Author: nicole.baumann

A.A. Bondy – Believers

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Rating: ★★★½☆

For years now, A.A Bondy has been riding the waves of undiscovered artist; while garnering some devoted fans, he hasn’t exactly achieved instant fame and success of the independent world. However, as per the intrigue of his last album and the original detailed work of his very first effort, this hasn’t seemed to hurt Bondy in the slightest; he is still a master at his folksy craft.

There isn’t a song on this album more dauntingly beautiful than “Skull and Bones,” which crops up third in the listening experience. From the moment it begins, there is a foreboding feeling instilled by the effervescent bass and guitar combo. It’s an unsettling sound that gives a sense of instability and then A.A himself jumps in with those cautionary vocals that add to the darkness of this twisting song.  At a little over three minutes long, it jumps right in and grabs your focus right from the start, and then pulls you further and further in, and by the time the looped vocals of the chorus flood your ears, you can’t help but notice the elegant poignancy that the track dangles out there for you to snatch up on repeated listens. A.A Bondy knows this, and includes a short, cleansing song after it, as to break away from its quiet resonance and move back to his more traditional folk style.

This is a lovely change for Bondy, and though it’s unparalleled on this album, it is certainly not the extent of good songs to be found on Believers. You have late stunners such as “The Twist,” that is just dripping in delectable folk elements and yet it still has a quick pace that doesn’t allow it to be as heavy as earlier songs. This pacing allows it to sink in slower, and not become a bogged down album. By no means is it fluffy pop fuzz, but it is not so thick that it becomes a drag to listen to.

For a third release, this album is very consistent, at least at first glance. It seems that Bondy is just destined to remain under the radar in his work, which is not necessarily a bad thing, as he is currently a man with three solid albums, each of which with its golden moments. This being said, I can definitely see Believers becoming more with time as it ripens in the minds of listeners. Regardless, it’s still worth a good listening to; time will tell if it will be something extraordinary.

Jacuzzi Boys – Glazin’

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Rating: ★★★☆☆

Jacuzzi Boys first appeared back in 2008, when they released an EP that presented their garage rock style and followed this with their debut album, No Seasons, in 2009. Now, two years later, they are back with Glazin’, their true sophomore effort, which is chock full of garage rock noises, such as buzzing guitars and wild percussion.

The first track, “Vizcaya,” is a short and sweet introduction to the bands sound. At roughly two minutes, you just get enough of Jacuzzi Boys to know where they are headed on this album. The vocals are sharp and twangy, shuffled amidst the buzz of the guitar and the furious pacing of the song.  For a song with so much crammed into it, it’s a great thing that it’s so short, because it quits itself before the song becomes overwhelming. Such is not the case for third, and title track, “Glazin.’” Even upon first listen, you can feel the repetition of at the end, which is definitely a sign that it has gone on for too long, and it’s easy to seek it out on repeated listens.

This is a bit of the precursor for the rest of Glazin’ in its entirety. There are some songs that really standout as the album comes to its close, but the majority of the tracks in the middle all sort of mesh together into a big ball of garage rock, which by no means is a bad thing, but it isn’t an album made for active listening. The songs are short enough that they jump quickly from one to the other, but this also makes it difficult to discern the differences between songs; those little nuances that are supposed to come with variation. The result is that the repeated sound fails to hold the attention of its listeners, but if there’s one thing I could advise you, it’s to stick around for the end, in which Jacuzzi Boys bring back the variety.

The last two songs, “Los Angeles” and “Koo Koo With You,” both showcase the best of the garage rock sound as well as a different side of the band. The second to last track is one of the most intriguing all out jams on the album. You have the trademark sound, but some gang vocals jump in and will have you grooving along. Then Jacuzzi Boys switch things up at the end, with the catchy last, and acoustic-y, number. Gone are the buzzy guitars, for the most part, and present is a softer touch to this album, which, albeit, might have been better placed somewhere in the midst of the rock as opposed to at the end.

If you’re a hardcore lover of garage rock in any form, then Glazin’ should be a real treat for you. If not, then you should be able to find some tracks that may tempt your fancy on this casual effort.

Cymbals Eat Guitars – Lenses Aliens

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Rating: ★★★☆☆

Hailing from New Jersey, Cymbals Eat Guitars are a four-person band with one album, Why Are They Mountains, under their belt already. Released in 2009, that album rewarded this band with comparisons to bands like Modest Mouse, and Pavement. On this new effort, they looked to work on it more collaboratively, and the effect of this is a band that sounds more controlled, and the instrumental parts feel tightly knit and well thought out on Lenses Alien.

The first song is “Rifle Eyesight (Proper Name),” which is an eight and a half minute long track, but it’s really just two songs pushed together with the help of some atmospheric guitar feedback noise in between the two. For roughly the first three minutes of this track, you have this lovely bouncy and jangly alternative rock song, complete with the harsh vocals of lead singer, Joseph D’Agostino, whose voice reminds me a bit of John Paul Pits, of Surfer Blood, due to its ability to turn ragged and grungy in an instant. You get a chance to see this switch to grungier on the second half of the first song, in which the guitars are fiercer, the cymbals crash more, and the pacing is faster. D’Agostino gets his chance to command the song with his vocals that are exasperated and rough at first. However, as the song calms down, so does the raspy nature in his voice, softening, if only for contrast as the song resurges to its final height.

After this monster of a song, it would be easy for the rest of the other tracks to pale in comparison, but each brings a lovely new element to the table. On “Shore Points,” you have a nice little surf rock jam, complete with angular guitars and enticing backing vocals from the other band members. Following immediately on “Keep Me Waiting,” there’s a killer bass line just bubbling under the surface, waiting for your ears to pick it out and move your body to it.

 While there are softer songs on here, like “Wavelengths” toward the end of the album, Lenses Alien does seem to fall a little one dimensional upon the inaugural listen. Perhaps there is too much of a good thing on this album; the heavy guitar and nasal vocals seems a little grating by the end of the ten song album. Maybe, with much repeated listening, there is more to this sophomore release, but as of now, it’s a pretty middle of the road album.

Am & Shawn Lee – Celestial Electric

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Rating: ★★★★☆

Originally a solo artist, AM hails from America, bringing the diverse sound that you would expect from someone who was raised New Orleans. Producing music steadily built upon the mixture of Americana folk pop as well as various R&B elements, he already had a whole lot of genre conglomeration going on before he decided that he would collaborate with London acclaimed groove master, Shawn Lee, on this album. What one would think is far too many different kinds of sound to be packed into one album, but the result is surprisingly refreshing.

First, let me just say, do not be intimidated by the size of this album. At fifteen tracks, with the medium range time around three and a half minutes, Celestial Electric comes in at around an hour total, which to me, sounded like I was going to be bored by the final track; I mean come on, how much electronic beats can you dish out without repeating yourself? However, I was stunned at the variety and these two’s ability to keep things fresh pretty much consistently through the fifty four minute long album.

With any preconceived notions about electronica, or anything else out of the way, let’s get to the actual music. Celestial Electric opens on an instrumental track, “Dillon’s Song,” which is by no means brief, but also by no means boring. It’s a lovely little groove, which builds the whole way from a funky bass line. The next track is “I Didn’t Really Listen,” another groovy beat that will make you sway in the verses and party dance in the choruses/breaks from the normal serene beat. Overall, it sort of sounds like a mellowed and more electronically driven Phoenix, which is a connection probably made on the vocals, which are most similar.

So, introduced to this massive mix of genres, you continue your trek through these waves of chill, each track inducing some head bobbing, and maybe a little shimmy-shaking—if you’re feeling it especially. For me, someone who doesn’t normally get along too well with dancey music, this feels different. Each song pulls me in, making it hard to skip a song. Sure, there are some real standouts, like the early “City Boy, ” which combines a sweet guitar base with a falsetto chorus that will have you crooning right along. Or even “Promises Are Never Far From Lies,” which is perhaps the grooviest track on here, bringing those handclap sounds and the made for dancing synth meanderings.

All in all, Celestial Electric is as its name would suggest—a stunning and ridiculously enticing slew of electronic beats. Give it a try before you knock it.

[audio:https://austintownhall.com/wp-content/uploads/2011/06/04_Dark_Into_Light.mp3]

Download: AM & Shawn Lee – Dark Into Light [MP3]

Beirut – The Rip Tide

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Rating: ★★★½☆

Although Beirut first stepped onto the musical scene five years ago, front man Zach Condon had been making music for much longer. In fact, Condon had been writing and producing music since he was a wee lad, holed up in his bedroom. So it was no real change to his life when he started producing music that others would hear; all the songs on his debut just felt like the hundreds of other songs he had already furnished. Audibly, this means a certain intimacy from the start, one that caught the attention of a large number of fans of this band, and one that continues to hold the attention of indie music aficionados with The Rip Tide.

The first song, “A Candle’s Fire,” starts off with some quiet accordion and then jumps right in to the horn’s ablazin’, jangly, folk pop that they do so well. After a brief instrumental interlude, Condon’s deep, yet alluringly nasal tones chime in, and the song carries on, backed by the rolling, marching band-sounding drums. It’s a good opening number, but it is no “Santa Fe,” or “East Harlem,” the two songs that follow it, which happen to feel like the singles for the album, as they stand out from the rest of the tracks on The Rip Tide. “Santa Fe” has synth backing that weirdly fits in with the classic instruments that Beirut introduced you to on their recent EP’s. “East Harlem,” the third track on the album, plays with the cohesive elements of Beirut’s normal sound, by having choppy percussion and constant piano carry the song.

Sadly, as this record progresses, it does not climax as all good records should, but simmers to its mediocre end. When I say mediocre with this band, it does not really mean the classic definition of boring and blegh that may apply to other music. For Beirut, a mediocre track means one that is still significantly better than what most bands produce, but with the expectations that I have for them, the tracks fall a little flat. There just isn’t that explosion into new territory that will blow a new or old listener away.

If you’ve listened to anything that Beirut has produced prior to this record, and liked it, then you will find that you will probably like this just as much. Sonically, this band doesn’t really go anywhere that far away from previous efforts, but this should not be a deterring factor; the group doesn’t go in a negative direction either.  The result is a collection of songs, some better than others, which should fit nicely into your regular listening queue.

[audio:https://austintownhall.com/wp-content/uploads/2011/06/Beirut-New-Harlem.mp3]

Download: Beirut – New Harlem [MP3]

Chelsea Wolfe – Apokalypsis

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Rating: ★★★★☆

More often then not in this day and age of music, bands will go for what I like to call ‘the single approach,’ or perfecting one of their songs so that it attracts the ears of potential listeners, and then failing to provide an album that matches the excellence of the single, or culminates with the other songs for a thematic approach. Regardless of what the rest of the music world is doing, Chelsea Wolfe seems to be dedicated to doing things her way, which means an album Ἀποκάλυψις (pronounced apokalypsis) themed around darkness.

If the album title wasn’t enough, or even the track titles, to prove that this is a deeply sinister work, then the first noises you hear should do the trick. The first ‘song’ on the album, or the twenty-five second screeching noises entitled “Primal/Carnal,” sounds exactly like the title entails; an animal coming to life, but not just any animal, more specifically going off Wolfe’s outwardly dark themes. After this introductory track, “Mer,” the first real song kicks in and instantly Wolfe’s vocals hook, oozing with haunting qualities. It is much akin to that of Jenn Wasner from Wye Oak, which is obviously not a bad thing, as the female powerhouse vocal is never something to sneeze at, especially when its sweetness is juxtaposed against grungy instrumentals. Meanwhile, in the background, you have simmering cymbals and slowly effervescing guitar parts that provide a dark ambient folk/rock/pop vibe.

As aforementioned, Ἀποκάλυψις doesn’t really follow the pattern of one song standing apart from the others. Rather, it is the opposite, in that in order to absorb the rich, heavy and blackness of Wolfe’s gothic rock, you need to listen to the whole album, all the way through. Sure, like most records, you’ll pick out your favorite song, but there is a general sense of atmosphere required on all of the songs that makes it difficult to really immerse yourself in this kind of music without some preface or transition into. In effect, this phenomenon is probably the most unique and alluring factor of Chelsea’s work, and its cohesiveness is a lovely break from the banality of albums that just sit as a collection of similar sounding songs.

I won’t lie to you and say that this is a light effort, in the slightest. Instead, it is one of the more solid pieces of music that you will find these days. However, if you are ready to sit down and just soak up all of the darkness that Chelsea Wolfe is doling out, then this should be a beautiful album for you to relish in.

[audio:https://austintownhall.com/wp-content/uploads/2011/05/A01-advice-and-vices.mp3]

Download: Chelsea Wolfe – Advice and Vices [MP3]

The War on Drugs – Slave Ambient

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Rating: ★★★★☆

While some may say to ‘never judge a book by its cover,’ I will forever judge an album by its artwork, or at least base my idea of what the band behind the cover art would possibly sound like. Sometimes, this theory proves faulty and none of the visual clues match up with the sound. Others, however, like with this release, fit perfectly; the ethereal pinks and purples mixed with the overall fuzziness match the lush waves of guitars and hazy pop/rock sounds of The War On Drugs.

The first track, “Best Night,” is one that should blow you away, as it did to me. Upon listening the first time, I was pleased with it, but after repeated listens, it began to grow to something much more. Soft, muted drums echo demurely in the background, easing into the meandering guitar parts until the scraggly vocals of Adam Granduciel chime in and you’re instantly hooked. Steady guitars feel confident and omnipresent, creating a flowing wall of background sound that is always buzzing in your ears. It’s a killer track to begin with, but then The War on Drugs throws in some extra minute details that just sets this above most common tracks; there’s something about the way the guitar part matches the little stretch out of a word that has me swooning over this track. To top it all off, the song transitions to the next with a sensational instrumental groove that is sure to have you grooving along with each riff.

Even though the first track is a big deal in itself, the rest of the album is nothing to turn your nose up at.  There isn’t a song that you’ll want to skip, and there are certainly more to treasure than just “Best Night.” “Come to the City” is a four minute and thirty second drum-driven party number, complete with buzzy guitar break. “Blackwater,“ the ending track, loses the drums for the most part, and takes a leaf out of the acoustic book, allowing you to appreciate the strength in such a powerful voice. Unifying all these great numbers is some stellar songwriting and the thematic waves of serenity.

When comparing this band to others, names like Bob Dylan and Springsteen tend to crop up, leaving big shoes to fill. However, it seems like this band has taken comparisons like these in their stride and not looking back. While this may not be a revolutionary album, filled with a dramatic and entirely unique sound, Slave Ambient is still a constant and confident effort from The War On Drugs.

Luke Temple – Don’t Act Like You Don’t Care

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Rating: ★★★½☆

Known for his vocal and multi-instrument contributions from the band Here We Go Magic, Luke Temple had been a solo artist much before he began his collaborative efforts.  However, it seems to be that the greater likelihood that you have discovered him from the role of lead singer due to that band’s buzz status on the internet. Obviously, solo records like this one warrant more of an individual’s reflection of himself or herself; they have total say in what goes for the final copy of their work. This individual album meets this standard quite nicely—Temple’s sounds are far more reliant on the lyricism and less focused the building up of sound that Here We Go Magic is all about.

Don’t Act Like You Don’t Care begins with “In The Open,” which immerses you in the world of Temple. Sure, there are similarities that overlap from other work. You have the jangly percussion elements like tambourines, but there is a groovier vibe to things. Also, the first track feels significantly shorter than you’d expect. It’s not disappointing, rather, it lets you savor the intimacy that is present. It’s like the third wall between presenter and audience has been cut down and Luke is just giving it to you straight.

Even though this album is intimate, it doesn’t mean that the quality you have come to expect from anything that Temple has touched is diminished in the slightest. On the fourth track, “Weekend Warrior,” this becomes inherently apparent. The longest track on here, at around five minutes and thirty seconds, there are some build-ups in this song during each chorus. Starting soft and slow, with whispers of electric guitar and pitter-pattering drums in the background as Temple’s meek voice waivers above, but only just so. Then, during the chorus, there is a plethora of lush sounds that juxtaposes nicely with the overwhelmingly calm other parts of the song. It’s easily one of the best songs to be found on this album.

For less than forty minutes, Don’t Act Like You Don’t Care stretches out nicely, feeling a lot longer than it is. To me, the lack of a backing band does not diminish this man’s sound or goal in the slightest. Yes, there are a few tracks that come off as subdued, but by no means boring or banal. It’s a complete sounding album, great for those who are already familiar with the pop styling of Temple, or those who are new to such an experience.

[audio:https://austintownhall.com/wp-content/uploads/2011/06/05-Ophelia.mp3]

Download: Luke Temple – Ophelia [MP3]

Case Studies – The World is Just a Shape to Fill the Night

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Rating: ★★★★½

A few years ago, The Dutchess and the Duke graced the music scene with their debut album of folksy rock and glorious harmonies and were hailed by many as a stunning first release. They followed with Sunset/Sunrise, which was an equally interesting and complete album, building on the success of the first, and once again the band made sure to imprint itself upon listeners. However, during that second album, there was a shirt in importance to the role of Kimberly Morrison in providing those juxtaposed feminine vocals with the deep rasp of Jesse Lortz. So the question that remains is this: will Lortz flop without that constant aspect, or soar out on his own?

Well, to me, the answer is clear as can be when the first song begins to play. “From the Blade of My Love” is the perfect opener for this album because it reveals some of the goodness that can be found here, but it doesn’t give it all away. Soft strumming sets off the song and brings in a heavier sense of folk and less Rolling Stones-esque rock music. The biggest difference that is noticeable from his group efforts is that where you would expect the buzz of guitars to chime in, there are only delicate melodies. But, this is not all Case Studies has to offer. A few songs later, you have the piano driven “Animals,” which opens up a faster pace with less smoky female backing vocals that create a softer and more innocent sound. Also present on this album is a showcase of Lortz’s vocal talent himself, which is consistently exceptional throughout.

In a statement Lortz made about this collaborative album of sorts was that this was the first time that he was genuinely excited to be making music and on The World is Just a Shape to Fill the Night, you can feel this change. On previous albums, the talent, and the excellent song writing is there, but here, the details are all apparent. Each and every song is crafted careful and serene. The sensation while listening to this can only be one of pure bliss as the waves of acoustic guitar, harsh/soft vocals, beautiful stories and the assorted other instrument that makes each song stand strongly alone, yet weave together nicely in a collective sense.

The end result of this side project is something you would expect from Lortz. It’s just as good, if not better than his other work. While it is excellent right from the start, it also has enough depth to appreciate on repeated listens. And you’ll definitely want have repeated listens.

[audio:https://austintownhall.com/wp-content/uploads/2011/07/04-You-Folded-Up-My-Blanket-Like-We-Were-Already-Lovers.mp3]

Download: Case Studies – You Folded Up My Blanket Like We Were Already Lovers [MP3]

Pepper Rabbit – Red Velvet Snowball

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Rating: ★★★★☆

For a relatively new band, Pepper Rabbit seems to be moving at lightning speed.  With their debut release, Beauregard, just making its appearance in October of last year, this band is back in less than a year’s time. In this short of a time period, Xander Singh and Luc Laurent have culminated a slew of all new jams. Now, if it had been any other duo making this quick of a return, it would be easy to be apprehensive of the merit of said release. However, the two gentlemen on this record have a powerful sense of what sounds good meshed together and it’s this collaborative ease that pushes Red Velvet Snowball to it’s best.

Claiming the genre psych pop, Pepper Rabbit begins this sophomore effort with “Lake House,” which is naturally coated in raging synthesizers of all sounds and forms. It creeps in slowly at first, showcasing the electronic sounds before establishing a solid rhythm and letting the toned down yelp of Singh to enter. It is a good appetizer, letting you get used to their styling before they move onto their spectacular single “Rose Mary Stretch,” which is clearly the main dish. Bouncy synth once more begins the song, but it doesn’t last for long before the pop elements take over; the faint handclaps in the background, the steady build to its furious climactic finish, or the crashing cymbals along for the ride.

After these first two songs, Pepper Rabbit should have a strong hold on your ears, but if they don’t, for some strange reason, stick around. There are plenty of treats later on in the album. An example of this comes in the form of “Murder Room,” whose groovy beats warrants head bobbing and toe tapping.

But the best part about Pepper Rabbit is that the electronic elements don’t overpower the sound produced. So often, a band throws in too many bleeping synthesizers and you can’t hear the other elements: the drums, the vocals, the other little nuances that keep it from turning into one big cloud of noise. This band incorporated various other instruments into their repertoire, and played around with looping of sounds and the result is a sound that feels fresh and crisp. There isn’t a song on here that you’ll need to skip.

With the end of summer looming close, Red Velvet Snowball is resurgence back to feelings of bliss and carefree that comes along with this immense heat, so enjoy it while you can.

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