Tag: album review

Polvo – In Prism

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polvo-inprism

Rating: ★★½☆☆

 Chapel Hill, North Carolina’s Polvo began in 1990 when most of us were mere babes.  After four critically acclaimed albums, a sting of EPs released on Merge and Touch and Go, and tours across the United States and Europe with bands like Sonic Youth and Pavement, Polvo called it quits in 1997.  But, as is the recent trend, Polvo reunited in 2008 for All Tomorrows Parties and several stateside shows, this string of performances then mutated into Polvo’s first album in twelve years, In Prism.

To this reviewer, Polvo has always been one of those bands that is familiar in name, not by output; the scene workhorse that consistently releases albums without much fanfare.  I always felt a bit guilty about not really giving Polvo my attention: they wrote solid well-crafted songs and delivered them genuinely, what’s not to love?  The problem I saw Polvo having was that they there were other active bands at the time (Archers of Loaf, The Jesus Lizard, and Jawbox, to name a few) that were doing the exact same things, only better.  Polvo got relegated to the indie rock B-team with bands like Giants Chair and Gauge.  I am not trying to slight these bands. They all deserve much more credit than what they received for one reason or another.

That brings us to In Prism, which, like the rest of Polvo’s career, isn’t good or bad, it’s just okay.  The songs are interesting, but they all seem to follow the mid-nineties math rock playbook: riffs on top of riffs, changes on top of changes, quiet part, vague emotional lyrics, noodling solo, repeat for 5-8 minutes, TA-DAH!  The songs that having staying power are track three “Beggar’s Bowl” and the album closer “A Link in the Chain”:  “Beggar’s Bowl” deserves recognition for two reasons, besides being one of the stronger cuts on the album, 1) It’s laughable, yet endearing use of chimes, and 2) I defy you to listen to the song without singing Queen’s “Another One Bites the Dust”.  “A Link in the Chain” displays the slower side of Polvo, which does well to show how truly great guitarists Ash Bowie and Dave Brylawski are at their instruments (although I could’ve done without the epic Yes-ian build-up only to be met with, essentially, an instrumental cock-block [don’t worry I won’t quit my day job]).

We live in a time where everyone longs for their favorite bands to reunite and release “just one more album” or go on “one more tour” and while In Prism is a solid album that any band should be proud of, I think it’s time to retire those thoughts of Pavement, Archers of Loaf, or Quicksand reuniting and just be happy with memories of the way things were, rather than grieving over what those bands have become (I’m looking at you Weezer).

Vivian Girls – Everything Goes Wrong

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 vivian_everything

Rating: ★★★½☆

After riding a wave of critical acclaim with their 2008 self titled debut, the Brooklyn based Vivian Girls return with their brand of lo-fi garage-pop on the sophomore release of Everything Goes Wrong.

Having hated, HATED, their debut, I approached Everything Goes Wrong with much trepidation.  I was already coming up with snarky comments based on the album title and track names like ‘I Have No Fun’ and ‘Before I Start to Cry’. I was pre-planning diatribes asking questions like “Do bands hide behind the ‘lo-fi’ aesthetic to mask their lack of talent?” It was going to be fun tearing this thing apart. 

The first three tracks, ‘Walking Alone at Night’, ‘I Have No Fun’, and ‘Can’t Get Over You’ didn’t do much to assuage my fears. It was sloppy with bored vocals and maybe the worst guitar ‘solos’ I have ever heard.  It’s almost like, mid-song, the bass player mouthed ‘guitar solo’ to the guitarist, and feeling tired of arguing over the pettiest shit with the bass player (that’s what you do with bass players) the guitar player relented, and the unnecessary solo was born.  I digress.

Something happened in the fourth track, ‘The Desert’, though, and I began enjoying myself.  The music tightened up, the vocals become more dynamic. By track seven, ‘The End’, I became a fan.  ‘The End’ is definitely the winning track on this album, the Vivian Girls take the best parts of early Hole (yes I feel odd using that comparison, but Live Through This was and is a great album), and the garage-y aesthetic and makes it their own.  The rest of the album plays out much the same way. It’s light, airy and fun: Everything Goes Wrong is great for a road trip or a quick jog around Williamsburg (from the hipster J. Peterman catalog).

If you have one Vivian Girls album in your collection (and really, you only need one) make it Everything Goes Wrong.  But, and this is a big but (HA!): I get the feeling that the Vivian Girls don’t have many more tricks in their bag, and will have to step it up big time on their third release, because, while Everything is Wrong is a fun record I can see more of the same getting awfully tiresome.

Sondre Lerche – Heartbeat Radio

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sondreRating: ★☆☆☆☆

Long ago, upon the heels of Faces Down, Sondre Lerche was quite the boy-wonder many fans of simple pop had been looking for all their lives.  His lyrics weren’t to abstract, and his handle over melody made his innocence resonate with every listener.  Here we are now, 2009, and he’s releasing Heartbeat Radio to great anticipation.  How has he grown up, and where does it leave him now?

First track, “Good Luck,” is something of a statement song, as grandiose symphonic arrangements are placed throughout the tune.  Here is Sondre, sounding as hypnotic as ever, yet something seems a bit off from it all.  Guitars are really low in the mix, placing the emphasis more on the orchestral arrangements instead of his own songwriting.  But this backs into “Heartbeat Radio,” which comes off with the sensible delivery Lerche has always carried with him.  It’s as close to the proximity of his earlier work as you are likely to get on this album.  And that is the problem that lies at the heart of this album overall; Sondre seems to have indulged his fancy one too many times, forgetting that the quality of his tunes lived in the simplicity of his arrangements.

Songs like “I Cannot You Go” or “Pioneer” are pleasant enough songs, but they don’t seem to have the passion in the vocals and the lyrics that used to make Sondre so appealing to the masses that followed him.  More so, he’s placed some unforgivable moments in here, such as “If Only,” which seems like a half-assed Jack Johnson impression. At the middle of the album listeners will possibly start to lose interest, as the creativity seems to have stalled around this mark.

Diehard fans should not be discouraged by all this, as there are definite moments in the album when you can see the maturity of Sondre Lerche has led to some new elements that you might find pleasing. “Words & Music” seems as if it was penned in the bouncing fashion of a classic Spoon song. The chorus, of course, brings back that memorable croon, but the overall bounce of the song is somewhat of a trip into new territory for Sondre. “Almight Moon” is similar in the fact that it seems radio to be an instant radio hit, not to see it doesn’t have that trademark touch of Lerche, but this is probably one of the more commercial tunes he’s written.

But, for all the decent moments, the most lasting impression of this album is that there isn’t really an impression left for you by the completion of the album.  In the past, he’s made some missteps, but he’s always had certain songs with a “wow” factor that have kept you salivating for more tunes, but this time around, the album seems devoid of genius.  Overall, Heartbeat Radio is a boring effort that lacks a lot of the panache of previous efforts by Sondre Lerche.

[audio:https://austintownhall.com/wp-content/uploads/2009/06/05-heartbeat-radio.mp3]

Download: Sondre Lerche – Heartbeat Radio [MP3]

The Clean – Mister Pop

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misterRating: ★★★★☆

It’s hard to tell where a band will end up after remaining rather quiet since 2001, yet alone to see how they’ve progressed in a career that has spanned over three decades.  Still, New Zealand’s The Clean have left their jangling influence all over the map, and with the release of Mister Pop on Merge Records, they look to reestablish themselves in your listening rotation, if they aren’t there already, as they probably should be.

Of course, the jangling has diminished a bit, and we have seen the band expand their sound, completing the expansion of their sound to include slow surf-psychedelia such as they do on the album’s opener “Loog.”  Despite the lack of a proper lyrical track, you cannot really pull yourself away from the song. “Simple Fix” works similarly, though it has a standard beach appeal to the instrumental, while the other instrumental track wavers on a more space-influences structure.

Then they move on to the meat and potatoes in “Are You Really on Drugs.”  Although the lyrics may resonate with many, there’s not much to them overall, but what will get listeners is the subdued strumming with the hollow, yet moving, vocals that seemingly bounce off the background of the song.

Never satisfied the group goes into a territory that will seem familiar to everyone, combining that classical indie guitar sound that distinctly belongs to them along with the female backing vocals.  You’ll also find one of the staples of the album inside “In the Dreamlife U Need a Rubber Soul” as guitar licks cut through the blank spaces; it’s something that the band uses to near perfection on this album, without ever overdoing it.

“Back in the Day” and Factory Man” are two of the strongest songs on the album, stuck right smack dab in the middle.  Vocals are delivered in that classic Lou Reed delivery circa “I’m Waiting for the Man” while the rest of these songs come off like similar artists such as Comet Gain.  There is something in these songs that immediately makes them feel familiar, as if you’ve been listening to them all of your life, and in fact, you probably have.  Whether or not The Clean have influenced hundreds of bands will never be discovered, but if they didn’t, then people have done a great job approximating their sound without admitting to common thievery.

An odd bit in the midst of the album is “Tensile.”  The vocoder effect used just sort of throws off the mood momentarily, although it clearly portrays the expanding horizons of the group.  Still, it’s a bit off, which is somewhat shocking, as the rest of the album has seemed to fit perfectly up until this point. But rest assured that the group close the album properly with “All Those Notes,” a song drenched in the electronic cloak of a keyboard. Such a slow number as this is a fitting end to Mister Pop, an album filled to the brim with interesting listens you’ll keep coming back to as you graciously thank the heavens for the return of The Clean.

[audio:https://austintownhall.com/wp-content/uploads/2009/07/3-the-clean-in-the-dreamlife-you-need-a-rubber-soul.mp3]

Download: The Clean – In the Dreamlife you Need a Rubber Soul [MP3]

Chuck Ragan – Gold Country

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chukRating: ★★★½☆

As the frontman of Hot Water Music, you expect Chuck Ragan to be an angst-ridden misanthrope, but you’ll find a different man writing the tunes on his second solo album, Gold Country.  Chuck has called this work some of the most mature music he has created to date, and such a statement is quite visible upon repeated listens.

As you begin listening to this album, you get the feeling that a lot of the songs are left over from the period when Chuck wrote Feast or Famine, his first solo outing. “For Goodness Sake” features his throaty vocals that bare witness to his past.  Similarly, “Glory” has that old hoedown feeling, with a quick-step guitar strumming accompanied by an equally paced violin.  But, you can notice stark differences on this go round–even by listening to these two songs.  For one, both feature female backing vocals, adding a richer texture to the compositions, which makes them seem like more complete songs, as opposed to simple acoustic tracks. “Glory” also brings in a gang vocal of “al la las” near the end of the song.   It’s these slight steps up that give brith to the maturity of which Mr. Ragan has spoken.

Some of the songs on this album also appear to wear the influence of Chuck flexing his muscle on the road with the Revival Tour, a collection of punk troubadours gone punk.  Yes, Chuck already has an experience in this realm, but there are definite moments that recall Tom Gabel of Against Me, such as “Done and Done.”   This is by no means a knock, but it demonstrates how experience can bleed into our musical development.

Listening to a song like “10 West” you begin to realize that you sort of feel a strong connection to the Chuck Ragan.  He’s talking about some sort of roadtrip that recalls various memories, but the recording manner that involves multiple moments of gang vocals makes you feel as if you are at home with Chuck Ragan.   You can feel yourself sitting in the room with him as he writes this song for you and all your memories.

And in the end of it all, this is a Chuck Ragan.  The old screamer always seems to get personal when he picks up the acoustic, and his lyrics never seem to come off interesting.  Most people might not call it the most remarkable thing ever, but you can see that he’s been making steps to progress, and most (like me) don’t even think he needs to.  He’s included touches of piano, violin, femal backing vocals and other ornate details that add to the texture of this wonderful album.  Gold Country is definitely an example of a growing Chuck Ragan.

A.A. Bondy – When the Devil’s Loose

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aa-bondy-when-the-devils-loose-coverRating: ★★★½☆

A.A. Bondy began to steadily make waves with critics after the release of his debut American Hearts.  A short while later, he is releasing When the Devil’s Loose on Fat Possum Records.  It’s a record that lives up to the expectation of the record’s title, but in the most stripped down fashion that could only accompany A. A. Bondy.

Just when you think your music player is broken, the soft-spoken strumming of “Mightiest of Guns” comes into play through your speakers.  Bondy seems to whisper just as quietly into the microphone, his soothing voice calmly uttering at those lowly decibels.  Such an approach is utilized throughout the remainder of the album, to various effects.

“When the Devil’s Loose” begins, you can hear the meandering accompaniment of low-lying drums and various guitar chords that one finds on a M. Ward song.  It easily could be seen as knocking off another great, but the story telling of Bondy is what seems to differentiate his songwriting from that of Matt Ward. He seems deeply rooted in the history of Southern storytelling, and in doing such, he tells his tales with the passion of an overly involved narrator.  Even during “Oh the Vampyre,” which seems to be sort of a childish ditty, there is an element of struggle, not only in the lyrics, but in the vocals. 

Midway through arrives the standout track “I Can See the Pines are Dancing.”  One of the more intriguing things about this song is the baritone voice echoing in the background of the song.  It works well with Bondy’s silky cum gruff vocals.  It’s this sort of touch to an otherwise simplistic approach that manages to grab A.A. Bondy from the relatively mundane world of folk/Americana/etc and push him even further than some of his peers.

Listening to songs like “False River,” the album’s seventh track, you can still see these little flourishes and intricate details, and one can only assume that more will unfold as repeated listens come to be.  Walking to the end of this album, you never seem to hear the same thing twice; this is an attribute many people ascribe to great records.  However, the pacing of the album is painstakingly slow, and while some will find this aspect appealing, it’s difficult to reach the end of the album as a whole due to the distinctive style and relatively static vocals.  While those may seem to some as desperately critical aspects, rest assured that beneath the folds of every tune on here lies a secret waiting for each and every listener.  All due to the hard work of A.A. Bondy on When the Devil’s Loose.

[audio:https://austintownhall.com/wp-content/uploads/2009/08/06-I-Can-See-the-Pines-are-Dancing.mp3]

Download: A.A. Bondy – I Can See the Pines are Dancing [MP3]

David Bazan – Curse Your Branches

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hhhhhhhRating: ★★★★☆

With Curse Your Branches David Bazan returns with his second release with Barsuk Records (his first being 2006’s Fewer Moving Parts EP), and his first full length since the Headphone’s 2005 self titled album.  After collaborating with TW Walsh on both Pedro the Lion’s Achilles Heel (2004) and the aforementioned Headphones LP, Bazan once again finds himself the captain of the ship, as well as its only crew member.

Curse Your Branches is a fascinating record in that it feels both new and familiar at the same time. The same plaintive singer/songwriter is still present in Bazan that we’ve come to know and love (or loathe) for almost fifteen years now. Tracks like ‘Hard To Be’, ‘Curse Your Branches’ & ‘In Stitches’ feel lived in upon first listen. That’s not to say that these songs are stale. These songs have an urgency that was missing on the Fewer Moving Parts EP. Bazan brings a newfound confidence to these recordings, both musically and lyrically.  On ‘Bless This Mess’, ‘Please Baby, Please’, & ‘When We Fell’ Bazan exhibits a Randy Newman-esque smirk, exuding a swagger not usually found on past Pedro the Lion records.

To address the elephant in the room: David Bazan has written a, as Jessica Hopper put it, “harrowing breakup record” in which he dumps God.  I feel that that is an apt description of a heartbreaking record.  The lyrics on Curse Your Branches have catalogued the both public and private struggles Bazan has had since Pedro the Lion dissolved in 2004, from alcoholism to his departure from a lifetime of faith. This isn’t your feel good Summer road trip record. It’s weighty with its subject matter, it’s the story of growth, departure, and haunting, like the itch on a phantom limb.  This haunting is evident in the album’s closer, ‘In Stitches’: I might as well admit it/ Like I even have a choice/ The crew have killed the captain/ But they still can hear his voice/ A shadow on the water/ A whisper in the wind/ On long walks with my daughter/ Who is lately full of questions about you.

Something must be said about one man in a studio with a clear and concise vision of what he wants to put on tape. Everything, from the reverse playback of the melody at the beginning of ‘Hard to Be’ to the howl of a man with a broken heart on ‘In Stitches’, is in it’s right place. On Curse Your Branches, David Bazan has turned in the most focused album of his career.

David Bazan will be playing at the Mohawk on October 7th.

[audio:https://austintownhall.com/wp-content/uploads/2009/08/blessthismessgfp.mp3]

Download: David Bazan – Bless This Mess [MP3]

Mew – No More Stories are Told…

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mewRating: ★★★½☆

Mew will officially receive the award for the most long-winded title of 2009 later this year (so long I refuse to include it here), but the album deserves more attention for the musical ground it walks rather than the ridiculousness of the title alone.

While they might be labeled as off a prog sort of grouping, let’s focus more on the fact that they tend to present themselves more as a deconstructionist band.  “New Terrain,” the album’s opening track, has various segments recorded backwards, which lends itself to the mounting tension in the song.  You can feel the song pushing forward as the album pushes ahead. Following this up is the disjointed guitar work of “Introducing Palace Players,” which uses a semi-staccato guitar line with odd musical accompaniment to construct the entire song.

The unique voice of singer Bjerre is something that recalls that far-off echo meets harmony voice, sort of like Ben Gibbard. While early on in the album, the vocals don’t necessarily mix perfectly with the musical approach of the group, you find that listening carefully will bring the world of the instrumentals and the vocals together. By the time that you reach the mellow songs such as “Silas the Magic Car” or “Cartoons and Macreme Wounds” you can see that everything has eventually become glued together.

While the lyrics seem to paint a bleak story, based on the title of the album alone, the music doesn’t necessarily comply with the overall emotional aesthetic No More Stories are Told… would leave one to believe. “Hawaii” is an energetic number that recalls a multitude of bands that have hit the scene lately such as Efterklang. Steady percussion and serpentine guitar collide with gang vocals before Bjerre comes in alone.  It’s a perfect Hawaiin themed song, aside from the abstract approach to songwriting that the band exudes. Wait for it to blast off near the end of the song, and you’ll completely understand the sentiment behind these words.

Still, you can’t ignore the lyrics throughout the record, painting a solemn outlook on the world as a whole.  “Sometimes Life Isn’t Easy” comes off as a joyous number, but as Bjerre sings “feels like someone put a hex on you” he seems to be agreeing that everyone eventually comes up against forces that work against us.  It’s not as if it will all end here though, as his agreement that life is not easy is just an affirmation that despite hardships, there is light on the other side.  Such goes the story of the record, as every dark moment meets a brighter future.  Although the album suggest otherwise, a great story is being told throughout, and everyone will find the musical accompaniment equally as gratifying on the latest Mew effort.

[audio:https://austintownhall.com/wp-content/uploads/2009/08/01-New-Terrain.mp3]

Download: Mew – New Terrain [MP3]

Division Day – Visitation

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ddayRating: ★★★☆☆

Los Angeles quartet Division Day have been discussed in circles of dream pop and shoegaze sine the release of their first album, and while both those genres or stereotypes find homes on this album, it remains a more focused album than their previous effort. Visitation grabs onto the reigns of their past and propels the band into a more finished product.

You can immediately feel the dark spiritual quality that persists through this record from the opening minute of “Reservoir;” distorted drums cadences collide with a trainwreck of guitar.  All this meets the melodic vocals, almost as if the entire song is riding upon a crescendo. “Malachite” resembles the first song, if only in the pummeling drumwork, as the overall emotional appeal of this tune seems to crash rather than rise.

So we come upon “Chalk Lines,” which hit the Internet a bit ago, and at first it appeals to be one of the more accesible songs, though careful listens reveal various guitar squeals into the outer regions of the song’s negative space.  It’s this effect that makes the band resemble a darker version of Mew; the pounding drums with meoldious vocals seem almost like mirror copies  of one another.

Other areas on the album appear to veer away from the various associated genres, such as “Planchette,” which comes as close to a ballad as you might find, although the instrumentation here is extremely sparse until the rest of the band joins.  It reminds you of various soundscape groups, using guitar squalor to coat the melody, along with programmed fixtures in the background.

You’ll find an interesting listen if you check out “Surrender.” It’s a more exploratory OK Computer-era Radiohead track, almost as if it’s the middling ground between said album and Kid A. The industrial appeal of the track provides some variance to the album, and it’s placement here is perfect, as it mixes up the shape of the album; this is one of the things lacking on Division Day‘s debut.  Such a technique is also employed when the band makes their way to the album’s title track.  Around this point, the shift seems to go away from the instruments, albeit rather briefly, instead focusing on the strength of the dynamic vocals.  This song is everything you want a dream pop song to be, even with the M83 textural effects vibrating in the background.

Visitation shows Division Day finally coming into an understanding of what they do best as a group, and when they hit their stride, you see them creating wonderful moments throughout the entirety of this record.  Here’s the the band’s growth and maturity, and let’s hope for prosperity.

[audio:https://austintownhall.com/wp-content/uploads/2009/07/division-day-chalk-lines.mp3]

Download: Division Day – Chalk Lines [MP3]

The Cave Singers – Welcome Joy

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cavesRating: ★★★★½

Most people who have followed this band will surely know that the components that make up The Cave Singers have established themselves in a world outside the folk realm in which they currently live.  Guitarist Derek Fudesco, for example, probably is most well known for his role in Pretty Girls Make Graves, but let’s not get carried away here, as the band are now establishing themselves as a new voice coming out of the rainy Northwest. Welcome Joy is their second album, and it builds upon the strengths of the last record, and in doing so, finishes as one of the better releases of the summer.

When the gentle strumming of “Summer Light” begins the album, you immediately find yourself lost among the foothills of the Appalachians, coated in an earthy morning mist, as the guitars gently strum.  Pete Quirk’s throaty vocals are met here in this scene with additional vocals from Amber Webber of Black Mountain. You expect campfire songs from this band, but you don’t expect them to come off as beautifully simple as this one.

As the group introduces you to “At the Cut” you can here the post-punk influences in the vocal, and they seem to carry over through the song itself, giving it more than just your traditional neo-folk appeal so many people have been living with lately.  It’s this interesting aspect that makes The Cave Singers so appealing to so many.  They aren’t here to play the role of pretty balladeers, though their songs may come off as such; they came here to rock a bit…jangly percussion and all.

While it appears at times as if Quirk smoked too much at times, this album finds him with perfect accompaniment.  Amber Webber is joined by her sister Ashley on “Shrine,” and it carries the song from something rather banal into an otherworldly country stomp towards the end of the song. This is followed by “Hen of the Woods,” which stands out as one of the great tracks on this album, among many great tracks.  There’s nothing you can really explain about this song, but you’ll be sure to feel it as it comes through your stereo.

“VV” is one of the brighter songs on the album, coming in near the end with harmonious guitar parts, as light as you’ll find on this album.  Oddly, this is the one song on the album that seems rooted in traditional folk writing, although the structure of the song itself towards the middle definitely has a more modern spin upon it.  And as Welcome Joy draws to a close with “Townships” and “Bramble” you begin to notice the care that The Cave Singers put into the production of this album.  Every inch of space seems well thought out, as if they left various places open for your mind to wonder in the woods of your own brain.  To top it off, it never seems to get old; it never runs in place.  An album such as this is a delight, and dare we say, a Welcome Joy, as the summer comes to a close.

[audio:https://austintownhall.com/wp-content/uploads/2009/07/the-cave-singers-at-the-cut.mp3]

Download: The Cave Singers – At The Cut [MP3]

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