As former members of Atlanta math-rock instigators Purkinje Shift, Ben Davis and Gary Flom espoused quite a legacy when they reconvened as Moreland Audio. Their previous group spearheaded a flux of instrumental precision that has had lasting effects on a myriad of local acts as varied as Ocelot, Rizzudo and Remuxers. But in moving forward, the group dirtied up the sterile conditions of its previous work, giving rise to a more visceral sound.

Percussionist Adam Overton, who also serves as founder of local arts collective Electric Arts Alliance of Atlanta, joined the group in 2000 when former drummer Scott Robbins moved to Rhode Island. With Overton came a sense of rough-hewn spontaneity the group had never felt before.

But rather than exorcising its past endeavors, Moreland Audio has built upon them. The band's debut, Turbogold, culminates a sound less concerned with technical showmanship than the power of rock.

Recorded in only two-and-a-half days at Zero Return studios, the sound of the disc evokes the grittiness of '60s soul records (a la James Brown) and the spaciousness of Led Zeppelin. But through it all, the group's most distinguishing characteristic remains an emphasis on instrumental arrangements, sans vocals.

"These days, when artists write lyrics, they might as well not be saying anything," says Davis. "You either can't understand what they're saying, or when you do, it sounds really dumb. Why not just fill that space with a strong instrumental part?"

Moreland Audio plays The Earl Sun., March 16.