Department of Eagles – In Ear Park

Rating: ★★★★½

Daniel Rossen probably receives the majority of his acclaim from his participation in Grizzly Bear, but as more people catch on to his side-project, Department of Eagles, that won’t last long. The band’s second album, In Ear Park, has enough bedroom beauty to take the acclaim to an all new level.

Much like his other band, Department of Eagles specialize in ethereal pop gems, catering to the changing of fall into winter. Every inch of every song seems so carefully crafted that one would find it difficult to recreate the moments that exist on this album, no matter how great an ear they had.

The first stand out track, “No One Does It Like You,” begins with an extra step, but quickly goes into subdued harmonizing vocals, reminiscent of multiple harmony bands such as Fleet Foxes. Layer upon layer is piled atop the song until the track completely transforms into perfection.

“Teenagers” is driven to fruition by delicately dark piano work, and the hollowness in the vocals seem to echo from the past, that is until the hand-claps come into play, carrying the song further, only to return to the lone piano work you hear at the beginning.

Amidst all those perfect moments come some dense atmospheric sounds, but they don’t necessarily detract from the album. In the strangest of ways it provides a haunting element to the album, deepening the emotional connection  between the band and the listener. Each song progresses as they should, but each listen offers more and more, as layers reveal themselves to the listener in an unusually gratifying listening experience.

The vocals differ from those of Grizzly Bear due to the more personal touch Rossen has placed on this album, which is said to be due to the unfortunate passing of his father. As the album touches on the personal emotions of their own world, the listener, too, can dive into the subconscious where our own innermost desires and fears may rest. See “Floating on the Lehigh” or “Classical Records.”

Their is a quality to this record that is difficult to place. At times the songs are haunting, ultimately revealing themselves as gems. During other moments it’s touching, as harmonies are shared between listener and band. In the end, you might find that the overall beauty in this record changes depending upon what your ears and mind bring to the table; you might find that it surpasses pieces for which Rossen has already achieved great success. No other album is more fitting to the onset of winter.

The Calm Blue Sea – s/t

Rating: ★★★½ ·

It would be extremely easy to come across this band, lumping them in as thieves of the popular instrumental music scence, yet that approach to this album would be a coward’s way out.

Sure, the self titled album from The Calm Blue Sea is filled to the brim of your stereo with sprawling guitar sounds that walk the thinnest lines back and forth between songs, almost as if the guitars intend to pace back and forth.

One element that sets them apart, and I know others use it, but I think the usage of the piano as the skeletal background for a good deal of the songs places a different spin on the entire album as a piece.  It coats the instrumental core of the album with a melodious undertone;  listen carefully for the treasures in this genre always rely upon close listening.

Another difference lies in the fact that they occasioanly use lyrics, predominantly in the song “Literal.”  It’s usage here recalls, to these ears at least, the atmospheric sounds of Statistics.  It creates an entirely different layer to the song, which is encouraging because various bands get trapped beneath the singular layers created by guitars and drums; The Calm Blue Sea uses vocals as a textural layer–admirable.

While other bands simply rely upon the ebbs and flows of their albums, withholding the more rocking elements for their live show, The Calm Blue Sea unleash these heavier moments upon us with joy, creating a beautiful cacophony of atmospheric noise.  It’s great to see that there are new bands still trying to put their own spin on an age-old tradition.

Ra Ra Riot @ The Parish – 10/3

The crooning pop of Ra Ra Riot will make its way into Austin this Friday, twice!  They will be playing a free show at our favorite record store, Waterloo Records at 5 PM.  Then they’ll graba bite to eat before heading on over to the Parish to close out the evening.  If you’re not sure about whether you want to go, just check out our review of the latest album The Rhumb Line .

You can find yourself tickets for the show at Frontgate Tickets.

Gentleman Jesse and His Men – s/t

Rating: ★★★★★

A few months back I was fortunate enough to come across a short album by Atlanta band, Carbonas. After careful research I came across Gentleman Jesse and His Men, a band fronted by Carbonas bass player, Jesse Smith. I adore the more abrasive album featuring Jesse on bass, nothing comes close to my level of enjoyment when listening to the power-pop of the band he fronts.

Immediate references will draw upon similarities to bands such as The Exploding Hearts, due to vocal delivery, and Buzzcocks, based solely on emotional similarities. Still, one would have to go much farther back, back into the 50s bandstand rock n roll in order to complete the circle of influences. Every riff seems straight out of an era, but done so refreshingly that its hard not to fall in love right away.

Remember those bands you grew up listening to when you were younger? This should have been one of those bands. This should have been the only one. Every song has staying power, and it goes beyond the box we’ve placed Gentleman Jesse inside. If teenagers had good tastes, then they would spend countless hours in their mirrors singing and bouncing along to this album with a hairbrush in hand, wishing they could take to the stage. This album has that much power.

Vocal inflections allow for the listener to differentiate between each song, though you might find that the rhythm section becomes a little redundant at times. Still, you could list every single song on the album as a hit. Pick a song, sing along and you’ll bob your head for the rest of the day.

“All I Need Tonight,” the third track definitely jumps out at you as one of the more powerful songs. The backing vocals bring back the simplicity in garage rock, just in time for the killer solo at the end of the song. It’s precisely the way it was always meant to be; straightforward rock music without meandering into noise and atmospherics. “The Rest of My Days” ask “where is time going,” and its clear that the rest of my days will be spent listening to this album, this song.

The latter half of the night packs just as much punch as the first half of the album. Songs like “I Get So Excited” and “You Got Me Where You Want Me” are meant to be sung by entire audiences. Each song is full of fervor, hoping to grab the audience and hold them close to the speakers one last time before the album winds down to its end. No one should skip a song.

After listening to the album in my ears for days, its hard to be really objective here; this album is the most refreshing thing to come by and cleanse my pallet, which is odd due to its apparent nostalgia in the realm of power-pop. Those of you interested in good clean pop rock will do well to find this immediately. I can see it nearing the Top 10 right now as it plays again and again.

The Broken West @ The Mohawk — 10/1

Longtime members of Merge Records, The Broken West are hitting up Austin tonight. The band comes to town fresh on the heels of their newest release, Now or Heaven and will be taking to the stage along with Hollywood Gossip. Mohawk says that they will open the doors at 8 PM, so expect the bands to take the stage around 9:30.

You can head on over to Merge Records to listen to the latest album from The Broken West. 

Blitzen Trapper – Furr

Rating: ★★★★ ·

On their first album, Wild Mountain Nation, Blitzen Trapper was all over the place.  They played classic rock in a crooked modern pop manner, but the vocals lacked clarity in delivery.  Their newest album, Furr, offered hopes of better production with the backing of Sub Pop Records, and dreams of consistency.

Those of us with high hopes might have to admit that despite the band’s efforts, we are only having our needs fulfilled on one level, that of the vocal delivery.  It’s predominant departure from their previous effort, which does make this one exceedingly better than its predecessor.

One would be hard-fought not to notice the 60s-70s rock influences draped across this entire album, but they were there in the past.  The previous albums spoke softly of such influences, but they step it up entirely on this album.  All of this is furthered by the strength in production on this album, which pushed the influences to the forefront, rather than disguising them in  a lack of clarity created by walls of noise.

They did write one of their worst songs ever, and chose to include it.  “Love U” is full of unadulterated yelping, and it rarely provides anything worth holding onto.  It’s merely walls of screaming, accompanied by sloppy musicianship, and it stands right in the middle of the album–just skip it.

Almost every single listener who has a weakness for the folkier moments in rock n’ roll will surely find the rest of the album enjoyable.  Each track seems to recall another musician at every turn, as if the band set out to write an album full of covers.  Songs like “Echos/Always on/EZ con” and title track “Furr” are purely magnificent.  The subdued tones of each song warrants repeated listens for the rest of the year; the folkier side of Blitzen Trapper is where the band, ultimately, performs at their best.

It would be easy to pigeonhole this band as one intent upon revisiting the past, but they seem to have their own spin on our heralded past.  One would be remiss to toss this band to the side due to a lack of originality; give it a couple of spins and you’ll find that the songs seem strikingly modern.  The band is knocking at the door step of a solid album, and Furr is an album that furthers that dream for both the listener and the band.

Little Joy vs. Los Hermanos

I’m all kinds of into audience participation, so I thought I would throw one more your way. Today, we will debate over whether the singer for Fabrizio Moretti’s (of The Strokes fame) newest project, Little Joy, is in fact better suited to front a band backed by Fab or by his old band, Los Hermanos. The kids love Little Joy, and Devandra Banhart produced the album, but something about the bossanova sounds of Los Hermanos are really working for me today. You make the call.

[audio:http://austintownhall.com/wp-content/uploads/2008/09/little_joy_no_ones_better_sake.mp3]

Download: Little Joy – No Ones Better Sake [MP3]

[audio:http://austintownhall.com/wp-content/uploads/2008/09/09-09-condicional.mp3]

Download: Los Hermanos – Condicional [MP3]

New Music from The Decemberists

We all love The Decemberists, and we are stoked to hear that they are releasing a series of singles this year (October 14, November 4, December 2). The single series is titled “Always a Bridesmaid,” and this is the track off the opening single titled “Valerie Plame.” Those in the know might recognize the name, but for now, let’s just listen to the tune. Follow this link to preorder.

[audio:http://austintownhall.com/wp-content/uploads/2008/09/01-valerie-plame.mp3]

Download: The Decemberists – Valerie Plame [MP3]

Gentlemen Jesse and His Men

I cannot stop listening to this album, or this song; Gentlemen Jesse and His Men seem to know where its at. Sure, it’s a little bit of a throwback, but we all loved The Strokes the first time around right?  Blast this song into the afternoon, and if you dig it like I do, then you can find the band’s self-titled debut out now on Douchemaster Records.

[audio:http://austintownhall.com/wp-content/uploads/2008/09/i_dont_wanna_know.mp3]

Download: Gentleman Jesse and His Men – I Dont Wanna Know [MP3]

1 876 877 878 879 880 890