, they have released a split with The Antiques and a 3" EP.

There are seven tracks in all that total over 32 minutes. The opening track, "Noble Enterprise" is a soothing track that paints a vivid picture of how the "noble" ideas of our forefathers have been ruined by the greed of mankind. "Graveyards make firm foundations for our bright, bright mansions." The next track is a brief instrumental which sets up the following track, "Numbers". The rest of the CD follows in the same pattern, setting up each track with a nice instrumental. I must say, it's remarkable how fast this CD comes and goes, it doesn't have any moments that drag and ruin the listening experience. By the time the final track elapsed, I was hoping there would be a secret track or something, sadly not.

I must add, I really enjoyed the lyrics. They were very poetic and eloquent but still had something worthwhile to say, which isn't the case often.

The recording was definitely good, the band got theirs moneys worth, but if this band was given a big time recording they would sound absolutely massive. The way the vocals were dialed in, exactly even with instrumentation, was a nice touch because it shows that the vocals are just another instrument. And considering the vast array of instruments being used, everything rings out in clarity.

The packaging, which is housed in a cardboard sleeve looks downright gorgeous. The contrast of the dark green atlas that sprawls across the packaging with the metallic silver ink just jumps out at you. The mansion printed in silver I would assume is an extension from the lyrics to "Noble Enterprise". I felt that was a nice touch. The gloss insert that displays the lyrics to the songs features a really cool piece of artwork. The irony of the beautifully drawn branches with the red petals falling down upon a black and white image of tribesmen hoisting skull was a nice addition to the packaging. On top of it, the CD was professionally pressed with artwork on the CD face.

Thesis: I whole heartedly enjoyed every single aspect of this release. The music swept me off my feet and put me in a trance. The packaging is absolutely breathtaking and accompanies the music perfectly. If you can appreciate good music, no matter the genre tag you should love this because I absolutely connected with it. Check their myspace on how to acquire this, and their previous efforts."
--Jeff Karbow, SicZine.com

Review from Psychotropic Zone

"Unlucky Atlas is a Chicago-based quartet formed by AndrÈ Foisy (mandolin, guitar, fiddle), Kelly Rix (cello), Erica Burgner (vocals, autoharp) and Terence Hannum (12-st. guitar, 4-track). The band plays wonderful, atmospheric folk that has quite political lyrics against war and oppression. This little over 30-minute-long mini CD is their third release after a split single and an EP. The album is started with ìNoble Enterpriseî with its raffish, powerful acoustic guitars that are later on also joined by cello. This is an excellent, rather melancholic track that immediately makes you really listen to the groupís music. The next track ìElegy (For Marla)î is a beautiful instrumental but the fiddle (or cello?) in it does sound a bit out of tune. Another beautiful track is also ìNumbersî that has some pretty female vocals and later on also some mandolin. ìIn Paradisumî is a short instrumental intro for the swell, sad ìGreat Awakeningî that also has some vocals in addition to guitars and cello. One of the albumís highlights is the magnificent, dreamy instrumental ìJacobin Waltzî. Amazing stuff! Also the last, over nine-minute-long slow, beautiful and melancholic track îForward Presenceî is a very good one. Although Unlucky Atlas is not just as psychedelic or experimental as some of the weird folk groups in the US, theyíre still absolutely worth checking out if you like alternative acoustic music in the style of the bands on Secret Eye."

--Santtu Laakso, "Pychotropic Zone" (Finland)