A new Oh No Oh My song has been posted up on the band’s myspace page. New song “Be a Star” solidifies the band as one of the best acts coming out of Austin right now. Check it out and tell us what you think.
We’ve been waiting for the right time to post this new Matt & Kim track, and a Monday morning feels like the right time. “Good ol Fashion Nightmare” will appear on the duos newest album Grand. We hope this happy tune gets you through your case of the Mondays.[audio:http://austintownhall.com/wp-content/uploads/2008/09/good-ol-fashion-nightmare.mp3]
Download: Matt & Kim – Good Ol Fashion Nightmare [MP3]
Tonight you will get a chance to hear Why?, and perhaps determine why there is a lot of hype about this band at the moment. Personally, I’m thinking that the opening act, Mt. Eerie, should be enough of a reason to head that way this evening. I mean how can you not like the experimental folk of Phil Elvrum? Tell me Why?
The show starts at 8 PM at the Mohawk. You can still get tickets at the door for this one. Enjoy your night.
Dave Monks of Canadian pop-punk outfit Tokyo Police Club recently did an acoustic set for the Interface on AOL. The solo performance features four tracks from the very surprising 2008 album Elephant Shell from Mr. Monks band. Watch the video and download the live songs for free.
First off let me describe my distaste for songs that last under 1 minute running time, used mostly as some artistic statement, or as is the case in most places, useless filler. This album contains three such songs, which gives the fans of Okkervil River only eight new songs. I don’t blame Okkervil River for their usage of this popular album filler; I just don’t understand it.
By now we’ve all been witness to the opening song, well, the second song–first one with words. “Lost Coastlines” was the first single released by the band, and as usual, it is one of the most immediately gratifying tracks of the album. It seems to be the style of choice from these Austin heroes, as their albums always open with great strength.
They carry this ambition forward with “Singer Songwriter” and “Starry Stairs;” two of the stronger tracks on this album. “Starry Stairs” features horn usage during the chorus, which definitely adds to the power of song, much in the way Beulah used the same instruments. As it carries off into the end of the song, the guitars begin to grow a bit tedious; still, the song garners some interest do to the additional instruments in use.
For me, “Blue Tulip” is probably the least obvious song on the album for listeners, but there is such power in Will’s voice that it reminds you of his vocal meanderings in the early days. His vocals alone carry the song all the way from start to finish, attracting the listener with every ounce of emotion he has available. Slowly this song grows into your subconscious.
Then enters the next instrumental track from stage left. It stops all the momentum the album had built up to this point. You have to revert back to the previous tracks just to get back in the mood to move forward. Yet another reason these little pieces should not be used.
“Pop Lie” enters as one of the more upbeat songs the band has written in years, yet it still just doesn’t have the punch of songs like “For Real,” from Black Sheep Boy. I foresee moments of hand claps during the live show with this song, but it isn’t a winner for me. “On Tour with Zykos,” is a beautiful song, where Will’s voice meets the piano in the most appropriate manner. It’s clear that by this point in the band’s career that his voice has matured to extremely high levels–I still long for a little bit of that guttural noise.
“Calling and Not Calling My Ex” is the last song in this section of the album. A good song, but not a great song. At this point in the album I felt like more should have come my way as far as listening experiences go. I know that the band originally intended a double LP, but these three songs fit in to what one can only assume are B-Sides. They are all good songs, but none of them are great songs by any means, at least not in comparison to the tracks off Stage Names. And then they throw in another one of those instrumental pieces. Annoyed.
The final song, “Bruce Wayne Campbell…” is a slow-burner, but midway through the song the entire piece picks up the pace. It’s the perfect ending to this sub-par album. There is loads of promise throughout the song, but as an entire piece it just doesn’t work. It’s incomplete.
In summation I suppose that the last song encapsulates my feelings towards this album. It doesn’t feel complete to me at all. The skeleton on the cover of The Stand Ins surely must be a representation of the skeletal imitations of these songs. They are so bare bones at times that they lose the beauty that usually accompany the band’s later works. I won’t say that I hate this album because there is plenty to enjoy, but it won’t get played over and over in my various listening stations until I start to mumble the words in my sleep.
Yes Muhoney is still around and yes they can still bring the rock! Help celebrate the 16th anniversary of Emo’s on Saturday night with a sure to be killer set by oldie but goodie Mudhoney. Doors at 9, show at 10. Buy your tickets ahead of time from Ticketweb.[audio:http://austintownhall.com/wp-content/uploads/2008/09/imnow.mp3]
Download: Mudhoney – Im Now [MP3]
Check out this new song by Brooklyn outfit Parts & Labor “Nowheres Night” that’s been getting some heavy rotation on the iTunes recently. You can find this tune on upcoming release Receivers due out October 21st on JagJaguwar.[audio:http://austintownhall.com/wp-content/uploads/2008/09/nowheres-nigh.mp3]
Download: Parts & Labor – Nowheres Nigh [MP3]
The Dolphin music website has a list of the top 100 music oriented blogs in the US & A. You may see some fan favorites like stereogum, gorilla vs. bear and even local favorite Sonic Itch! Unfortunately for the world, Austin Town Hall didn’t make the list… Maybe next year. Wired as #1? Really!?!
Long ago, in a time far far away, Bedhead graced us with a several albums throughout the nineties; each one revolved around their slow, emotive sound. Years later, decades in fact, the Kadane brothers carry on with their similar stylings, only with a new moniker; The New Year.
Their third album under the new name, The New Year, carries with it similar sounds. In fact, a fair assumption would be to assume that the bands are one in the same, despite the absence of several members. Still, the Kadane brothers have always been the center of this slow-core universe, and they remain so today.
Case in point is the opening track, “Folios.” For three plus minutes it slowly builds and builds; gentle guitars pick their way through the track, backed by the slightest of drum beats. By the time the vocals join in the song is near its close, but it leaves you with one of the main thematic statements from this record, as Kadane sings “I don’t think the good years I have left can wait/so what are we staying for.” It seems to be an album about isolation and moving forward.
The largest change on the album is the skeletal importance of the piano work. Sure, I’ve seen it before on their previous projects, but here it gives a greater weight to each song in which it uses, and it is used as the sole instrument on “MMV.” It is just one of the many ways The New Year has managed to branch out their sound on this new album.
Interestingly enough, the band doesn’t seem to have too many contemporaries these days, which is perhaps why I find this album so interesting. There aren’t any elements of folk dancing about, and you’d be hard up to find a dance number here; not to mention the fact that the excess noise in these songs is used merely as a compliment, not as focal point. They’ve perfected their format, and without the like of American Football and other like-minded bands, The New Year is on top of their game.
For me, their specialty has always been their ability to control the ebbs and flows of their music. As quickly as they build up the pace and the tension in their songs, they turn around and return it all back to the pleasant pacing of where they began. Few bands have been able to touch on this balance, always dancing on crescendos, and yet always holding back. I’m sure one day they will let go, and that one day will be everything you want it to be, but for now, I’m okay with their ability to control it.
The gentle approach of this album carries a lot of power for me as the listener, and for you as well, I hope. It’s the sort of album you want to play in your bedroom when you are all alone, just absorbing yourself in aan album in its entirety. It lacks pretension, yet each listen unfolds more and more. Put your headphones on, and get deep into The New Year.
If you are more of the live setting kind of person, rather than headphones, then you should check them out live when they come to Austin on September 20th. They will be hitting the stage at Emos.
Everybody has an itch for a little hardcore, and no one is doing it better than F*cked Up. From their various SXSW shows to their upcoming Matador release, F*cked Up is a band that is sure to garner interest all over the place. We’re just another group trying to give them our support. Take a bite out of this![audio:http://www.spinner.com/2008/08/29/shearwater-flows-through-the-interface/]
Download: Fucked Up – Twice Born [MP3]