addle Creek Records, home to such solid indie upstarts as Bright Eyes, Rilo Kiley and Cursive, prides itself on exporting hometown heroes. However, its latest success story was imported from down south.

In 1996, three years after the independent label formed, Andy LeMaster joined forces with the Saddle Creek crew. The tireless producer/musician from Athens, Ga., began engineering and playing on Bright Eyes’ Conor Oberst’s project while developing material for his own musical vision during rare moments of free time.

“I had no goal other than to record songs for myself,” LeMaster says. Eventually he shared his work with a few similarly minded artists whose enthusiastic response inspired a change of plans. “It just fell together,” he says. “It suddenly edged its way into a priority.”

LeMaster recruited drummer Clay Leverett along with Azure Ray’s Orenda Fink and Maria Taylor to formally bring the band to life. Although brimming with promise, the group’s 2001 self-titled debut failed to make headlines. It’s not clear why audiences weren’t intrigued by the melodic indie-pop. LeMaster’s poetic lyrics are compelling, the significant ’80s influence nostalgic and the ambient instrumentation a welcome change from straightforward strumming. Yet no one seemed to care. True, this is the same country that celebrates “American Idol,” but recall that this group is on Saddle Creek—a diamond dog in 2001.

LeMaster cites a learning curve as the most probable cause of the dismal returns. Both the band and its label had a few edges to smooth out before reaching full potential. Now the seasoned players are equipped with the skills necessary to combat public oversight. The group’s sophomore effort, Fall Back Open, just might be its ticket out of obscurity. The well-developed collection reflects LeMaster’s intention to create an “escapist soundscape.” He wanted to project a three-dimensional quality, one that would mirror his internal side.

LeMaster infused a similarly etherial quality into a remix he did for another Athens-based band—’90s college radio and alternative rock icons R.E.M. LeMaster met the group’s lead vocalist, Michael Stipe, through a shared career and physical proximity. A tight-knit scene made it easy to connect. “The music community is small and open to being influenced by others,” he says. On his interpretation of “The Lifting,” LeMaster “made it a little more psychedelic—not in a retro sense, just a little more sexy.”

Stipe’s approval of the resulting sound, along with his interest in NIO’s first album, informed LeMaster’s next move—soliciting the established front man for a role on the next recording.

“I didn’t feel so absurd asking him to participate,” he says.

Stipe accepted the offer, contributing his voice to Fall Back Open’s “Antidote.” The track, much like the rest of the album, is wrought with moody overtones. Strong emotional currents carry the influence of Depeche Mode, The Cure and, of course, R.E.M. However, none of these are overtly apparent. It is still clearly the work of LeMaster, who adheres to a distinct creative process.

“I try not to be intentional and heavy-handed,” he says. His only directive is to endow songs with a strong spine. “I force myself to complete the songs before recording.” LeMaster accomplishes this by relying on instinct to fuel the origins of each piece, stepping back and returning later to elaborate.

His meticulous devotion has paid off. NOI has edged its way into the spotlight. Indie-rock critics are gushing—kicking themselves for not looking up a bit sooner.

In May, the group will head overseas for a European tour, after which LeMaster plans on heading back into the Chase Park Transduction Recording Studio to develop new material. When he emerges, the silence that once surrounded the band will be gone.

Now It’s Overhead plays Monday, April 5 with Maserati at Kilby Court, 741. S. 331 West..
jamie@red-mag.com