New Music from Water Liars

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As soon as this song kicks off, you’re looking at a sludgy rock track, right? Well, push forward a little bit, and you’ll find yourself tapping your feet to this great folk jam.  Water Liars (formerly Phantom Limb) is the name of the group comprised of friends sharing some camaraderie between Missouri and Mississippi, and they’ll be releasing their album, Phantom Limb, on Misra Records on Februrary 28th.  The thing I like about this track is that it goes between this beautiful folk number, and that sludgy riff that kicks off the track.  Ultimately, the love is in the meat of the track, and you’ll definitely find yourself playing this song over and over again today.

[audio:https://austintownhall.com/wp-content/uploads/2012/01/100.mp3]

Download: Water Liars – $100 [MP3]

Austin Town Hall’s January Mix

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It’s a time for new ideas around here at Austin Town Hall and today we bring you one of those brainstorms in the form of our January Mixtape.  The plan here is to pick out 15 of our favorite songs that we posted each month, drop them into a soundcloud set, and let you all enjoy.  You can stream the entire playlist together and download the ones that catch your ear.  Let us know what you think.  Our art work is taken from a photo by our very own B.Gray.

Soundcloud playlist after the jump.

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Warm Pop Number from Princeton

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It’s been quite a bit since I heard anything about Princeton, but I’m glad the group’s back o the up and up.  They’ve got a new record titled Rememberance of Things to Come that is going to hit the streets on February 21st.  This title tracks seems a little bit more structured around a few loops, at least up until the midpoint of the track where strings and percussion pick the song up.  It’s a feathery vocal that soars throughout the song that will really grab the ears of pop music lovers.  Come on in and get taken away by this sweet little jam.

[audio:https://austintownhall.com/wp-content/uploads/2012/01/01-Remembrance-Of-Things-To-Come.mp3]

Download: Princeton – Remembrance Of Things To Come [MP3]

Nice Little Jam from White Fence

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People want to love Tim Presley for his Darker My Love role, but as we’re based in Austin, I’m more a fan of his Strange Boys role.  All that aside, dude’s also got a pretty nice little solo project called White Fence.  This year he’ll be releasing a two volume set of tunes, under the title of Family Perfume.  The first volume is slated to hit stores on April 3rd through Woodsist, and the first single has me pretty excited as it floated about the Interwebs today.  It’s got this little low-key jangle, almost harkening to the classic pop moments of the 60s, especially with Presley’s mellow vocal delivery throughout.   You digs?

[audio:https://austintownhall.com/wp-content/uploads/2012/01/White_Fence_-_It_Will_Never_Be_Edit.mp3]

Download: White Fence – It Will Never Be (Edit) [MP3]

New Music From Damien Jurado

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Here’s a beautiful new number by songwriter Damien Jurado entitled “Museum of Flight”.  It’s got this entrancing feel that grabs hold of you and makes you pay attention despite it’s subtle approach.  A new album from Jurado, Maraqopa, will be available on the Secretly Canadian label February 21st.  A pre-order with some bonus goodies is actually set up already.

[audio:https://austintownhall.com/wp-content/uploads/2012/01/09-Museum-of-Flight.mp3]

Download: Damien Jurado – Museum of Flight [MP3]

Vincent Moon and Lulacruza – Esperando el Tsunami (film)

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Rating: ★★★★☆

In a modern world where impatience, mass trends and uniformity seemingly reign supreme, sometimes we, as a collective international community, forget to slow down and observe the very things that make us human, as unique individuals or as collective cultures. In the latest filmEsperando el Tsunami (or visual album, as the group dubbed it), by French filmmakerVincent Moon (of La Blogotheque fame) in collaboration with Colombian/Argentinian musicians Lulacruza, the trio examined in detail the diversity and strength of community through music (and sound in general) in its wide array of indigenous forms over a period of a month and a half through various spontaneous adventures in Columbia. Cultural extinction is a wide spread phenomenon in the increasingly modern world via a variety of means including food source elimination in particular. Moon and Lulacruza capture the very essence of the vanishing Columbian culture and natural environment on film which in many ways seeks to educate the international public to harbor, protect, or at a minimum, just highlight the people and places the camera captured, even if only for a fleeting moment.

As mentioned above, this “visual album” bridges the gap between music, film, and spoken-word in a fluid, infectious statement. Field recordings in collaboration with local folk music makers highlighted the spontaneous nature and strength of music to bring people together towards a common interest including healing, religious rites, and joyous celebration. Overall, the film is about communication in its various forms and the beauty, diversity, and uniqueness of each style and its relationship to its region and the people which inhabit its ecosystem. The group noted that, “Columbia is the country with the most flora and fauna species by square km in the world.” Considering the lush and diverse environment, it’s not surprising to find just as wide an array of rich musical and cultural styles as we travel along with the band.

Criscrossing around the country, from the mountains, desert, and the sea, Lulacruzadeveloped soothing and invigorating musical journey in collaboration with the locals as Moonhighlighted the essence of each place in detail; the ever patient ‘Man with the Motion Picture Camera’. Those unfamiliar with Lulacruza’s musical style should be well initiated through the film within the first few moments, as Alejandra Ortiz’s spellbinding chanting and singing paired with natural noise-makers, electronic or formal percussive elements via Luis Maurette create an all-encompassing control over the viewer. In addition to this, Moon and his sound team incorporated a wide-array of natural soundscapes to aid the depth of auditory field and highlight the given place’s mood and soul.

In addition to the inspirational overall objective of the film, the release itself follows up on the ground-breaking marketing style as first debuted on Moon’s last film, An Island featuringEfterklang in 2011. The film is available to anyone in the world willing to open their homes or spaces to screen the film in what the director coined Public/Private Screenings. (You can find out more about the screenings here, including how to hold or attend one.) This project in particular gained strength through a Kickstarter fund, which allowed supporters a wide array of benefits in return for donations which provide d the group with travel and equipment funds. Considering the widespread interest in indie film and music in an international objective, the project was, not surprisingly, heavily supported through donations.

As for the film itself, Moon’s eclectic visual prowess, methodical timing, and patience are often the substance of the film, while these visual albums more or less are deprived of a true narrative or formal plot. More so often we are held in flux as a viewer in the back seat of the journey with no idea of our next adventure. The slow, brooding style asking the viewer to slow down in order to travel along is certainly a risk; though the tone of the film requests our acceptance and presence in the moment and respect for the subject matter. Visually speaking, the scenery and cinematography are striking and beautiful and we would expect of one of the Earth’s most vibrant ecosystems. Moon’s ability to use color and light sparingly as a highlight whether as a contrasting bird in nature or a bracelet on a child in an urban setting and capturing the simplistic elements of place are certainly well executed and add visual depth and interest. Asking for forgiveness, welcoming, and acceptance, Lulacruza’s obvious deep connection to the earth is touching and inspiring.

“There in the most profound darkness is where light grows and shines strongest”

As we see in the film, sometime the only way we can find out who we truly are as individuals is to listen to the place that surrounds us, gives us life, and feeds our energy. Opening our hearts to the world around us and patiently listening is the only way to absorb it. In the end, we must realize that we are all connected to this place we call home. The overarching theme of the film focuses strongly on respect: respect for the Earth, respect for culture, respect for musical diversity, and the respect for silence. If this film achieves one thing, it forces the viewer to slow down, breathe deeply, and truly pondered the place they call home. Listen to the sound of the earth, let it grasp you, and teach you its story.

Laura Gibson – La Grande

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Rating: ★★★½☆

The folk soundings of Laura Gibson are marked by a variety of sounds. While the words simple yet elegant seem fitting to describe such an artist, I think intricate and raw also have their place in the description of La Grande. However, through all of this soft and roughness, Gibson’s sugary vocals remain constant, serving as the syrup to run between the sounds. In its folk genre, this album seems to go a lot of places and somehow stay in one place.

Strewn through La Grande are various instances of gentle serenity, which seems to be the bigger of the two paths that this album takes. You have moments of subtle beauty apart from the obvious pretty voice of Gibson of herself and the accompanying, soft acoustic guitar. On the second song, “Milk-Heavy, Pollen-Eyed,” these subtleties culminate to produce a solid, slow moving gem; the quiet xylophone, Gibson’s meek voice meandering through the song, the bare minimum percussive elements make the track feel a little sleepy, and yet ever enjoyable. Another instance of this chill folksy combination is on the later track, “Crow/Swallow” in which Gibson croons simply over some guitar plucking, which makes for a calming listen.

On the rowdier side of things are songs like opener and title track “La Grande,” on which the emphasized percussion reminds me a bit of The Dodos; the very base of the song is the constant, stomper of a beat. Of course, Gibson’s vocals prove a start contrast to the deep drums that resound deeply towards the end of the song, giving it that edge to avoid the song turning into a mess of beats and dulcet tones. Another song that rides the rowdier waves in a stronger percussive sense is my personal favorite, “Skin, Warming Skin.” On this track, you’ll find the build to a climax that is lacking in places elsewhere on the album. Gibson’s voice contrasts with the likes of drawn out guitar sound and eerie backing “oohs.” It’s easily the most interesting song on here.

Overall, this album isn’t entirely overwhelming, but it will present you with moments that can overwhelm you. Sure, you will have some instances in which you are even underwhelmed a tad, but the music is presented in many forms and Gibson leaves it up to you to discern your favorite—the simple combination of honeyed vocals and guitar plucking explored in a slightly new light in some instances and shining in the same glow in others.

Catching Up With The IT Dept. (v2.1)

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It is a new year, the last year if you believe the Mayans or Mitch Daniels. This makes your choice of tunes all that much more important.

And so I begin the year with a smattering of songs I have been listening to in the very recent past that I want to share under the guise of new tunes from the IT Dept. I think I will hit Metronomy, Chad Valley, Elite Gymnastics, Craft Spells and Mansions on the Moon. Call this the electro-downtempo-chill-dance-jam session of the IT Dept. Whatever. Can’t fade me…

So on to the streaming goodness.
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Interesting Lo-Fi Jam from Italian Horn

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Italian Horn is the musical moniker of NYC writer Anthony Pappalardo. Dais Records just announced they’ll be releasing his Red Affair 12″, which is limited to only 300 vinyl copies, so head HERE to pick it up. It’s interesting that Robert Pollard produced the cover art collage for this album, as you can see hints of old GBV in the track that we’re featuring today.  This one’s a little more gritty in terms of the overall production, but you can sense that feeling of just writing a track solely on the evolution of a single melody.  I’ve been digging this today, so I figured I’d share.

[audio:https://austintownhall.com/wp-content/uploads/2012/01/Red_Affair.mp3]

Download: Italian Horn – Red Affair [MP3]

Matt Pryor – May Day

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Rating: ★★★½☆

I’ll admit that there’s definitely a soft spot in my heart for Matt Pryor, though I was less than enthralled with his last effort with former band The Get Up Kids.  Yet, despite that misstep, he’s always had a great ability to craft songs with lyrics that somehow find attachment to my heart. Love him or hate him, you can’t deny that he’s been warming his way into our hearts from the get-go, and May Day is just another example of his perfectly executed work.

“Don’t Let the Bastards Get You Down” opens the record, and the title alone should make it a timeless song, as we’ve all been in those shoes.  But, what really stuck out to me is the rough quality of the recording that’s present.  It sets the tone for May Day, providing listeners with a personal experience that’s both raw and beautiful.  “The Lies Are Keeping Me Here” similarly accomplishes the same note, particularly when Pryor’s vocals strain in the middle track.  You’ve got to appreciate a singer who’s willing to give his all on the microphone and his music.

While Matt Pryor’s work of the last few years has definitely held a hint of melancholy, he’ll craft a nice little ditty to catch you in its hooks.  Such a song is exemplified in “Where Do We Go From Here,” a song that features a playful piano line that works its way behind a nicely strummed guitar.  I think he even makes a nod to “worse for the wear,” which old Pryor fans will surely recognize (I hope!).  For the most part, this is about as bright a moment as you’ll find lurking on the album, as the rest takes on a rather serious tone.

Still, one of the things fans of Matt’s solo work will appreciate is his ability to really step outside our expectations with inclusions of multiple instruments on his solo outings, such as harmonica, banjo and various other nice touches.  “As If I Could Fall In Love Again” might do it’s best to incorporate all these elements into one song–but Matt’s background vocals are probably the best touch to this particular track.  But, just as he’s likely to fill up a song with instruments, he’s also willing to strip everything down to its rawest form on May Day.  “As Lies Go..This Ones Beautiful” is basically a stripped down, personal ballad, with Pryor’s voice taking the lead role here.  He’s always been a little off-pitch, but that’s always been something that made him endearing.  Here, you’ll find him as stark-naked as a musician as you’ve probably seen him, and you’ll be rewarded.

I’m predisposed to love Matt Pryor, but I’ll admit dissatisfaction when it’s warranted.  However, there’s not a bad track on the duration of May Day; each track has its special moments, some more so than others.  I suppose you could complain that there’s no incredible songs blowing you away, but it’s better to look at this record as one full of really good tracks.  Whether you grew up listening to the old emo, of which TGUK and Pryor owned, or you’re just encountering him, one listen here will bring you vast listening pleasure, the likes you won’t really find elsewhere in the current climate.

[audio:https://austintownhall.com/wp-content/uploads/2012/01/09-Your-New-Favorite.mp3]

Download:Matt Pryor – Your New Favorite [MP3]

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