Airborne Toxic Event returned to Austin, this time to headline at La Zona Rosa. Austin festival regulars, this was a first for the band, not hauling gear offstage after their set to scurry across town. Voxhal Broadcast came along. More after the jump.
The Month of May.
Arcade Fire came to the Backyard, my backyard as we live about ten minutes away. The weather could not have been better and l had photo credits for one of biggest shows of the year. Check past the jump for more on the show that features Austin’s Schmillion and Explosions in the Sky opening.
The Seaholm Power Plant played host to psych, prog, indie and noise for three days, we were on hand for two of the three, picking out the best for the ATH faithful. The main stage centering the cavernous interior offered several interesting viewing angles due to the fenced off holes in the floor to the level below. Lighting throughout accentuated the scale of the interior and depth of the catacombs. Stage two was a smaller space set off to the side that remained at human body. Hit the jump for part two of the band summaries and pictures from the festival.
The Seaholm Power Plant played host to psych, prog, indie and noise for three days, we were on hand for two of the three, picking out the best for the ATH faithful. The main stage centering the cavernous interior offered several interesting viewing angles due to the fenced off holes in the floor to the level below. Lighting throughout accentuated the scale of the interior and depth of the catacombs. Stage two was a smaller space set off to the side that remained at human body. Hit the jump for band summaries and pictures from the festival.
If the title didn’t already foreshadow this, Lykke Li has made a noticeable shift to a darker sound in general. The lyrics have reached a point of seriousness that can lead one to believe that this band doesn’t want to be mistaken as just a girly and cute throwaway kind of music. Lykke Li, hailing from Sweden, looks to prove that she can produce mature and progressive songs on this sophomore release.
Starting out on “Youth Knows No Pain,” you can see the immediate shift in this darker direction. While the bubbly organ jumping in and out may not convey this right away, when Lykke chimes in with her sassy voice, telling you to live things up while you can, because the “Youth [that] knows no pain” will soon grow old, you can feel the sense of urgency. On the second track “I Follow Rivers,” the group dabbles in the form of drastic ups and downs. It begins mildly quiet, but then dives right into a full energy chorus that carries the jangly tune.
Changing things up from the bouncy first two tracks, on “Love Out of Lust,” the band sounds anthemic, once again urges their audience to take advantage of the time at their hands before its gone; “dance while you can.” From here, if it wasn’t felt before, is from where the newfound profundity really takes off. Yes, the same fundamental sound is there: the bittersweet vocals of the front woman herself, the amiable bass lines, some electronic elements and the overall ability to make you move. When Lykke chants “I’m Your Prostitute,” on “Get Some,” it’s clear to see that she is reaching farther than before. She wants to make a statement with her music that is as equally as meaningful as listenable.
On Wounded Rhymes, Lykke Li does just that, the songs are enjoyable and catchy, but they don’t just stop there. Instead they progress into tracks that can become statements, driven by the desires of the band itself. However, this seriousness makes for a bland number of songs after “Sadness is a Blessing” brings forth the line that dubbed the album. The loss of playfulness that makes this band is absent here, and it makes for an anti-climactic close. While “Jerome” tries so hard, it doesn’t fit in with the songs that came in the beginning and it sort of feels as though she just gave up with the end.
As disappointing as this is, I don’t think it ruins the whole album. The first seven songs are solid and groundbreaking in this new I’m-a-big-girl-now-take-me-seriously style. For the most part, Lykke accomplishes what she set out to prove.
As I prepared for my evening at Stubbs, I pored through several different albums. A few tracks from Silversun Pickups, all the Against Me, and the solid new album from Henry Clay People. I didn’t know what to expect necessarily, caught in nostalgia for my punk days, but not so amped for the main course. Still, I love a good live show, so I just had to be there. Follow the jump for more.
Jack White is on a mission of late. Between three bands touring extensively in recent years, a new White Stripes’ DVD, a marriage to his model wife, Karen Elson, and 2 albums in 10 months with his latest project, there’s no shortage of insatiable, swampy blues guitar riffs in his bag of tricks (or drum licks in this particular case). Following up 2009’s Horehound is their latest Sea of Cowards. Right away the differences between the two albums are apparent, on the vocal front, there’s more Jack White’s smarmy howl, which was primarily the Kill’s lead singer Allison Mosshart’s forte; and secondly, there’s more secure percussive stylings from White, which steadies the record as a whole from start to finish. If there was a question about their last release, it was not focused on intent or motivation, but in the execution.
At first spin of the vinyl, the bass lines and kick drum rumbled my speakers. From the first few lines of ‘Blue Blood Bones’ it’s obvious that White has been practicing. He is no doubt one of the hardest working musicians in the game nowadays, but he manages not to over-extend himself. That may be in part to surrounding himself with like-minded uber-talented musicians which push towards high quality in every collaboration. With the afore mentioned Mosshart approaching rock goddess status, Queens of the Stone Age guitarist Dean Fertita and Raconteurs‘ bassist Jack Lawrence are by no means pushed into the shadows. Even though it may seem that way with White’s growing influence and Mosshart larger than life personality. In only 10 months the group seems to have hit their stride and are thriving in the new found confidence which translates to one of the best live shows in the world, though the creativity for song-writing is still lacking. As with the last, the intent is solid and the execution is much stronger, but the tunes just don’t carry as well on the turntable as well as they do on stage. For some, that’s not a bad thing; and I just happen to be one of those people. If you caught the group’s last stop through Austin at Stubb’s, you know exactly what I mean. These songs just can’t be contained in a formal studio release, though try as they might.
Sea of Cowards is much angrier than their former, allowing the band to show their angst and fierce nature, letting loose on tracks like ‘Hustle and Cuss’ and ‘I’m Mad’. ‘The Difference Between Us’ is the first track which solely highlights Alison Mosshart’s full potency as she dominates the track. The first single, ‘Die By The Drop’ is no doubt one of the highlights of the album with Mosshart and White each taking turns howling alongside strong performances from Fertita and Lawrence. During ‘Looking At the Invisible Man’, White it seems to be making a symbolic gesture of his desire to step out of the spotlight and to let his accompaniment shine, and the realization that it is no use. He exclaims that he is the invisible man, though his presence is always felt. On the final track ‘Old Mary’, White recites last rites with a simple piano accompaniment before the band pounds out the finale in style. Something tells me this however is not the last breath of this rendition of White (and Company). In fact with White’s steadier percussive talent, I feel the best may be yet to come. This is by no means the best album of the year, but it is a worthy successor to Horehound.
To refer to this as one of the most anticipated albums thus far this year is probably an understatement; throw out Grizzly Bear and this is the album everyone wanted to hear. Passion Pit finally have a full length, Manners, to help you make up your mind; are they worth all this hype?
You’ll have to make up your own mind on that one, as this album is sure to be a polarizing one for many listeners. It builds upon the promise of the bands Chunk of Change EP, but does it go much further than the sounds the band first introduced? Really, at some points, the band seems to sort of tread upon the same spot for a little bit too long.
One thing you will note immediately is that the band definitely will have you moving your feet, as the opening moments of the album definitely provide you with full bouncing capabilities. The pulsating rhythm does not, however, make up for the lack of vocal quality, which really is probably just a matter of personal tastes; the high pitched yelping all across these first two songs is just a bit much.
Then the band hits you with their one-two punch, bringing in “Moth Wings” and “The Reeling” in succession. “Moth Wings” succeeds for the group where other songs have failed, as the band seemed to have tamed that vocal, which allows listeners to see right into the moving sound collages Passion Pit have constructed, as layers dance upon layers, shimmering to the surface. “The Reeling” surfaced as the band’s first single, and deservedly so, as it packs the dance-floor ready stomp that recalls elements of MGMT during their brighter moments. Still, the most enjoyable quality is the warmth of the vocal contrasted against the electronic pulse beneath.
Other moments on the album seem to find the band going over the same space, as they attempt to combine various electronic samples with unique vocals (still a touch annoying), building and building until it achieves dance-psych bliss. But, elementally, it all sort of blends together, as there isn’t much that differentiates each song from the next. Each song seems to run into the next one, making the listening experience a little redundant.
Don’t get upset here, but the release of Manners is probably exactly what everyone expected it to be. It’s a good listen for a few rounds; it’s an interesting one to say the least, but it won’t be the most moving thing you come across this year. Too much of a good thing sometimes turns things for the worse, and in this case, Passion Pit might have just gone that route.[audio:http://austintownhall.com/wp-content/uploads/2009/05/11-seaweed-song.mp3]
Download: Passion Pit – Seaweed Song [MP3]
Bricolage released their self-titled album earlier this year in the UK, but little fanfare made its way over to the United States, aside from a little bit of bubbling press; rest assured that Bricolage is an up-and coming act that will surely win you over upon your very first listen. And let’s not all act surprised that this is yet another solid band hailing from Glasgow.
Here you find a band that is ready to make guitar music you can dance to, and they do it in the most straightforward fashion that you have to be enamored by everything that they do. The second track, “Flowers of Deceit” brings to mind the boot-stomping moments from early Franz Ferdinand records, but in a much less post-punk sort of way. Guitars are a little bit warmer, as if each chord is struck with a little bit less anger/more affection.
Something sunny this way comes. “Footsteps” is just another track that exemplifies the swinging emotion of the band. Layered guitars and precision drumming bring to mind the poppier moments of bands such as The Lodger or Mystery Jets. All these bands use warm vocals to counter the angular guitars; you can’t help but roll down the window and let the music carry you down the road.
Let’s not think that this band is nothing but a modern dance troupe as they have the ability to carry a classic pop ballad along the way, such as “Plots are for Cemeteries,” which seems to use a bit of tropicalia in the overall crooning aesthetic. “Sleepwalk to Me” is similar in that it slowly maneuvers along, progressing without ever really picking up the pace. Even in the slow moments the band can catch your attention.
“Turn U Over” is an obvious single, instantly ready for your best dance party, at this late moment in the album, it makes you look back at the album as a whole; the album is full of great moments and great songs from start to finish. The latter half of the album packs as much punch as the first part of this album, and the only thing that detracts from this entire collection of songs is that you might find that the band walk the same line for much of the album, but using multiple vocalists allows enough strength to each song that you never get the feeling that the band is retracing their steps. Bricolage is just another reason we should all move to Glasgow.[audio:http://austintownhall.com/wp-content/uploads/2009/05/02-flowers-of-deceit.mp3]
Download: Bricolage – Flowers of Deceit [MP3]
Conor Oberst has long been able to manage his own evolution as a songwriter. Since he was a young lad in his hometown of Omaha he has asked for little help outside of Mike Mogis and Andy Lemaster; on Outer South he gives up a fair amount of the writing to various members of his Mystic Valley Band. Unfortunately, this group of mystics just doesn’t come across nearly as convincing as anything previously released under Conor’s name.
A noticeable difference here is that the acoustic guitar and orchestration that usually accompanies an Oberst outing, even on last year’s self titled album, has always played a significant role in the presentation of song. Even the spectacular work of Mogis always seemed to raise the guitar to the heavens for all to listen; this round, the full-on band approach that began to evolve on Conor Oberst has fully taken root.
The side effect, not only of allowing others to take part in the songwriting, but the encouragement of the full band sound, aside from the mostly acoustic “Ten Women” or “White Shoes,” makes much of the record seem somewhat disjointed. The album seems to waver between various songwriters, and the effect makes it difficult to grasp the album as a whole entity.
The good news aside from the lack of cohesiveness is that there are some bright moments on the album that solidify the progress that Conor has made as a musician. Many a detractor always commented on the warble that existed in his early recordings, especially when you look at Fevers and Mirrors, but that unstable vocal has long since disappeared, making way for a more mature vocal. His songs benefit from this; “White Shoes,” for example, is probably one of the better songs he has written (furthered by the fact that it seems to be mostly him on guitar).
Perhaps this sort of evolution is completely acceptable, and in fact, it should really be encouraged. No one wants to listen to the same record being recorded time and time again, so you have to give it to the man for going out into new territory, but in doing so he is bound to alienate various listeners, perhaps even his most diehard fans. The error with the album, though there are bright spots, is that he has lost his intimacy throughout the recording of this album. Where he once seemed to speak to you in your bedroom through your speakers, he now shouts at you as the lead speaker for a group of musicians. Let’s forgive him for now, and hope the intimacy returns.
Outer South is out now on Merge Records.[audio:http://austintownhall.com/wp-content/uploads/2009/05/09-white-shoes.mp3]
Download: Conor Oberst – White Shoes [MP3]