Widowspeak – The Swamps EP

widowspeak-epRating: ★★★☆☆

The Swamps isn’t nearly as gloomy as its cover and title might indicate.  Although the EP begins with a slow, somewhat melancholy introductory track, it soon gains momentum.  By the time the penultimate track, “True Believer” rolls around, the mood on this record could almost be called optimistic.

Musically, The Swamps is a bit more eclectic than Widowspeak’s first two albums.  At times, the band almost strays from the smooth, dream-pop sound of their previous work.  “Smoke and Mirrors” feels a bit like surf-rock, while “Calico” and “Brass Bed” are much lighter, folksier tunes.  Still, the band is instantly recognizable due to lead singer Molly Hamilton’s dragging, breathy vocals.  Hamilton has an effortless way of rising up into notes that reminds me strongly of Mazzy Star singer Hope Sandoval.

Lyrically, these songs combine the imagery of a swamp with both nostalgic and hopeful sentiments.  “Calico” and “Brass Bed” are about simple, domestic pleasures and reflect a lost sense of normalcy in a relationship, while “True Believer” is a more direct appeal for understanding.  “True Believer” contains a grand, sweeping chorus and is, for me, the best and most memorable song of the group.

I’m not the biggest dream-pop fan out there, and the songs on The Swamps might not be as strong as some of Widowspeak’s earlier tunes, but there’s something very compelling and soothing about the vocals throughout the record.  

Radioactivity – s/t

1185631_205042416336958_2061587917_nRating: ★★★½☆

While the Marked Men might be on some sort of hiatus due to the busy schedules of everyone involved, Radioactivity at least gives us a glimpse at the glory of old, with half the band represented on the band’s eponymous debut.  The project is filled with leftover tracks from Jeff Burke’s project, The Novice, and he called in good pal Mark Ryan to flesh things out, leaving us with a blistering record of punk rock hits.

“Sickness” opens with that stuttering guitar line that’s pretty prominent in the work of all those involved with Radioactivity, though there’s a soloing guitar line that seems to knife its way through the track.  The vocals push the boundary of raspiness that you get from classic punk rock, though for all intents and purposes, the group’s still leans a little bit towards the pop side of things.  You’ll get that image perfectly on the following two tracks, “Other Life” and “World of Pleasure.”  The latter is definitely one of the record’s standout tracks, pounding furiously in your ears, despite having a catchy delivery of the lyrics throughout.

And you get what you expected on the first half of the record, with the blistering pace of the tunes allowing for the band to demonstrate their songwriting capabilities, while still honing their pop sensibility; this is one of the things I’ve loved about Marked Men and all associated bands. Tracks like “Alright” are perfect for driving, partying or even running; they fit in every corner of your life.  But, what has impressed me about Radioactivity is that there’s a glimpse of what’s to come with the band’s next LP (rumored to be on its way in 2014) near the latter half of the album.

For example, “Alone” has this huge ringing guitar line, with the bass slowly working its way into the fold.  It opens up the space quite a bit, adding just the slightest differentiation to the band’s signature sound.  If you listen carefully, you can hear the guitars working against each other, almost fighting to define the band’s sound.  There’s also the power ballad that lurks at the end of the record via “Trusted You.”  The drums seem to want to escape into a heavier realm, though their steadiness really provides a good backbone for the rest of the song, which remains sort of a heartfelt ode to a lost friend or lover.  It’s actually great on its own, but it’s made even better for the fact that its fittingly unique in the grand scheme of the LP.

I’m a huge fan of the group, even if the songs sometimes seem to blend together after repeated listens.  And that’s the thing with Radioactivity, you’re going to get repeated listens. The songs are too good to ignore, and too catchy to dismiss.  It’s clear that the duo of Ryan and Burke still have tons of tricks up their sleeves to keep me coming back to buying their records.

[audio:https://austintownhall.com/wp-content/uploads/2013/10/04-Locked-in-My-Head.mp3]

Download: Radioactivity – Locked in My Head [MP3]

Mutual Benefit – Love’s Crushing Diamond

mutualRating: ★★★★½

This is one of the most exciting debuts I’ve heard all year.  Well, it’s not exactly a debut.  Mutual Benefit, a fluid band centered around songwriter Jordan Lee, has independently released several EPs, but Love’s Crushing Diamond is their longest and best effort to date.

I find this music very hard to describe or classify – in a good way.  The tunes here could almost pass as folk, but folk music is not this experimental or this expansive.  I can’t really call it pop; pop isn’t this introspective and delicate.  The immediate thing, the crucial thing to note is the incredible warmth of this album.  A soft analog hum pervades the piece, and there is not a harsh sound or a strained note to be found on the record excepting a few intentionally scratchy violins.

Love’s Crushing Diamond somehow feels like a cohesive unit despite being made up of endless combinations of seemingly incongruent instruments.  Banjos, cymbals, synths, organs, distorted guitars, strings, hand claps, and various chimes somehow manage to coexist and complement each other.  The result is a very modern sounding record, despite its analog veneer.

Vocally, Lee is at once vulnerable and precise, and sounds somewhat like Sufjan Stevens or Elliott Smith.  There’s certainly an Elliott Smith influence in the way Lee builds his own harmonies and double-tracks his voice.  His recordings, however, are more comparable to projects like Microphones or even Radical Face.

For me, there is not a single song worth skipping on this record.  My favorite though is probably “Advanced Falconry”; a song built on a great looping riff and lifted by beautiful strings.  Lee’s falsetto on this track is something special.  Like “Let’ Play / Statue of a Man”, “Advanced Falconry” has a great sense of movement and energy with very minimal percussion.

Both musically and lyrically, this is an uplifting record.  Most of the songs are celebratory, at least in some way.  Lee’s declaration that, “There’s always love whether tattered, strained, or torn,” in “Let’s Play / Statue of a Man” feels like a fairly good starting point for understanding this album.  As a lyricist, Lee is very concise and understated in a refreshing way.

Very few bands mix genres this effectively and naturally, and very few albums are recorded and mixed this well.  I haven’t heard many new voices as sincere and moving as Jordan Lee’s.  I hereby nominate Love’s Crushing Diamond for “best use of wind chimes in a genre-defying masterpiece”.

Audacity – Butter Knife

Audacity-Butter-KnifeRating: ★★★★☆

Make no mistake about it, garage rock is best when blended with punk rock enthusiasm and pop sensibility.  If you take a listen to Butter Knife, it’ll only take you a few minutes to realize that Audacity has mastered the art form, leaving those of you thirsting for a solid rock record with the solution to what ails you.

Sure, “Couldn’t Hold a Candle” is the perfect way to open the record, and it might convince others that Audacity was going to bring more of a pop sensibility to this outing; it’s got these great hooks from both the anthemic lyrics and the guitar playing, but what sold me on my infatuation with Butter Knife was the following tune, “Pigs.” Furiously the drums pound, pushing the pace of the track into more of the classic punk rock realm, but, please do hold on here.  Just after the 1.5 minute mark, the song breaks down; it turns itself on its side, bringing more of a power-pop sound into the fold.  For me, it’s the best of both worlds!

The next big hit you’ll find is “Cold Rush.” It begins with a twanging guitar that rings, then moves into this bouncing swing of energy and brattiness.  Using backing vocals from the far off background is another nice touch that really makes this tune a straight-up winner.  Even as the longest track on the album it never ceases to lose its accessibility, making one of my favorite tunes. And if you skip ahead just a bit, you’ll find “Rooster,” which is another track that’s worth your time (although they all are really). One great thing about this track is not just the pacing, but the clarity of the vocals that allows you to really sink your teeth into the tune.

When listening to Butter Knife, you’ll see that every song has something to offer listeners.  Those of you looking for a classic pop sound can find yourself nodding along to tunes like “Onomatopoeia” or “Dancing Under the Soft Light;” they both offer great ballad stylings, though done in Audacity‘s fashion. Or there’s the harder edged tunes like “Tell Yourself” and “Watered Down,” so you get the best of both worlds: punk and pop. The band moves between the two so easily that it’s clear they’ve mastered the form, better than many of their peers.

As garage rock continues to make its push, it’s easy to get weighed down by all the countless names coming in and out of the genre.  But, every once in a while you stumble onto some group that’s doing it just right.  It’s not too punk, it’s not too pop.  Butter Knife walks a fine line between the two, and in doing so, Audacity have left us with a record that we’ll be bobbing along to for quite some time.

[audio:https://austintownhall.com/wp-content/uploads/2013/10/01_Couldn_t_Hold_A_Candle.mp3]

Download: Audacity – Couldn’t Hold A Candle [MP3]

Crooks on Tape – Fingerprints

Crooks-On-Tape-Fingerprint-450x450Rating: ★★★☆☆

Fingerprints is the debut album from Crooks on Tape, a psych-pop group out of Dayton, Ohio.  While they are a fairly new band, two of their three members played together previously for over a decade in indie rock outfit Enon.  Fingerprints contains twelve songs collected from hundreds of hours of improvisational recordings.  The results are intriguing, if a bit unfocused.  

Individually, the songs on Fingerprints are fairly repetitive.  There are catchy, nearly danceable tunes such as “Duper”, songs built on mind-scrambling vocal loops such as those on “Tito’s Riser”, and a couple of more mellow tracks in “Summer’s End” and “Barging In”.  Taken together, they form a lighthearted, very sample heavy pop record that should reward multiple listens.

Texture, on this record, is established more through effects than song structure.  Everything, including the vocals, has a slightly muddied, dreamy tone.  The drums are kept light throughout, letting the bass and synthesizers come through the strongest.  While there are a few very alternative, 90s sounding guitar parts, Crooks on Tape spend most of their time here working through bubbling and/or pulsing synths.

One of my slight hang-ups about this band is that the vocals and lyrics often feel like an after-thought.  On most of these songs the vocals are somewhat muffled and low in the mix, and I found it very difficult to make out any of the lyrics on a first listen.  The vocalist has a nice range, and a higher register somewhat reminiscent of James Mercer’s falsetto, but there’s just something missing.  For the most part, these songs don’t have strong melodies, and the vocals never really feel important to the structure of the songs.  There’s also something of a sense of discontinuity about the record, owing to the constantly varying effects on the bass and different synth tones from song to song.

My favorite parts of the album are when the band turns up the delay and establishes a mellower, more contemplative atmosphere as they do with “Summer’s End”, which also feels like their strongest bit of songwriting.  Here, the vocals are a bit higher in the mix, and the tension of some of their faster songs is absent.  Altogether, Fingerprints is a solid, inviting debut from a new voice in the psych-pop landscape.    

Nobunny – Secret Songs

nobynnRating: ★★★½☆

For over a decade Nobunny has been doing his own thing, abiding by his own rules and endearing himself to fans all the while.  Secret Songs is his third LP, and while it’s a bit all over the place, it encapsulates exactly what you’d expect from our favorite garage animal rocker.  And shining through it all? Great songs.

Every time I listen to Secret Songs I envision myself rocking out at a show with Nobunny.  “Bye Bye Roxie” seems like a perfect way to kick off the evening, with a bouncing rhythm and heavy-handed guitar playing; it all clears the way for our main man to rock his vocals, wagging his sweat drenched ears in your face. He even slows it down a bit with a twangy guitar stomp on “True Vulture,” before offering one of the standout tracks, “Pretty Girl.”  For me, it’s all about the anthemic nature of the chorus.  I envision you and I bouncing around joyously, beer spraying all across the room as Nobunny enters the foray to make entice us to suck the marrow out of life.

While I’m sure I’ve often lumped our anti-hero into the garage rock category (see above), I can also appreciate his penchant for trying out other genres, while still sounding every bit himself.  “Lizard Lies” is the best power-pop track that the Exploding Hearts never wrote; it’s bratty, catchy and polished enough to play while you give your dad a ride to work.  The longhairs will definitely be shaking their locks at the venues as this song blares out of their local PAs. Then there’s “Do the Stooge,” which is a sort of freak-out jam, which gives us all time to head to the bar, though we’ll do so with a little bit of swagger. You’ll need that momentarily breather before you get into the most classic track, “My Blank Space.”  It’s frantic pace and held syllables are precisely the sort of song that made Nobunny endearing to us all from the start.

And the our night is wrapped up in a poppy little number: “Lovin Lovin You.”  It reminds me of the sort of guitar playing/punk shuffle I grew accustomed to when I went through my Dead Milkmen phase.  It’s a ditty, but there’s something dirty about it…it’s a pop song your parents would be okay with, but every bit of it belongs to you.  And the album, or your night at the club, is over before you know it.  You danced with your friends, you rocked with Nobunny, and those Secret Songs now belong to you.  As always, it’s a secret best shared with those you trust, those with good taste.  There’s nothing quite like it.

 

La Luz – It’s Alive

LaLuz_LP1smRating: ★★★☆☆

Seattle’s La Luz began making waves around the Internet with the release of their Damp Face EP, but they’ve kept the best hits from that release and added new tunes to round out their first full-length, It’s Alive.  The surf guitar tendencies make the group relevant in today’s musical landscape, though you can see that their classic sound would probably fit well in the days of old, which is why it’s such a joy to spend some time with this release.

“Sure as Spring” opens up with a rolling beach drum beat, which is cast quickly aside for a beat that gives a bit more of a punch to the track.  It’s the first witness of La Luz‘s surf sound, but the vocals really are what allow the group to create a special sound.  My ears hear bits of doo-wop and Motown lurking in the way the girl’s combine harmonies atop one another, though I’m aware this was definitely a fad in the era of paisley.  From the start, it becomes clear that the music being crafted is differentiated from the masses by these vocals.

While those harmonies hold a special place in my heart, the more time I spend with It’s Alive, the more I begin to appreciate the drawn out vocals that are present in songs like “What Good Am I.”  Not only is this one of the tracks that stands away from the surf sound, but the vocal performance is really endearing.  It’s got a smooth delivery, though there are hints of smokiness laying within the confines that references sultry lounge-singers.  Similarly, “Call Me in the Day,” which is one of the remainders from the Damp Face EP offers further insight into the group’s usage of vocal interplay. The lead grasps onto the softer delivery previously mentioned, while the supporting vocals offer a swagger that can only be assisted by a set of superb back-up singers.  It provides more of a soulful feel to the sound being created by these ladies, and one that continues to push the envelope of what some might say is simply surf-rock.

Still, with the prevalent vocals, don’t think I’ve overlooked the blending of psych/surf sounds throughout the record.  The album’s title track,”It’s Alive” is the perfect place to look, utilizing a darkened vocal atop the band’s surfing tendencies.  It’s the song that perhaps epitomizes the group’s sound the most, though my personal highlights might lay elsewhere.  Another nod to surf comes via the classic sounding “Sunstroke.” It encapsulates the sound perfectly, offering up a short instrumental that quickly laps at your feet much like you’d expect the waves to do as you stand upon the shore.

For a debut record, It’s Alive has a lot to offer listeners.  I’ve really been gravitating towards the vocals on my last six or seven spins of the LP, which is perhaps where the group could make some adjustments going forward.  La Luz have nailed the surf-rock sound, and combined it with classic girl-group harmonies, though one can hope for a touch more diversity.  There are hints of such moves throughout, which is more than enough to show that this is a group that’s destined to prove they’re more than a one-trick pony.

[audio:https://austintownhall.com/wp-content/uploads/2013/02/LaLuz_CallMeInTheDay.mp3]

Download: La Luz – Call Me In The Day [MP3]

It’s Alive is available now from Hardly Art.

 

The Black Watch – The End of When

theblackwatch-coverRating: ★★★★☆

No matter the line-up or the slight changes in sound, one thing you can always be sure of is that The Black Watch are possibly the most consistent act to ever release music in the underground scene.  The band’s latest effort, The End of When, is just another fine example of a group that puts great songwriting at the forefront, leaving you with 11 tracks that will please any music fan.

Like most things, there’s really two sides to the opening track, “Don’t Feel the Same.”  It’s bubbling bass line works in step with the delivery of the vocals, providing listeners with an emotional attachment that’s built for singing along.  But, the guitar lines are filled with discordant noise that seem to work against the inner design of the track.  Somehow, its cohesive and enthralling, sucking you into the record from the get-go. And as you move along, the softer side of the band emerges on the following tune, “Meg.”  I don’t know whether it’s the presence of former Chills guitarist Steven Schayer or the band is just this good, but the guitars alone make every second of this song stand out among the band’s peers.  The gentle quality of the vocals just serves as a reminder that people don’t make pop music like they once did; my only complaint is that it’s the second shortest song on the record.

After spending the last three days with this record playing every chance I get, it’s getting harder and harder to find a bad track within the confines of what The Black Watch have created.  The interplay between guitar and bass on “Oh Oh” is only a precursor to the vocal interplay that comes into the foray later in the song, all leaving you with another gem that you’ll beg to share with your friends. Perhaps you’ll find yourself attracted to the dreamier quality of the vocals on display in “Sum.” The way “again” is drawn out just hits me perfectly every time, as the guitar swirls around each syllable. And then maybe you’re one of those with a soft spot for quiet ballads such as “Unlistening.” It may seem like an outlier in the grand scheme of The End of When, but it’s every bit a song in the vein of the group’s accomplishments, layering loops and strummed strings to encourage the voice.

When you’re finished with the record, you’ll likely come to the same conclusion about this album as I have.  There’s nothing better than a release by The Black Watch.  Their formula, though it’s changed slightly, has always been pretty simple: write incredible songs.  They’ll offer you noise, then follow it up with tune featuring horn enrichment, then turn things back by ringing power-pop guitar work. Sometimes they’ll do it all within one track.  They’re brilliant, and The End of When is just a further reminder that there are only two consistently great bands in the world: The Wedding Present and The Black Watch.

[audio:https://austintownhall.com/wp-content/uploads/2013/08/1-02-Meg.mp3]

Download: The Black Watch – Meg [MP3]

The End of When is available now from Pop Culture Press Records.

 

Crystal Antlers – Nothing Is Real

crystalRating: ★★★★½

For two albums, Crystal Antlers have successfully combined their love of noise and hooks to create some pretty fascinating music.  But, that being said, I don’t think anything fully prepared us for Nothing Is Real.  It’s sonically exploratory, yet catchy in every way, showing a band that finally has found the perfect balance between captured raw energy and pop sensibility.

“Pray” slowly drops us into the midst of Nothing Is Real, teasing us momentarily before we’re rushed off with a frantic pace into the realm that we’ve come to know so well from these guys.  There’s a harsh quality to the vocal delivery, yet just beneath that growl, you can hear this pop presence.  It’s made even more clear by the howling “oooh” that lurks in the mix.  For me, the focus on making the negative space into meaningful music is what makes this listen to perfect.  And, as you bounce along in the opening moments of “Rattlesnake” the whole of the record begins to take shape. A slow spoken vocal takes control, before you’re pushed into the erratic shout of “rattlesnake.”  In returning to that softer space you can see just how far the group has come; they’ve built this song just for you.

For most of the record, they stick to the same formula, though I haven’t heard Crystal Antlers execute it as well as they have here.  Even so, there are still some beautiful surprises that I didn’t expect.  “We All Gotta Die” is a sprawling ballad, coming in at just under 6 minutes long.  I fully expected the song to erupt with bombast as the song neared the end, and while there’s definitely a louder sound drawn out, it’s nowhere near the explosion I thought I’d get.  It’s nice to know that bands you adore can still change things up on you from time to time.

Just don’t think that the dudes have gone entirely soft on you; you only need to listen to “Persephone” as proof.  It takes a mere seconds for the distortion to introduce you to the group’s heralded wall of noise, though with their special restraint.  This jam illustrates to me the group’s best dynamic, walking a fine line between insanity and pop stardom.  Just imagine the Fresh and Onlys in a mosh pit. “Better Things” also offers a glimpse at the captivating live aspect of the group, featuring an explosive percussive sound working in unison with these sharp guitar chords and shouted vocals.  I don’t know how they’ve captured this energy, but one can immerse themselves within the confines of a sweaty pit while listening to this track; please be safe.

As a fan of Crystal Antlers, I’ve been waiting for this day.  They’ve always captivated me with their live energy and raw power, yet it hasn’t always translated perfectly to tape.  Nothing Is Real, however, does just that.  It fits the explosive power of a group at the top of their game into a concise album that’s still brimming with accessibility despite its dangerous undertones.  This is an album to be reckoned with for some time to come.

[audio:https://austintownhall.com/wp-content/uploads/2013/10/03-Licorice-Pizza.mp3]

Download: Crystal Antlers – Licorice Pizza [MP3]

Dot Dash – Half-Remembered Dream

DotDashCoverArtRating: ★★★★☆

This day and age, bands tend to get caught up in fighting for, or against, the status quo of musical movements within the indie scene.  But, some bands just decide to go on their own, writing songs that are full of heart and self-expression; Dot Dash is one such band.  Their third full-length, Half-Remembered Dream, is an ascendency into pop perfection, making nods to the pass, while crafting songs that stand on their own in today’s landscape.

“Here’s to the Ghosts of the Past” opens the affair with a strong riffing guitar; it’s occasionally bisected by a noisier down-stroke on the guitar, creating a sound that’s built for fans of guitar pop.  The warmth of the vocals hold you close to the song, drawing you into what might otherwise be a noisy piece of pop.  That gentleness remains throughout most of Half-Remembered Dream, and it’s made more noticeable on the following track, “Hands of Time.” While the opener had guitars as the hero, the voice takes precedence on this tune; it’s close to a ballad, at least as close as you’ll get from this DC outfit.  There’s a change in pitch just after the 1 minute mark that’s a really nice touch too.

Personally, I enjoy the fact that Dot Dash always seems to be messing with.  On “Do Re Mi” they craft this brooding intro, hinting at a darkness that I wasn’t expecting, so I start to immerse myself in that mood.  But, they abruptly start, choosing to blast off into this heavy-handed piece of powerful guitar pop, starring this sparkling guitar line.  You’ll find varying melodies within this track too, which is one of the reason’s I’ve always appreciated the band; they’re not some one-trick pony.

I think one of the sad things about the music world is that truly great songs get dismissed due to label association or hype, but if you do anything today, try to take a listen to “Shopworn Excuse.”  For me, this is the band at their absolute best.  There’s this certain gleaming polish to the guitar sound, and the vocals take on a completely different tone than I’ve encountered from the group to date.  It’s almost a homage to twee, but done via adaptation from Dot Dash.  It’s followed up a few songs later by my second favorite track, the album’s closing moment: “The Sound in Shells.”  I love the shimmering guitar sound that cascades through the speakers, fighting against the reserved pop sensibility expressed in the vocals.

Odds are, unless you’ve been following the hip cognoscenti such as The Big Takeover, or perhaps even ourselves, you might not have heard of Dot Dash yet.  That’s okay, but this band is begging for your ears.  They’ve got polished guitar pop that maintains a sharp edge, all the while juxtaposing it with the incredible melodies that are naturally created by the vocals.  You’ll do well for yourself today if you go spend some time with Half-Remembered Dream.

[audio:https://austintownhall.com/wp-content/uploads/2013/08/Dot-Dash-Half-Remembered-Dream-01-Heres-to-The-Ghosts-of-The-Past.mp3]

Download: Dot Dash – (Here’s to) The Ghosts of The Past [MP3]

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