Amen Dunes – Love

tittiesRating: ★★★☆☆

On their second album for Sacred Bones Records, a lot has been made about Amen Dunes employing various musicians to come in and help put the finishing touches on Love.  In the end, all of that’s rather irrelevant, as the core of the songs are what standout the most.  There’s a clarity to the songwriting, moving the band in more of a dark folk direction than they’ve employed before.

“White Child” begins the record, and for five minutes immediately establishes the tone of the record.  There’s a dark stomp on the drum, while a slight haze coats the vocal.  And speaking of that vocal, there’s a nice stretch where the vocal is pushed to a rasp, again indicating a more folk appeal that survives on Love.  And, it’s followed by one of my favorite tracks of the year, “Lonely Richard.”  Taken in bits and pieces, this song might be grating to some, with it’s scratching string arrangements, seemingly placed sloppily atop the steady drumbeat and guitar parts.  But, when used in unison, there’s this intoxicating effect that makes it hard to pull yourself away from the number; I love the chorus too.  While I enjoy both tracks, they do wear you out almost immediately, collectively pushing over ten minutes on two tracks, then moving into the shorter numbers.

Still, can Amen Dunes pack the same punch in a short span, as tracks 3, 4, 5, 6, 8, and 9 all fall in under 4 minutes, with some far shorter.  “Lilac in Hand” is a perfect example of how the band can accomplish all their goals in a short moment.  The piano often seems to work in contradiction to the light percussion and guitar chords, at least in tonal quality, but it’s that union once again that enables the listener to find themselves lost within the track.  Similarly, the piano ballad, “Green Eyes,” is beautiful in its simplicity and immediacy.  There’s two vocals parts here, one in a much deeper tone, giving a very solemn haunting to the track, as if that hollow sounding piano weren’t enough. But, just as you’re accustomed to the sadder side of the band, they throw a curveball, “I Can Dig It.”  This song has a shuddering guitar chord and a rise and fall to it, but mostly it’s the spirit of the track that makes it stand out on the album; it’s the most energetic tune on the record, even when they burst off into harmonies while the guitar fades slightly into the background.  For me, it was a nice touch after a sadder number, and it had me wishing there were perhaps one or two more tracks of this sort lurking throughout the album.

Going through Love track by track wore me down a bit, honestly, but that’s not to say I didn’t enjoy the quality of the songs.  I got lost a few times in the slow pace, which is why I enjoyed the placement of “I Can Dig It” so much.  But, when you’ve got time to submit yourself to the will of carefully crafted songs, give yourself a chance to thoroughly enjoy this new LP from Amen Dunes.

Chad Vangaalen – Shrink Dust

Chad-VanGaalen-Shrink-Dust-608x608Rating: ★★★½☆

Shrink Dust is the fifth release from Chad Vangaalen, so you’re likely to know what you’re getting into when you press play.  You’ll find bits of ambling noise and samples, but most importantly you’ll find the heartfelt vocals that make Chad’s music so enticing.  In fact, this is how things start off here, which captured my attention immediately.

“Cut Off My Hands” begins with a calmly picked guitar, recorded in a manner that lets you hear Vangaalen slide his fingers up and down the fret board.  Then he enters with a stunning vocal performance; it’s the perfect pitch to fit the sound of his guitar, though I’ll admit the track gets a little bit muddy with excess touches of noise.  It’s similar in structure to what you’ll get when you press play on “Lila,” another down-trodden tune that’s dominated by its simplicity.  A slight touch of gang backing vocals and a solid guitar solo elevate this song just a touch, leaving it as one of my favorites on Shrink Dust.  But, as many listeners will note, the guitar/voice combo is not the only area where Chad Vangaalen excels in his songwriting.

Lately, he’s had a knack for incorporating multiple layers of sound into his tracks, building on top of a very simple song structure.  Your first venture into this arena comes via “Where Are You;” this song features an affected vocal that adds a bit of an echo, while there’s a wash of floating noise that goes atop it all.  His vocal delivery of the chorus of “where are you” borders slightly on the psychedelic vein, but not nearly as much as he opts for with the guitar sound on “Leaning on Bells.”  Chad adds a little bit of bounce with the trudging guitar lines, but the way the syllables are drawn out on the lyrics is definitely reminiscent of the modern psych touch.  Yet, what supersedes any of this is that Chad Vangaalen has quite a diverse sound in the grand scheme of things.

“Monster,” another of my personal favorites, has this warble to it. A wavering vocal if you will.  But there’s a swelling chorus that adds a perfect bit of pop to the fold.  And while that song operates in the ballad format, it’s followed by the more folk oriented piece titled “Evil.”  And just as that finishes, you’re off into the previously mentioned psych track, “Leaning on Bells.”  For my two cents, that’s what makes listening to Shrink Dust so ultimately rewarding: none of these songs sound exactly like the one before it, though they’re all obviously related in theme and sound. Chad Vangaalen isn’t going to give you the same song twice, so you’re likely to spend hours listening here without getting labored by too many like-minded numbers.  A little bit of time with this record, and you’ll be swearing on the Vangaalen bible.

[audio:https://austintownhall.com/wp-content/uploads/2014/04/06-Monster.mp3]

Download: Chad VanGaalen – Monster [MP3]

Dylan Shearer – Garagearray

dylanRating: ★★★★½

When I first began listening to Porchpuddles, the last record from Dylan Shearer, I could tell that something special was brewing in his craft.  Now, a few years later, we come to Garagearray, and I don’t even have the words to describe what he’s accomplished.  It’s an album so special at every turn that you’re not likely to hear anything of this sort this year.

“Time to Go” opens Garagearray with a piano ballad with Shearer’s deep vocal tones draped all across it.  What’s interesting to me is that despite the structure of the song appearing quite traditionally, there’s a twist to his approach.  Where others before him would simply press forward, and continue the song as normal, Dylan slows things to a crawl on various occasions, encouraging listeners to hang on every note.  The melody he creates at 2:57 is so special that it’s possibly my favorite moment in music this year. Then he brings in “Meadow Mines” to offer another intimate performance for listeners.  The recording is done in a manner that allows you to hear the buzz of the strings in the mics, while Dylan performs with his forlorn angelic voice.  Ugh. That voice.

While I typically identify with clarity in the vocals, there’s something enchanting about the way Dylan Shearer sings.  Take the track, “Garagearray Lookout,” where his vocals hold the track together.  When he sings, he seems to connect melodies together, rather than worry about proper enunciation.  It brings about an emotion that can’t easily be described, but suffice it to say, you’ll be sucked into every whispy note.  Another such example can be found in “Everyone Accept You” where it sounds as if the vocals were meant merely as an instrument, almost harmonically mumbled in the distance.  It might not be for everyone, but it works for my ears.

I think one of the possible detractors on Garagearray might be that as a listener, you’re asked to completely immerse yourself in listening to the record.  You can’t haphazardly skip through songs; each track has something unique to offer the listener.  You’ll probably waiver back and forth over your favorite, as I have, but you simply don’t want to skip ahead.  If you have the dedication, then you’ll find pop masterpieces in wait during the latter half of the album.  “Before You Know It (Its Over)” is a six minute adventure of rising and falling melodies, carefully designed to follow the careful guitar work and additional musical accents.  Shearer follows it up with another spectacular piano-laced ballad, “Barely by the Waterslide.” There’s a guitar sliding throughout too, running parallel to the pitch Dylan’s created with his voice; I’m sorry, but moments like this just don’t exist often enough. It then comes to a sublime end with “Tough on Grease (Carillon),” which might be the most pop-centric song on the album, if we’re to listen to the suggestions from the guitar.

The current musical climate often curates music that’s disposable.  You listen, you love, you discard.  But, if you’re looking for a record that’s worth sinking your teeth into for the duration of a lifetime, then I couldn’t think of a better piece of work than Garragearray.  The musical stylings are current, yet timeless.  The structure and progression of each song is dynamic, yet far from ordinary. Dylan Shearer, simply put, is at the top of his game, and that only makes you better by listening to it.

[audio:https://austintownhall.com/wp-content/uploads/2014/04/10-mold-in-the-fold.mp3]

The album is available now from Castelface/Empty Cellar Records.

Sonic Avenues – Mistakes

sonicavsRating: ★★★½☆

In 2012 I was stuck with Television Youth on constant repeat; every where I went I was humming along to the melodies and playing air drums.  Suffice it to say, the arrival of Mistakes. the band’s latest effort for Dirtnap Records,  comes with a lot of anticipation on my end.  Sonic Avenues deliver, as I expected, offering up 11 songs of power-pop that are executed perfectly.

“Waiting for Change” begins with a screech of feedback, followed by some understated strumming, but then it jumps into delivery of ringing guitars and hook-laden melodies.  If you were looking for a great answer to the sorely missed Exploding Hearts, then songs like this are precisely why I consider Sonic Avenues to be one of the best acts to have picked up that torch. But, while they do nod their, they’re also making things a bit noisier, exemplified in the track “Automatic.”  It’s a faster paced banger, and the vocals, while still maximizing pop sensibility, are sung in a more hap-hazard fashion.   The next few tracks live in the same realm, with a darker guitar found on “New Vogues,” but I also wanted to see where the band mixed things up a bit.

On Mistakes, “Better Days to Come” brings some respite from the energy-fueled pop that’s been coming through your speakers.  Personally, I’ve found that the guitars, building through two different sounds creates a nice effect, allowing for the group to bring you a nice little power-ballad, though not in the cheesy since.  It allows your toes to take a rest before you tap them off.  You’ll find a similar book-end to the record when you arrive at “Lost & Found.”  It’s not quite the same ballad, but the relaxed approach is very much a part of these two tracks.

For my money, I’d find yourself stuck in tracks 6-8.  My two favorite songs, “In Your Head” and “Too Late” are located here.  The first is really just an excellent jam; I love how the song breaks down just after the two-minute mark, then builds itself back into infectious churning guitar noise.  “Too Late” on the other hand pushes you into rock mode right from the get-go.  The drums are pounding furiously, and you’ll find yourself swept up in the song instantly.  Check out the rad guitar moves knifing through at the 1 minute mark.

If you want a record that makes you feel good about loving rock n’ roll, then you really need to head out and pick up a copy of Mistakes this week.  Sure, there’s a lot of bands out there doing similar things musically, but for me, the Sonic Avenues are one of the best.  From the way the songs are mixed to the unending energy contained in each track, you just can’t get much better than this.

[audio:https://austintownhall.com/wp-content/uploads/2014/04/06-In-Your-Head.mp3]

 

Tweens – s/t

tweens_albumcover.134023Rating: ★★★☆☆

The official arrival of Tweens comes with a lot of fanfare, namely the endorsement of Kim Deal (Breeders/Pixies).  But, can a young band live up to those lofty expectations? Can they fill your ears with tunes that are as undeniably memorable as “Cannonball?”  On their self-titled effort, there’s room for improvement, but overall, you get the feeling that the young three-piece are on to something.

When Tweens kick things off, you can tell that they’re intent upon bringing raucous noise with just a little bit of brattiness to the table.  Bridget Battle immediately takes center stage on “Bored With This City,” belting out vocals, with the occasional hiccup to add a wee bit of sugar to the track.  And, while that song pushes forth rather quickly, “McMicken,” the following tune, is just as fast, although there’s that effortless layer of cool layered in, making the tune worthy of repeated listens.

Still, with the opening tunes on Tweens winning you over, there has to be a breather, which is why the vocal display from Battle on the next track “Be Mean” offers up a slightly different look into the band’s sound.  She discards that bratty sexpot attitude, taking on a stronger role as a powerful front woman.  This is the first track where I really felt like her vocals stood out from the meat of the song.  It’s an approach I personally feel she should take more often, as it makes that song successful, much like it does with”Don’t WaitUp” and  “Forever.”  The latter tune is possibly the standout song on the record.  Musically, the band seems to have calmed down a bit, allowing for BB to win over fans with her ability to control her pipes at various pitches.  I suppose this song appeals to me because it offers that different glimpse inside of the band, as other songs seem to bleed into each other too often.

After spending several days with the album, I can definitely see where the excitement comes from.  The songs are filled with hooks, and it’s hard to deny Bridget’s dynamism as a front woman.  That being said, there are a few songs that trip over each other, and only the smart choice of slipping in some slower tunes saves the record from being a one-note venture. They salvage that, however, with the inclusion of things like “Stoner” and “Forever,” making it clear that their future might hold more than meets the eye.  Tweens are rising stars in the music community, but only time will tell just how far that star can go.

[audio:https://austintownhall.com/wp-content/uploads/2014/04/03-Be-Mean.mp3]

Protomartyr – Under Color of Official Right

Protomartyr-album-cover-608x594Rating: ★★★★☆

It’s weird to try to put the entirety of the Protomartyr record into any category.  For all intents and purposes, there are no true comparisons to Under Color of Official Right, though there are nods here and here.  The album’s refreshing in that it doesn’t ever seem stuck in a genre, rather it’s defined solely on the fourteen songs included in the collection.

When “Maidenhead” kicks things off there are some stabbing guitar parts that reflect the little nuances within the realm of indiepop, but as soon as you hear the voice of Joe Casey, you know that you’re in a darker world, even emphatically pushed there when the cymbals crash behind the pounding rhythm.  It’s a sign that while you listen to UCoOR you’re likely to hear bits and pieces of everything you love, just spun in an entirely original manner.  You just have to go to the next stop on the record, “Ain’t So Simple.”  Casey’s vocals steady the work of the band, but the rest of the group offer this bit of pro to-punk oddity, keeping listeners on their toes.

For me, I think the presence of Joe’s vocals throughout is what really makes this album something to write home about; he seems to work against the approach of his band mates, cooly releasing vocals while they offer their own interpretations of songs.  His lyrics are never rushed, even when the band’s pushing ahead quickly, as they do on the short track, “Pagans.”  Still, somehow his approach to delivery fits for Protomartyr, especially when you take in tunes like “What the Wall Said.” This is a track that feels almost as if J. Casey is singing, as his minimal melody slides nicely into the punishing drum work and the ringing guitars.

If you’re looking to pick up a single you’ve got options though I suggest you go all the way through.  The two singles “Scum Rise” and “Come and See” both are great options, thus they were chosen as the promo tracks.  Personally, I think you’d do just as well to stop at “Violent,” which is the track I think I’ve come back to most often.  This song exemplifies the band’s sound the most to me, with Casey offering a great vocal performance while the drums heavily roll in the background and crisp guitars ring out.  I’ve also taken a liking to “Trust Me Billy,” which offers up the most pop sensible music, for my two cents.

However, your listening experience with Under Color of Official Right will revolve around careful scrutiny of each lyric and each tempo change within the album. No one song stands next to a copy of its predecessor, and each movement sounds fresh, making the whole of Protomartyr sound like a well-oiled machine intent upon creating music on their own terms.  There’s no historic embellishment and no ties to their home; it’s an album living out on its own, the way a great album should.

[audio:https://austintownhall.com/wp-content/uploads/2014/01/Scum-Rise.mp3]

Download: Protomartyr – Scum, Rise! [MP3]

Under Color of Official Right is available now from Hardly Art.

 

The Mary Onettes – Portico

The-Mary-Onettes-PorticoRating: ★★★½☆

When The Mary Onettes released their self-titled album, everyone was enthused.  They crafted those pop songs coated in dense atmospherics that created contradicting emotions; the songs were warm, yet they offered up a cold and sterile mood.  But, along the way, they’ve experienced various changes, most recently on Hit the Waves.   That album encompassed more of a direct pop feeling to it, shying away from the dark craftsmanship that was present early on.  Now we’ve got Portico.  This record succeeds in both its brevity and its return to the days of old.

“Silence is a Gun” immediately starts with this delayed effect with an occasional note thrown in, affecting the listener almost immediately. But, while the song returns to the darker aesthetic, it doesn’t mean the group has left their pop ambitions at home.  Instead, this song represents the work the band has put in since 2007, honing their sound, finally perfecting the best of both worlds. Similarly, “Naive Dream” takes the same approach, though this song goes straight for the point, offering jangling guitars from the get-go. while dreamy vocals rest atop the mix.

Then we move into slightly darker territory with “Ritual Mind,” which seems crafted to slow things down a bit in the structure of the record. You can just take the pacing alone, here, realizing that this is a song where you just let yourself go, immerse yourself in the realm crafted by the combination of guitars and keys.  But, you’ll only have brief respite as “Everything Everything” comes along to move things back into the more danceable direction.  It’s hazy house music, crafted by a tight-knit band, making it much more enjoyable than the previous approach The Mary Onettes took a year ago.

It’s all leading in one direction however, towards the opus titled “Bells for Stranger.”  Here you’ll find the band employing more of a soundtrack approach, coating the song in layers of atmospherics and sparse notes before lyrics even enter the fold.  Personally, I love how some of the notes evolve, going out of key as they dwindle in the space left behind by the slowly delivered vocals.  It’s clear, here, that the band set out on the journey of writing Portico with something in mind, something that they had planned and mapped out carefully.  And yet, they add more to that fold by using the album’s title track as an instrumental bookend to close things out.

For me, it’s a really refreshing piece of work.  I’ve enjoyed the Mary Onettes for some time, but I’ll admit that from time to time they stay in one play, musically speaking.  Portico is not that record.  Instead, it’s an album with a purpose, a statement.  All the songs have a lineage to the group’s sound, but they’re composed and organized  in a fashion that ultimately rewards the listener.

[audio:https://austintownhall.com/wp-content/uploads/2014/02/02-Naive-Dream.mp3]

David Novick – Your Sister’s Hand

David-Novick-Your-Sisters-HandRating: ★★★½☆

David Novick is only a few years into his solo career, yet he’s already claimed a great deal of acclaim in that brief span.  His latest LP, Your Sister’s Hand, offers listeners more strong songs from start to finish, though I’ll be the first to admit that I’m more attached to the lyrical numbers that are present.

Your Sister’s Hand starts off with “Gate.”  If you’re one to read into the title of the track, then perhaps this tune is your careful entrance into the world of Novick. The careful guitar work demonstrates just how talented he is; I particularly enjoy the buzz of the strings as they echo through my speakers.  It serves as the perfect opening to the record, leading you right into what many might consider the best tune on the album, “Beneath the Line.”  Musically, the song’s filled with quiet guitar balanced against a discordant solo, at least during the opening moments.  You’ll probably find this track pretty good, but you’ve got to wait until about 2.5 minutes for the song to truly blow you away. Claire Plumb enters here, giving you a gentle whisper of a vocal performance that elevates the song to perfect balladry. These are the sorts of songs where David Novick finds his groove.  For instance, the following track, “Inside the Eye,” brings with it this forlorn vocal that rides along the music.  My favorite bit is how the guitar strumming is accentuated by the careful percussive work at each turn; it’s a special touch for sure.

For me, there are some missteps, but that’s just my personal taste.  I think on “Until You Show” that there are great gifts, but I felt like David put too much on this number, perhaps cramming a touch more than he needed to into this one.  However, it’s a stark contrast to “Ash,” which follows.  This tune has a stark nakedness to it, in both the style of recording and the composition itself.  I imagine the musicians carefully sitting around a campfire quietly singing atop one another.  In doing so, the song is both powerful and subtle.  It’s not going out there to blow you away, yet it does, perfectly.  It helps lead to the bookend of the record, closing in a fashion that reminds you what a unique talent we’ve got here.  Put side by side, “Carry Home the Light” and “Memory” are perhaps the strongest ten minutes of Your Sister’s Hand. The former is one of those tracks that seems so simple and obvious you can’t understand how a track wasn’t written exactly like this before, but further listens allow you to see beneath the surface to the careful touches that make the song mesmerizing. The latter is a 7 minute opus that you’ll have to listen to fully in order for you to really grasp what has been accomplished here.  Rather than rush everything into the first few minutes, the song unfolds effortlessly, taking its time to warm you over. Together, these two tracks close out a wonderful collection of songs from David Novick that only careful listeners will truly appreciate.

[audio:https://austintownhall.com/wp-content/uploads/2014/02/DavidNovick_BeneathTheLine.mp3]

Download: David Novick – Beneath The Line [MP3]

Withered Hand – New Gods

14191-new-godsRating: ★★★★☆

If you’re looking for a record that’s going to give you an immediate connection, then you should stop all you’re doing and find a way to listen to this new album from Withered Hand, the project of Dan Willson.  New Gods is brimming with reflection in the lyrics, the kind that one finds when coming to terms with growing up and getting old. You’ll find yourself repeating so many of these tunes that you’re likely to burn through your first copy in a matter of hours.

“Horseshoe” begins your affair with an acoustic strum and Willson’s voice, which occasionally has a Wayne Coyne affectation to it.  The song becomes fleshed out through drums and a backing electric guitar.  Throughout my listens I can’t tell what I’m more in love with, the intimacy of Willson’s voice or the eruptive chorus that gets better with each; they’re both incredible dammit. It’s a beautiful tune that opens the way for the more introspective lyrics of “Black Tambourine.”  I’d hate to say I know what Dan’s thinking, but my interpretation revolves around the idea of evolving from your youthful outlook only to find that you don’t necessarily have to redefine your life and your goals. You’ll find a similar sentiment in the lyrics of “Fall Apart” later in the record. But, while the lyrics often turn to internalizing the process of adulthood, New Gods is often just about the abilities of a great songwriter.

As I alluded to earlier, there are some songs that have immediate connection with the listener, and “King of Hollywood” is one such song.  Willson incorporates varying styles from a rocking singer-songwriter to a more country influences songwriter within this tune, but it still holds tightly to a core wrapped around pop sensibility.  There’s a positivity exhibited in the mood of the track, which sets you up for the more solemn number that follows, “California.”  The majority of this track is built on the simplicity of a strummed guitar and the vocals, which are joined on occasion by a female backing part. Still, there’s a raised element during the chorus, and while it might remain louder in your speakers, it brings with it a sentiment of solitude that fits in nicely.

If I did have to pick a track that stood out to me above the rest, it would surely be the album’s title track, “New Gods.”  This song combines the lyrical content discussed earlier with the excellent songwriting I’ve come to realize Dan Willson has to offer.  This song also utilizes all these little hidden brush strokes that add to the tune.  There’s a strummed guitar, light drum touches, deep bass buzz, piano and even backing vocals; he throws in everything, yet still holds the center of the song around himself.  But, each of us are affected differently, so who knows what you’ll find as your favorite when you give this a listen.

Withered Hand might just be the ideas of one man, but it seems like it encompasses the life of men in general.  The songs are personal, and even though they take on serious tones, there’s still an element of playfulness, which I’ve found endearing.  You’ll be wise to rush out and find your hands on New Gods.

[audio:https://austintownhall.com/wp-content/uploads/2014/03/01-Horseshoe.mp3]

New Gods is available through Slumberland Records.

 

 

 

The Coathangers – Suck My Shirt

The-Coathangers-Suck-My-Shirt-608x608Rating: ★★★★★

Honestly, I didn’t expect this from the Coathangers.  The group’s always been a blast to jam to, but in no way did I expect these ladies to offer up such a complete record as Suck My Shirt.  Four albums into their career and this is far away their best record, and for what it’s worth, the best thing I’ve wrapped my ears around.

From the opening moments of Suck My Shirt, the album offers a bit of gritty rock n’ roll that’s juxtaposed perfectly with tiny bits of pop.  “Follow Me” features drummer Stephanie on vocal duties, offering her gruff rasp over a precision drum beat.  But, the simple entrance of “whoas” in support give that catchy touch that makes the group so endearing at the moment. Personally, I love the way Stephanie’s vocals battle back and forth with her counterpart, Julia Kugel.  Take, for instance, “Adderall,” which pops up later on in the album.  The vocals are strained while the guitar work slides up and down the scales.  It would seem like the drummer has the key with her performance, but then Kugel slides in with just a the slightest yelp of “yeah” or “what” during the chorus; it completely takes a good song to the next level.

But, one thing remains the same with this modern version of The Coathangers: the ladies still bring bubbly fun to their tunes.  Sure, there’s a dark edged propulsive rhythm on “Springfield Cannonball,” but as the cymbal crashes and the guitar knifes through like a siren there’s still an element of frivolity to what they’re doing.  They’ll even get you bouncing and moving when you go ahead to the next track, “Merry Go Round.”  High-hat work coordinating with the way the guitar’s played would be enough to get you tapping your toes, but the vocals are both bratty and driven by an inherent hook.  Just imagine yourself rocking to a surf-pop act, only this time it’s fueled by ladies with a sinister sense of humor and fun.

Still, it’s not all pop spun on a knife’s tip; there are some generally sweet songs lurking throughout.  For one, you can take the quieted effort on “Zombie,” which has one of the most gentle vocal displays the band has to offer.  Even when they jump the pace up a bit, there’s an element of enchantment coming through your speakers. It works well with a song like “I Wait,” that offers almost a jazzy crooner feel to it, though done in the vein of an evil temptress.  It’s just a sign that the group has it all at the moment.

I’m not generally one to fawn too much over a record, but I don’t know why anyone would have anything negative to say about Suck My Shirt.  It’s playful in all the right spots, yet filled with ballsy rock n’ roll moments that will please any listener. For what it’s worth, The Coathangers have been building toward this for a long time, but it feels like this is the culmination of all their hard work coming together perfectly. I dare you to disagree.

1 2 3 4 5 61