The Constellations
Southern Gothic

Atlanta, 2 AM, a night like many others.

Eight young guys with a passion for music decide to form a group to tell what happens in the streets of the metropolis during the night.

Out comes this "Southern Gothic," a very eloquent title, which is like taking a night journey in Atlanta and seeing all the oddities (hence "gothic"), among drunks, prostitutes, drugs, and nightclubs. And that’s exactly how this album is, strange. The band manages to form a sound that mixes alternative rock, hip hop, and a touch of dance music. So, if we really want to place them in a specific musical genre, and I find it difficult, we might choose alternative dance, which blends dance sounds with those of alternative/indie rock.

The journey begins with "Setback," for which a very nice video was also made, in which a synthesizer lays out the melody accompanied by a highlighted rhythm section, and singer Elijah Jones demonstrates his rapping skills. Following that, we probably find the most famous and one of the most beautiful songs on the album, namely "Perfect Day," which perhaps best represents the sound of the group. In the really particular video clip, the band is seen playing amidst a party, while Jones walks among naked women, smoke, and cocaine. Perhaps a bit too risqué, perhaps a bit too "flashy" (pardon the not-so-professional term) but it perfectly describes the nights these guys happily spend. Speaking of the music, however, the song has a rhythm and a chorus that grabs you immediately; additionally, there’s excellent rhythmic work from the keyboards that underpin the guitar playing a really successful riff. Moreover, anyone who watches a bit of television will surely know that "Perfect Day" can be heard in an episode of Chuck, Suits, in Come Ammazzare il Capo e Vivere Felici, and other shows. The next song, "Love is a Murder," features a guest star of Cee-Lo Green’s caliber, whom Elijah Jones greatly admires. The song is not one of the album's most beautiful, with an intro led by the piano and the verses where we find Jones once again tackling a rap with excellent rhythm. Cee-Lo's interlude, although quite short, I think is effective. "December," on the other hand, is a melancholic song with the keyboard playing arpeggios accompanied by the guitar. The lyrics seem to compare people's character to the ever-changing weather. "Take a Ride," despite being initially electronic in nature, in the chorus, with extensive use of reverb on the guitars, and in the final part with the chorus played by the acoustic guitar, brings out the more rock side of the band. Even "We're Here to Save the Day" features a guest, this time Asher Roth, who plays his part in a good hip-hop styled song. And then, "Felicia." Guys, what a song! With a very '70s atmosphere, led by an organ with a very vintage feel, the guitar joins in the finale making it truly lively. These last two songs were also used in two episodes of Chuck; evidently they must be real fans of The Constellations! Then comes the strangest song on the album, "Step Right Up," even over nine minutes long, a tribute to Tom Waits, the great storyteller of Atlanta. Here we find three verses interspersed with a very danceable chorus in which Jones delivers a true monologue recounting the nightlife in Atlanta. The second part, after a guitar interlude, is completely electronic and we end up listening to even drums with an almost tribal flavor. In short, a strange but truly ingenious song in its uniqueness, in my opinion. And it is right here that we find what I believe is the weak link of the album, namely "What I See," a song that never grabbed me. "Weighing Me Down," led by the piano and Jones’ almost gloomy voice, then explodes into a very beautiful chorus. The finale, entrusted to "On My Way Up," is truly evocative; the song, which perhaps speaks of moving away from home, that very Atlanta that inspired this work, is probably among the best.

I am very attached to this album, so I tried to be as objective as possible, I hope I succeeded in that intent. The fact is that this album has brought a band out of the underground and given them a bit of notoriety, and I believe it is well-deserved, as it is not one of the classic pop albums, but a mix of rock, hip-hop, dance, pop, and retro atmospheres, and records like this, nowadays, are really hard to find.