When attending a concert, the music can often be only a part of the overall equation. Setting is an enhancement or detriment to the overall experience. With the blissfully tranquil setting of Sasquatch Fest around the corner, my mind began to wonder. Setting in a natural area is often the easiest way to enhance a mood. However, sometimes an artist wants to personally expand on the themes written through song in a live setting, and that’s when the set design becomes more and more elaborate. When the design just comes out as self-aggrandizing and strange, it distracts the audience from the show. Take for instance Kanye’s theoretical Ferrero Rocher Gold wrapper design or Bowie’s giant spider. There is certainly a fine line here. Nevertheless, in some instances bigger, brighter, and complex structures work to frame a show that can be talked about years after the fact. On that note, here’s the FT5 of most badass, over the top Set Designs.
In the 60s it was the Beatles, the Kinks, and the Rolling Stones. In the 80s it was Duran Duran, Eurythmics, and New Order. I wouldn’t say it was an “invasion,” but here are some of the best British bands of the past decade. Sorry, Susan Boyle didn’t make the list.
When The Dutchess and the Duke burst onto the scene last year, creating havoc for every person using Microsoft Word, we couldn’t have been happier. Their acoustic duets recalled The Rolling Stones, but with a little bit more with portrayed in the lyrics. Now, they return, with their second album, Sunset/Sunrise, willing to do it all again.
“Hands” opens the album, and it’s clear that the sun has gone down on this duo. Lyrical messages hint at dark times for the narrator, but as the chorus bursts through, you see the same formula from the hits off their first album. Sure, there is a hint of guitar soloing, but it’s just enough to show hints of change, without altering the game completely.
“Scorpio” exists as one of the finest moments on the album; you would call it the brightest were it not for the lyrical imagery. Flourishes of orchestration (a violin perhaps) fittingly add a bit of melancholic tone to the tune, hinting at the gravity which exists at the heart of the song. So when you come across “Living This Life” you can see that the distance referenced in “Scorpio” has finally come to sit in with the band. Everything about this album seems to exemplify a distance, be that with family or lovers. As the guitar meanders, seemingly over a horizon afar, you can feel the emotional change of the group.
As you hit the album’s almost title track, “Sunrise/Sunset,” the picture of a shift in the writing process has come to complete fruition. Kimberly Morrison has taken over vocal duties for this song, as well as “When You Leave My Arms” Although her smoky vocals are a perfect accompaniment to Jesse Lortz, these two songs demonstrate that she has a knack for pulling every bit of emotion out of her songs. It’s a refreshing twist to Sunset/Sunrise, clearly deepening the repertoire of the group, rather than labeling them as re-hashers of classic rock.
Unlike the last album, which hit you in the face real hard up front, the new record seems extremely even. From start to finish, there seems to be some sort of focal point for the group that allows for such balance, which ultimately might make this album stronger than its predecessor. And you come to the perfect ending with “The River.” The song is treated by some soft touches of piano, perhaps providing it with a touch of the epic ending. Ultimately, this song serves as a summary for the album. Questioning one’s existence, and one’s relationships to loved ones, all wrapped up in one final tune. Perhaps it was written for the soon to be child of Lortz, who, like us, will look on Sunset/Sunrise with pride, longing, and perhaps a little bit of reflection.[audio:http://austintownhall.com/wp-content/uploads/2009/10/10-The-River.mp3]
Download: The Dutchess and the Duke – The River [MP3]
The Black Lips have recently gotten more acclaim, or seemingly so, for their exploits off the stage. They’re followed around like the Paris Hilton of the indie world, but the questions that follow should really pertain to the quality of their music. It’s clear that their a ramshackle bunch of lads, but when that carries over to their music, can we follow along? 200 Million Thousand attempts to answer that question.
It’s really hard to find a ground from which to approach this album. Sure, the obvious psychedelia surrounds the band, not to mention the garage quality that has been there from the beginning of the band’s climb into our record collections. All these qualities point to an album worthy of critical acclaim, but only if the band can bring it all together.
Here, they don’t quite execute. There are some clear misses on the album, such as the vocal quality. Every time this band releases an album, it seems as if they shy away from the singing being a focal point. When you come across a song like “Starting Over” or “Old Man,” it seems as if they might unleash some hidden vocal talent, but its just not there. The rest is hazily smothered in shadowy production, disguising the vocal for the most part.
Then, you come face to face with the fact that the band finally seems to have gotten a cohesive sound together, but the sound just doesn’t quite seem original. It’s shrouded in the past of bands like The Velvet Underground and The Rolling Stones. Are they trying to be ironic by miming some of the most heralded acts around or is this an honest representation of who the band truly is as a group? The answer is certainly difficult to come by, so one must take the songs into account.
“Drugs” is a California surf-pop romper, fueled by the twang of the guitar. Even with the shotty vocal effects, you still can feel the catchiness of the song as the group sings in unison. And of course, that is followed by the super “Starting Over,” which may very well be one of the best songs that we hear all year. There is an inexplicable quality to the song that wins you over as soon as the guitar comes in during the opening moment.
Interestingly, there is also a soul tinge on this record, which may display some of the more banal qualities of the group as a whole, but the power of such songs is undeniable. “I’ll Be With You” is the song you expect to hear when watching a scene from the Enchantment Under the Sea Dance. It’s got that classic Buddy Holly guitar sound, but with a more juvenile approach to songwriting. It’s earnest, and it deserves appreciation.
At the end of the album, you have to take the Black Lips for precisely what they are: a gaggle of ruffians eager to write soulful psychedelia that they hope wins your heart. It might not be the most original piece of work to ever come our way, but rest assured there are a bunch of songs here worthy of high praise.[audio:http://austintownhall.com/wp-content/uploads/2009/02/10-old-man.mp3]
Download: The Black Lips – Old Man [MP3]
A few days ago, we gave you part one of our albums of the year list. Today we bring you the best of the best from a wide range of artists who brought the noise this year. We’ve fought it out amongst our ATH writers for weeks and these are the albums that we all loved. These 15 albums went into thunderdome and emerged victorious. Follow the jump to see if your favorite band made the Top 15 of 2008.
Before giving in to a dear friend’s suggestion, I hadn’t heard much about The Dutchess and the Duke. Sometimes a lack of knowledge is precisely what you need to come across a brand new album with open arms, awaiting the approach of greatness. Thanks Corey.
Here is some background information, though limited. The band hails from Seattle, although they resemble very little of that signature sound. Currently, they are touring our nation in support of Fleet Foxes. Apparently, they’ve been friends for a long time. That’s about all I’ve come across.
The opening “Reservoir Park” immediately brings to mind the Rolling Stones, which isn’t a bad place to start off an album. The chorus, with dual harmonies, is absolutely perfect. I believe that this song is going to be in my Top 5 Singles of the year. I’ve placed it their already.
After opening appropriately, they switch it up–they go off sounding more like a product of Nashville or Louisville, filled with American traditional country pop goodness. The interplay between Jesse Lortz and Kimberly Morrison on the following songs is precisely what makes this so special. I feel like it’s everything that She and Him were built up to be, but here it’s much more real–much more authentic.
“Strangers” has them returning to that Stones flavor. It’s everything you want in a song, with both singers harmonizing the whole way through the song. There isn’t a bad thing to say here. And they follow that up with “Back to Me,” a song about trying to recapture that great love of your life. Sure, its cliche, but the earnestness wins you over.
And all of a sudden, they bust out the ghost, well soul really, of Bob Dylan. “Mary” is the perfect song at this moment because it switches the sound, though not too much. The band maintains their personality here, keeping the album interesting. This band has an arsenal of classic musicians to reference, but never once does it feel as if they faked it.
The album closes with “Armageddon Song,” which, for me, is the exact ending I wanted to this album. It’s an acoustic affair full of harmonies and whistling–its the song where they seem as if they’ve completely shed their influences, just to let you in closer to themselves.
Despite wearing their heroes on their sleeves, The Dutchess and the Duke have created a wonderful debut album; this is one that is sure to hold up as one of your favorites for a long time to come. Don’t take my word on it; please please please listen.[audio:http://austintownhall.com/wp-content/uploads/2008/07/01-reservoir-park.mp3]