Tag: album review

Of Montreal – Lousy With Sylvianbriar

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lousy-with-sylvianbriarRating: ★★★★½

I’ve been a fan of Of Montreal for quite some time, but I’ll admit that my fandom has been relegated to the bench as the group has indulged in a more electronically enhanced sound.  But, from the moment I put on Lousy with Sylvianbriar, I was transported back to the earlier days of the band, leaving me with one of the best pieces of music the band has released in some time.

“Fugitive Air” kicks off things on Lousy with Sylvianbriar, almost immediately setting a new tone.  There’s a meandering guitar line that holds onto elements of slide work, whilst Kevin Barnes erupts in a fashion that only he can.  Standing out to me, here, is the fact that the orchestration still includes those classical elements like tinkering piano and group harmonies.  Personally, I think a great touch is when the track opts to slow down around the 2:00 mark; it’s a nice change of pace. While the first piece offers an alternative-world interpretation of psych-pop, the smoothed out ballad of “Obsidian Currents” that follows makes the opening minutes quite remarkable. It all begins with Barnes taking the lead, crooning over a simple bass line and drum track. The song’s success, however, revolves around the evolution of the track, which builds up with a strummed acoustic piece that finishes with group harmonies.  This is the Of Montreal that I love so dearly.

Perhaps one of the best things about this album is that it combines Kevin’s inclination to change time signatures and tempos mid-track, which he’s done forever, but is much more pronounced on tracks like “Belle Glade Missionaries.” The group offers up a swinging bit of crafty pop, allowing listeners to bob their heads, albeit momentarily.  At 2:22, roughly, the track takes on this very light mood, with strings ornately dancing around Barnes, waiting for him to blast out with a quick vocal delivery; the pace of the movement is dizzying, but endearing nonetheless. These are the gifts that the band has always possessed, but I suppose I connect more when there’s actual instruments spinning me on my head.

I know that I’m supposed to love and adore “She Ain’t Speakin Now,” and I do, but it’s the tracks that lead up to it that really encouraged my affirmation of faith in Of Montreal.  That track’s chorus is just ridiculously delicious, and comes in as one of my favorite moments in music this year.  But, you should all go listen to “Colossus.”  The storytelling within this song illustrates precisely why Mr. Barnes has always been one of the most interesting lyricists.  I love the nakedness and solemnity of the tune.  And, to follow it up with the playful “Triumph of Disintegration” is a smart choice.  Using a shaker to accent the angular knifing of the guitar wins every time in my heart; is it a possible ode to Northern soul?

Honestly, I’ve had a hard time looking through this album for a track that I could discard, or even dismiss for the cynics purpose; it’s just not possible.  Using less of an electronic touch on Lousy with Sylvianbriar has allowed Barnes and company to create these great bits of pop music that just can’t be ignored. Sure, he includes snippets within snippets of songs, but they seem so much more meaningful with a full band backing things up during the recordings. I know there are a few of you out there looking for this sort of return to glory from Of Montreal, and this record’s just that. It’s a motherfucker; I mean that in the best way possible.

 

Mind Spiders – Inhumanistic

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mindspidersRating: ★★★½☆

Inhumanistic is the third LP by Mark Ryan’s Mind Spiders, and it’s the one that I think sounds the most like what you would expect from the former Marked Men leader.  It’s still punk rock, with a tinge of power-pop tossed in for good measure, and it includes a dark bent on both the world and music.

After a brief prelude track, Mind Spiders blast off doing what they do best on “Inside You, utilizing driving guitars and speedy drumming to build towards the release of tension, which always comes with a bit of pop enthusiasm.  Then you’re thrust into “Suicide,” which, despite its lyrical content, is probably one of my favorite tracks on the record.  The chugging guitars are accompanied by a synthesizer, and although there’s a dark tint, it serves the song well, allowing for the inherent hook in the chorus to shine perfectly.

What I didn’t expect from Inhumanistic was a gem like “City Stuff.” It’s a track that surely was formed on an acoustic guitar, leaving a wonderfully hidden melody.  But, instead of going with the easy acoustic ballad, the melody’s been replaced by synth work, using the guitar only to enhance to song where necessary.  It goes right back into the rock n roll with “Electric Things,” though at this point in the record things start to become formulaic for the group.  Now, this doesn’t mean that I don’t enjoy it; I like every track on here individually, but as a whole piece, there’s only two instances when things don’t go as expected.  I mentioned one above, and the other comes in the sonically haunting “I Want You.” Again, this is a song that’s relaxed in essence, though the accents try their best to make more out of it.  And it all leads up to the record’s pinnacle single.

As long as I’ve been following Mind Spiders, I’ve loved their ability to edgy riffs with catchy hooks, and no track to date has done such an exceptional job as “Make Make Make Make.”  This song is a fast paced jam from the get-go, with the chorus providing the ultimate emotional release.  This track was built for maximum crowd participation in the live setting, and even at home, you’ll have a hard time not screaming “make make make make” as you’re mopping the kitchen floors.

In the end, Inhumanistic is another solid release from Mind Spiders, but there were a few things that changed the easy 4.5 stars to 3.5.  After three records, you notice some shifts in the band’s overall sound, but this record seems to be really predictable in some areas.  Those areas that aren’t are incredible, and appreciated, but I’m wondering if I’m ultimately going to get worn down songs that seem too similar.  For now, the answer is no; I love the songs here, just looking for a little more variety.  Perhaps next go round.

[audio:https://austintownhall.com/wp-content/uploads/2013/09/MakeMakeMakeMake.mp3]

Download: Mind Spiders – Make Make Make Make [MP3]

The Blow – The Blow

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The-BlowRating: ★★★☆☆

Listening to The Blow has always been a mild obsession, but I’m pretty sure every girl I dated since 2007 ended up with “Parentheses” on some mix tape of mine.  But, after spinning a good deal of time with The Blow, it’s good to see that Khaela Maricich hasn’t dropped off much since the departure of Yacht.  In fact, my book has her better off, as this record’s bursting with fun.

The work on previous efforts from The Blow is still prevalent, as this seems mostly like a continued experiment for Khaela’s voice, with the beats coming in second place.  “Make It Up” holds tight to that formula, with Maricich operating on various pitches throughout the track.  It picks up in the back end, uniting vocal samples atop vocal sample. But, in writing about a record by the project, it’s always difficult to work through by just talking about the beats that back up the vocal.  However, I think the range in the vocals are what ultimately make the record more than enjoyable.

On a track like “A Kiss,” you get the whole spectrum of the offering.  It opens with a semi-sultry croon from our frontwoman, paced playfully in the foreground.  It sucks you in immediately, and moments later, there’s a slight rise in the pitch, while the beats stutter.  From there, it floats off into a loftier vocal realm that adds a new level to the track.  It’s all complimented by the backing vocals soothingly approaching from the background.  These are the sorts of songs where The Blow really excel, showing that despite a very simple approach, there’s still some dynamism in the process.

For me, part of my whole experience also circled around the search for the standout track, and for the most part, I think that’s where this record might have a step above its predecessors.  Each track on here is purposeful, and none of the above should be discarded during your listening experience. That being said, I’ve really been drawn to “Hey” during my last several spins.  It starts with heavier pulsating beat, carefully building tension before the song slowly rises to its musical climax.  You can feel it in the vocals, as a lighter keyboard begins to accent the driving rhythm; I especially like how the song holds out longer than expected, then unleashes the hook.  It’s definitely a song that’s piqued my interest.

All in all The Blow have another great little listen on their hands.  They’ve never been knocking down the doors of creativity, but they’ve always given the audience something that’s ultimately rewarding/endearing.  It’s becoming increasingly harder to look away from the group, especially when things are as focused and enjoyable as The Blow.

[audio:https://austintownhall.com/wp-content/uploads/2013/09/07-Hey.mp3]

 

Gambles – Trust

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gamRating: ★★★★½

Admittedly, I’m a music consumer on a massive scale.  It means that I get to enjoy tons of great bands, but on the downside, it takes a lot to emotionally move me.  In 2013, I’ve had that happen once with Majical Cloudz; it’s happening again as I spend repeated listens to the debut album from Gambles, Trust.

From the instant that “Angel” came through my speakers, the sincerity in the work of Matthew Siskin, aka Gambles, was extremely clear to me.  There’s a slight echo in the way his vocals have been recorded, as if your best friend had you recorded his rooftop ramblings.  However, these aren’t ramblings; these are well penned lyrics of life, love and all the things in between.  I guess it’s no surprise that the following track is titled “Rooftops,” though the strumming of acoustic guitar on this track is much more intimate and softer than the opening tune.  An entire verse seems to be sung via whistling, aligning Siskin with troubadours of our hearts from days of old; it’s striking how such a simple touch can seem so personal.

The incredibly moving moments from Trust continue into the third track with “So I Cry Out.”  It was this song that really made me fall in love with what’s being created within the confines of this album.  As that music consumer, some moments of creation have become predictable to me.  So much so that I can typically figure out where a lyric or note will start and end.  This is not so here, as Matthew holds on to notes for his own sake, often elongating syllables for the emotional effect; this slight personal affectation has allowed him to stand out among many of his peers, if not all of them.

But don’t think that this debut album by Gambles is short on solid listening after the powerful opening tracks.  It’d be easy to write and fawn over everything on the record, but I’ve taken to loving “Penny for a Grave” the last few days.  The humming is a nice alternative to the traditional whistle, but the lyrical substance is really great.  My personal favorite line from the track: “is it the smell of your old bones/calling me home again.”  Even more personal to me is the fact that you can’t simply decipher the lyrics, they’re shrouded in metaphors that I dare not attempt to uncover.  But, that’s what makes it personal, that’s what makes it special; I can ascribe my own meaning to these tracks.  “265” is another such tune that I’ve taken a liking to, as well.  There’s a rise and fall to the song, in both the vocals and the musical accompaniment.  Siskin does well too with his guitar playing, alternating between soft strum and heavy-handed stroke, and always with purpose.

It’s difficult to see past the bullshit sometimes, and even more difficult when you’re only working with your guitar and voice.  But, somehow, somewhere, Matthew Siskin has created a gift for listeners.  You can rush to rip off the wrapping or you can choose to go slow, but one thing can be assured: you’ll never ever regret the day you picked up the first full-length from Gambles.  May Trust be our first introduction to a long and remarkably affecting career.

 

Crystal Stilts – Nature Noir

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crystal-stilts-lpRating: ★★★☆☆

Having loyally followed Crystal Stilts since their inception, listening to Nature Noir has been sort of a personal issue over the last few weeks.  At times, I’m completely in love, seeing some of the group’s best work come to fruition, yet other times, I get stuck in the muddier down-trodden sounds, inevitably giving the album a rest.  Is it good? Yes. Is it great? Eh. Decide for yourself.

Each time I go through the first few tracks I’m not sure which side of the road I’ll end up on.  “Spirit in Front of Me” has some great moments, with Brad Hargett’s deeply down-trodden vocals winning me over, but there’s this snaking horn that weaves in and out of the tune. And there’s “Star Crawl,” which features this great guitar sound, but there’s no real pace to the song; it sort of staggers in place, even with its nod to psych breakdowns.  And then Nature Noir really begins to take off, for me anyways.

“Future Folklore” definitely takes cues from the world’s obsession with psychedelia, though they spin it in their own light, adding a pounding rhythm that really propels the song.  Hargett has the perfect voice for this sort of tune, coated in this smoky sensation that lays the band alongside various contemporaries.  It’s nestled right up to my favorite tune from the group to date, “Sticks and Stones.”  You’ll find a kinder, gentler voice here, playing perfectly in step with this great guitar line that wouldn’t be out-of-place on a number of indiepop releases.  If there were 9 more songs just like this, I’d easily proclaim this as my favorite LP of the year.

And there are definitely tunes that have a new feeling to them, though it’s definitely rooted in the sound Crystal Stilts have come to create.  On “Worlds Gone Weird” I feel like they’re channeling Calvin Johnson whilst adhering to their own aesthetic.  It’s songs like this with Brad’s vocals clearer than they’ve been that definitely make the latter part of Nature Noir worthy of repeated listens.  I mean, if you can listen to “Nature Noir” and not find pure enjoyment out of the desert guitar sound juxtaposed with Hargett’s vocals then you’re a better listener than I.  Ultimately, it all comes to a close with “Phases Forever,” and despite the overbearing atmospheric hum atop the song, I’ve grown to quite enjoy the tune.  There’s an acoustic guitar at work, accompanied by the occasional string arrangement (which is part of that hum!) that really highlights the band’s growth.  I feel like this is the perfect statement to wrap up the entirety of this album.

As I reflect upon the countless spins I’ve given Nature Noir, I begin to appreciate more of it than I initially thought.  Sure, the first few tracks are probably my least favorite on the latest Crystal Stilts release, but I can’t hide from the fact that you’ll hear some incredible pieces within the confines of this record.  I wouldn’t blame a soul if they loved this record, but I’ll have to settle for just liking it.

Arp – More

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arpRating: ★★★★☆

One of the great things about reviewing music is discovering an act that’s been around, but that you hadn’t given much attention to in the past few years.  For me, Arp is that group; I’ve devoured More, the latest release, and hunted down the rest of his catalogue.  From the opening track to the closing moments, it’s just remarkably moving, and if, like me, you ignore it, you’ll be doing yourself a huge disservice.

“High-Heeled Clouds” opens More with one of the best opening tracks I’ve heard this year.  A gently playful piano line works with the bass to open, before Alexis G enters with his vocals.  While one would seem to bounce at the musical mannerisms, there’s this perfect restraint that encourages solitary swaying.  But, it’s the slightest details within the track that really push the song into the realm of “stand-out;” there’s this sunny guitar solo that works its way in, fading into an atmospheric end.  But, while the opening moments slowly move forward, the following track of “Judy Nylon” creates the perfect counterpoint.  There’s a fuzzy guitar, and a heavier pounding on the piano, leaving you with loftier emotions, yet still in the spirit of the opening tune.

Suddenly, Arp leaves you in the mood for more ethereal pop moments with the warmth of “A Tiger in the Hall at Versailles.”  This tune’s more of a spiritual track, using the vocal as an extra instrument.  While you might not find yourself as attached to this song, it serves the album, overall perfectly, offering insight into the songwriting process.  It’s similar, in approach, to “Gravity,” which includes string arrangements for emphasis. The layering of each moment in these tunes gives you clues as to the way future songs are constructed, such as “Light + Sound.”  There you’ll find a similar formula, but what interested me are the faint horns flourishes or light keyboard notes that elevate a traditional pop-writing formula.

Of course, some of the other tracks are momentary throw-aways, thus why I can’t quite toss the perfect score towards More. I don’t mean one should toss these songs aside, as the little snippets of noise and samples provide detail to the storytelling of the record as a whole, but I was thirsting for more great pop moments.  I get it; I know why they’re there, but it shortens the album, leaving me hungry for more of Alexis’ word play and craftsmanship.  That being said, it’s part of the beautiful journey of this release.

Having barely been acquainted with Arp up to this point, I couldn’t help but fall in love, as if this was the first release.  The careful artistry of every track, even the snippets, overwhelmed me, washing me with emotions that are rare in a consumable musical age.  I can assure each and every person that reads this that you’ll find few records this year that are as rewarding and magnificent as I found More.

[soundcloud url=”http://api.soundcloud.com/tracks/102406274″ params=”color=ff6600&auto_play=false&show_artwork=false” width=” 100%” height=”166″ iframe=”true” /]

Jacuzzi Boys – Jacuzzi Boys

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JacuzziBoys_LP2Rating: ★★★½☆

I feel like I’ve been waiting for some time to hear the new LP from Miami’s Jacuzzi Boys.  But, while it’s only been a short two years since their last release, the boys have been touring hard and writing the great songs that fall into this self-titled release on Hardly Art.  It’s full of infectious pop tunes and harmonies that appear to be a foray into a more pop-centric realm.

“Be My Prism” opens the record with this really warm pop feeling; it’s an emotion that serves the song and the album well.  I think the guitar might be a little understated here, though, leaving the melody as the big focus.  But, that seems to be the early approach on Jacuzzi Boys, as they move into “Black Gloves” with the same mentality.  The guitars are a little more pronounced, but there’s still a huge focus on the harmonies the group has created.  Personally, I think this is one of my favorite tracks on the LP.  By this point, the band’s settled into a groove that they ride for the duration, using the guitars to accent their beach pop.

Right after the lead single, “Double Vision” comes another great song that I’ve been partial to as I’ve spent time with this LP.  “Dust” is this drifting pop tune that seems as if it was thrown together haphazardly (I mean that in a good way).  It’s so casual and unassuming, but the ringing guitar effect and the vocals do wonders for my ears. It’s not a tune I expected, which is perhaps why I find it so incredible…all the way to the fuzzed guitar riff near the end.  It’s a song that fits well with “Heavy Horse,” a song that Jacuzzi Boys offer you later in the listen.  The latter tune even includes extra bits of percussion to bring the warmth of the melody further into the fold. There’s hints of swagger in the guitar, but you can easily see yourself enjoying a nice Miami beach sunset and a cold beer while this tune echoes in the distance.

While you can still feel the edge of the band that was apparent in Glazin, this release has a totally different appeal.  This effort seems more geared to a relaxed listen, rather than a beer fueled beach party.  The songs are gentler, leaving a calmer pop feeling to soothe you, rather than one that’s built on propulsive hooks.  For me, I think that it might not be as immediately charming, though the more listens you put into it, the more you’re ultimately rewarded.  If you weren’t completely sold on Jacuzzi Boys, then I think this release is going to change your mind, making you their new biggest fan.

Terry Malts – Nobody Realizes This Is Nowhere

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terryRating: ★★★★½

The last time out Terry Malts ruled my world with Killing Time, so I was curious to see where they could go from that point.  Would Nobody Realizes This Is Nowhere top the previous effort? Would it fall off?  Well, after spending the last few weeks listening to the record on repeat, I’ve come to the conclusion that it’s much the same, in a good way, though I feel like there’s a heavier punch this go round.

“Disconnect” begins the album off in much the same way that Killing Time left off, blasting off with guitar explosive guitar riffs and darkly tinged melody in the vocals.  It’s not breakneck speed until it pounds out near the 1.19 mark, yet it reverts into this interesting melody that works alongside, including a light backing vocal. And with such a post-pop hit, it’s interesting how the band moves right into the furiously punk “Life’s a Dream.”  Envision circle pits with smiles, and then the track ends.

It’s hard to find out standout moments on Nobody Realizes This is Nowhere, as the group are so consistent in their songwriting that it’s hard to pick out a favorite. Can I take them all?  Of course, “I Was Not There” should be on everyone’s year-end list.  The crunchy distorted guitar operates in such a forceful manner that it completely works against the seemingly spoken-word lyrical delivery.  That being said, Terry Malts always manage to unite such things, which is why I can’t help but tap my feet and bounce around the room when this song is on full blast.  It fits perfectly in the mix, going into the poppier “No Tomorrow.”  While the pounding drums stand out on this tune, I really like the way the vocals are delivered on this song.  The notes are held long longer than usual, and they make way for this electric soloing guitar that pointedly knifes its way through the track.

One of the differences that I have noticed here is that Terry Malts seem to have gone to the darker corner of punk on this release.  Their last record sounded like a beautifully modern Ramones LP, but this time songs like “Walking Without You” and “So Serious” take on the heavier area, at least in regards to how the music comes across.  They’re not nearly as pummeling in speed, though you’ll hear a noisier element to these tunes.  Luckily, even with that approach, they don’t lose their pop sensibility.  One spin of “So Serious” and you’ll see exactly what I mean.  Heavy meets pop and it equals perfect tune.

It’s possible that I’m predisposed to love this album, seeing how much I enjoyed their first release, but I can say, assuredly, that this isn’t some fanboy letter.  Nobody Realizes This Is Nowhere takes on the noise in a different manner than its predecessor, though still wraps you up in melodious hooks that invade your soul.  With such an array of great songs, it’s hard not to enjoy this record, so be sure to pick it up as soon as you can.

 

Chelsea Wolfe – Pain Is Beauty

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chelsea-wolfe-pain-is-beautyRating: ★★★★☆

It’s been a busy three years for Chelsea Wolfe, pushing out four albums of quietly acclaimed music.  Her early works were gentle, though you could sense a bit of brooding beneath what she was releasing.  Now, with Pain Is Beauty, there’s more force to her music, more emphasis; she’s managing to balance her angelic voice with the dark emotional content that’s been there all along.  Finally, this feels like what Chelsea wants us to hear.

After listening to the folkier approach of Unknown Rooms…Chelsea Wolfe makes an immediate statement with “Feral Love.”  It’s got a pulsating drum loop that is made more emphatic by scratching beneath the surface and punctuated noise.  Her voice sits perfectly in the mix, but the accent of the backing female vocal only strengthens the tune before it fades out.  Yet, immediately the ante is upped with “Hit a Wall.” There’s a driving beauty hidden in the instrumentation, but while there’s an obvious darkness, Wolfe’s angelic voice serves as the perfect foil.

While I find that the first few tracks are quite forceful, there’s also a playful element to Pain Is Beauty.  “The Warden” is about as pop-centric as I think Chelsea would go; the beat beneath this song is about as light as you’ll find in her work, allowing her voice to shine as the glorious instrument that it is.  Smartly, Wolfe juxtaposes this stellar song by placing it next to “Destruction Makes the World Burn.”  The guitar steals the show on this one, leaving listeners with a tune that closely resembles contemporaries like Vivian Girls, had they only grown up transfixed by metal.

For me, I find that Chelsea Wolfe has a striking ability that few have managed in recent years; she is able to keep my attention, despite songs that tinker beyond the 8 minute mark.  Her opus, “The Waves Have Come” is built upon a piano backbone, and like the system of tides, there are varying ebbs and flows within the tune.  The music rises and falls, quiets then joyfully explodes.  It’s possibly the perfect statement track for this record, as the instrumentation, and the careful touches of emphasis, are so incredible that it leaves no doubt about how much care went into each and every detail within.  It’s not just this song, though it is quite obvious here, but the whole record.  That says a lot considering this is her fourth album in as many years.

Pain Is Beauty is finally the statement album that you could feel Chelsea Wolfe building towards.  Every detail is attended to on the record, yet it doesn’t lose the intimacy of her vocals.  The dark tint that often coats her work remains, but the curtains have been drawn back even more, letting us all see the magnificent talent that she has become.

King Khan & the Shrines – Idle No More

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king16Rating: ★★★☆☆

Well into a decade’s worth of an impressive career, it seems as if King Khan is slowing down a bit.  Not only does this reference his musical output, but also the pacing of the songs on the latest King Khan & the Shrines record, Idle No More.  The psychotic garage/blues infusion seems much more reined in here, leaving some great slow burners, but nothing with the frenetic energy of previous albums.

“Born to Die” opens with a sitar, which seems like the perfect prelude to a booty-shaking track from King Khan, yet it never goes quite in that direction. Sure, there’s some pedal work on the guitar and a bit of a stomp, but there’s no ferocity here; it’s rather a tame song, though by means a bad one.  Unfortunately, that seems to be the theme on this record: good tracks, though nothing great. “Bite My Tongue” follows, and it floats along in a similar manner as its predecessor.  It’s got parts that are fairly catchy, lyrically speaking, but musically, it seems to miss that killer punch that you’d get from a song like “Torture.”  However, the R&B influenced tracks are much stronger and focused, making them the standout tunes on the album.

Yes, KK has always had a huge soul/R&B influence, but I think one of his most successful takes comes on Idle No More in the form of “Darkness.”  I love how the track barely moves beyond guitar and vocals until the 1 minute mark where you get the emotional release from the introduction of horns and light percussion.  Of course, it lurks back into its quiet form, but that again builds towards that soulful explosion.  And, as if we needed more proof of the group’s love for classic R&B, then you don’t have to go further; “Pray for Lil” is waiting for you.  It’s definitely got the Shrines working the horn section, and King Khan bringing his own vocal touches, but the main vocal performance is remarkable.  It might just be my favorite track on the LP.

I don’t want to be too harsh on King Khan & the Shrines because there’s a lot of music on here that I really enjoy, such as “So Wild” or “Yes I Can’t.” The deviant attitude is still visible, the songwriting is successful…I just wanted more of a punch.  It’s as if Idle No More was created for more of a high school prom, rather than some dingy club filled with joyous dancers.  For me, this whole record shows a band writing good songs, but without the madness that was present in previous years, it’s just that, a good record. Not a great one.

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