Roots, religion and the legacy of racism – three common themes in Southern literature – have rarely been addressed by Southern rock musicians. Even Michael Stipe, for all of his lyrics' supposed rural mysticism, owes more to beat poets than any overt Southern heritage. Not so the House of Freaks. Although singer-guitarist Bryan Harvey and drummer Johnny Hott left Richmond, Virginia, for Los Angeles last year, their second album resonates with enough Southern culture to intrigue William Faulkner buffs.

The Freaks' acclaimed debut album introduced a uniquely self-reliant duo: no bassist, no fancy production and no synthesizers. Tantilla, named for a defunct dance-hall-cum-bowling-alley, is just as good. Guest organist Marty McCavitt and pro producer John Leckie are on hand, but both are unobtrusively beneficial, adding body and texture to a sound that charges folk music's rustic majesty with a measure of punky vehemence.

"I Want Answers" is a powerful statement of divine doubt; "The Righteous Will Fall" and "King of Kings" both evoke Biblical allusions, albeit to unclear ends. On the historical side, "White Folk's Blood" decries the legacy of slavery, while "Big Houses" is an old-time ballad about the war between the states. The folkie "Family Tree" and "The World of Tomorrow," a lullaby of sorts wound up with atmospheric reverb guitar, concern past and future generations.

In keeping with the less-is-more credo, Harvey picks gently at muted strings while singing the verses of "When the Hammer Came Down," "The Righteous Will Fall" and "White Folk's Blood," allowing their choruses to explode with full-throttle rock & roll energy. Throughout the LP, sturdy, engaging songwriting and spirited performances make Tantilla a literate and uplifting cultural experience. (RS 554)

IRA ROBBINS