This track from Whirr is really something. The quiet opening sets the perfect stage for the outfit to crash into your ears with a heavy-handed bit of drumming surrounded by a wall of atmospheric noise that bends and shapes its way around the soft vocal. The recording is one of the better versions I’ve heard from the modern shoegaze-ish era, building this remarkable balance between the vocals and the instrumentation; it makes the song seem more cohesive, as if it was all one thought, rather than someone lumping in one or the other for effect. Their album, Sway, will be released on September 23rd via Graveface Records. Austinites can check them out on Sept. 6th over at Red 7.
Due to ATH regulations, I’m only able to offer up one Slumberland Records related piece a day, which is why I’m a few hours late with this new Terry Malts jam. Musically, this is perhaps the heaviest I’ve heard the band sound; I think it’s one of their greatest attributes, as there’s so many touches and nods to other acts that you can’t entirely pigeon-hole the group. This is the second tune off their forthcoming Insides EP, which you’ll be able to pick up from the aforementioned label on September 23rd.
“What’s you motherfuckin’ problem?” Yeah, I’m going to steal that lyric, especially if you tell me that you don’t love this song from Foreign/National almost immediately. Once that cymbal work kicks and the pulsing from the rest of the group kicks in, I got hooked. Then the smooth vocal delivery came in all hidden behind a bit of reverb, and I couldn’t turn it off. They’ve been working on a brand new EP that’s due to come out in September; if it sounds this good, it’s going to be hard not to rave about it all year long.
Every blue moon, or perhaps more often, I just want to find this huge expansive piece of music to get lost inside. This nearly 8 minute track from The Ukiah Drag is just the piece for me, with sprawling movements of rolling guitar riffs melding with these semi-preached vocals. It’s amazing how one just gets tossed up into their dark mess, then finds themselves tumbling all the way out. Getting lost inside the realm of this band is sure to happen quite frequently for those who choose to pick up their newest release, In the Reaper’s Quarters, via Wharf Cat on September 9th. Come on, just check the art work…something wicked this way comes.
We’re just a short distance away from the release of Exi (September 9th), the newest album from Austin’s Love Inks. I’ve always appreciated the group’s work, but I really enjoy their use of space on this latest single. Sherry’s voice is the dominant focal point, while there’s very light bass movement in the distance, accented by little guitar pieces and synthesized beats. The song walks this fine line of feeling huge and empty at the same time, which is quite an accomplishment in and of itself. Those living outside of Austin will again get a chance to see the band perform live, as they’ll be touring the States throughout September.[audio:http://austintownhall.com/wp-content/uploads/2014/08/08-Regular-Lovers.mp3]
This track is really beautiful. There’s this great warmth to the harmonies, and the construction is perfectly fitting. I’m not sure how I feel about some of the warbling on the percussion, but I can put those feelings aside as I fall head over heels into this song. There’s tons of little sonic touches, and the song seems to fade in and out of your speakers, creating this emotional pull that will find few detractors. Sunbeam Sound Machine will release its debut album, Wonderer, via Dot Dash/Remote Control this November.
I have absolutely no idea what this song is saying. I’m actually okay with that, just getting absorbed in the frivolous feeling that comes with jamming to this new track from Yelle. I’m not going to lie to you though; I have a feeling that if this were sung in English, this would be a pretty big club hit all over the United States? Does the usage of French excuse it from the trappings of radio friendly hits? For me, yes…and no. I can excuse it, as I actually sought this tune out. That and sometimes I’m realizing that as much as I want to be a critic, it’s better if I just give in and let myself have a bit of fun from time to time. You can check out the full album, Completement Fou on September 30th via Kemosabe Records. The group will also be in Austin for Fun Fun Fun Fest, you know, if you’re in Austin and into our string of great festivals.
I’m really excited about the new album from Rural Alberta Advantage; they always find a way to weave themselves perfectly into my life. This new single sounds huge, production-wise, which comes with a bit of trepidation, but I love the piano matched with male/female singing. I’m hoping that while the record has a larger quality that it still holds the intimacy the band has used in their earlier recordings; there’s a nice touch of it at the end of this song. Mended with Gold will be released on September 30th via Saddle Creek; I’m hoping for the best.
Figure we’d start off our week with some crunchy guitars and smooth vocal delivery from Toronto outfit, Teenanger. The guitars have this little bit of swagger in them, with some ringing mini-solos, while the sultry attitude of the vocals is casual. But, they’ve also got a few tracks where the male vocal takes front focus, so don’t pin all your hopes and dreams of this band on one style. If you dig it, look for the group’s EPLP to be released on September 9th via Telephone Explosion.
Some labels always surprise you with the music they’re able to get their hands on, which is why I feel like I can always count on the folks over at Trouble In Mind Records to turn me onto something good, like Germ House. The song opens up fairly calmly, though I particularly latched onto the vocals. While it might seem to stay in place, there’s a jump for the chorus, picking up the pace in the track. It’s a pretty great tune, putting the group on my radar, thankfully. You can pick up their new album, Showing Symptoms, on August 26th from the label.