Austin Town Hall

Rating:

Since they released their first 7″, the name of Free Energy has hit all across the blogosphere, garnering hype as a straight ahead rock ensemble a la Thin Lizzy or Cheap Trick.  Backed by the production talent of LCD Soundsystem’s James Murphy, no one had any idea how far this band could really go. Finally, Stuck on Nothing is upon us, and it lives up to all the accolades for the most part.

That first riff off “Free Energy” hits you hard, with a little rock emphasis thrown in by the excessive cowbell. It’s easily the most hook-laden on the record, and it’s one you could easily find lying on mainstream radio channels alongside the likes of Weezer.  Sure, that seems frightening nowadays, but you know you liked the blue album too!  I mean, its filled with the exact same sort of mediocre guitar solos in the middle.

They don’t stop bringing you their cookie-cutter rock moments for the first several tunes on Stuck on Nothing.  Despite the originality in the opening minutes, you’ll find that songs like “Dream City” just have that sort of hook that you imagine your parents got stoned to during college, which probably means you did the same in high school at some point. But, you’ll find that the band is just more than a nostalgic throwback once you get to “All I Know.”  Yes, it does have a very similar riff aesthetic, but slowing down the pace of this track reveals that Free Energy can grab your attention without being overtly in your face all the time.

From here on out, the record begins to really hit its groove.  The band discarded the balls out fury they opened the album with, opting instead to push their sound just a little bit further by working on those guitar solos, and in fact, in doing so, they’ve made the rhythm guitar moments sound a great deal more effective.  It’s this sort of song construction that creates ultimately more enjoyable moments than those fueled by cock-rock.  Sure, you can hear all sorts of Thin Lizzy over “Young Hearts,” but Free Energy somehow manage to make it all their own (most likely due to a singer that is not Phil Lynott). “Hope Child” is another step into the band developing their own sound entirely.  They take the classic guitar stomping moments that have been present throughout, but they throw a bit of California punk vocals atop the whole mix.  It’s an effective move, one that makes the band sound a infinitely more relevant in today’s musical climate.

As you can see, the one thing that the record really lacks is excessive creativity.  That being said, no one is going to deny that you’re going to have a whole keg worth of fun jamming to this record all Spring long.  Occasionally it’s okay to let go of all pretense and just let your hair blow in the wind, and Free Energy is here to be that band for you.  Stuck On Nothing brings you exuberance for days, and as the sun comes out in March, could you ask for more?

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download: Free Energy – Free Energy [MP3]

What’s the best concert you’ve ever been to? For some of us it was the experience of enjoying a concert with a group of close friends. For others, it was catching your favorite bands before they hit it big or finally being able to see your music idol up close and personal. Today’s Top 5 is a collaborative one. We’ve polled some our writers and compiled an unranked list of some of our greatest concert memories. Follow the jump for our picks, and be sure and let us know about your best concert ever when you’re done.
Read More

Rating:

 Chapel Hill, North Carolina’s Polvo began in 1990 when most of us were mere babes.  After four critically acclaimed albums, a sting of EPs released on Merge and Touch and Go, and tours across the United States and Europe with bands like Sonic Youth and Pavement, Polvo called it quits in 1997.  But, as is the recent trend, Polvo reunited in 2008 for All Tomorrows Parties and several stateside shows, this string of performances then mutated into Polvo’s first album in twelve years, In Prism.

To this reviewer, Polvo has always been one of those bands that is familiar in name, not by output; the scene workhorse that consistently releases albums without much fanfare.  I always felt a bit guilty about not really giving Polvo my attention: they wrote solid well-crafted songs and delivered them genuinely, what’s not to love?  The problem I saw Polvo having was that they there were other active bands at the time (Archers of Loaf, The Jesus Lizard, and Jawbox, to name a few) that were doing the exact same things, only better.  Polvo got relegated to the indie rock B-team with bands like Giants Chair and Gauge.  I am not trying to slight these bands. They all deserve much more credit than what they received for one reason or another.

That brings us to In Prism, which, like the rest of Polvo’s career, isn’t good or bad, it’s just okay.  The songs are interesting, but they all seem to follow the mid-nineties math rock playbook: riffs on top of riffs, changes on top of changes, quiet part, vague emotional lyrics, noodling solo, repeat for 5-8 minutes, TA-DAH!  The songs that having staying power are track three “Beggar’s Bowl” and the album closer “A Link in the Chain”:  “Beggar’s Bowl” deserves recognition for two reasons, besides being one of the stronger cuts on the album, 1) It’s laughable, yet endearing use of chimes, and 2) I defy you to listen to the song without singing Queen’s “Another One Bites the Dust”.  “A Link in the Chain” displays the slower side of Polvo, which does well to show how truly great guitarists Ash Bowie and Dave Brylawski are at their instruments (although I could’ve done without the epic Yes-ian build-up only to be met with, essentially, an instrumental cock-block [don’t worry I won’t quit my day job]).

We live in a time where everyone longs for their favorite bands to reunite and release “just one more album” or go on “one more tour” and while In Prism is a solid album that any band should be proud of, I think it’s time to retire those thoughts of Pavement, Archers of Loaf, or Quicksand reuniting and just be happy with memories of the way things were, rather than grieving over what those bands have become (I’m looking at you Weezer).

In the current state of the music industry, we’re all overly concerned with singles, rather than the completed album.  But, long ago, people put thought and art into the creation of the ending of an album, the summation of their musical statement.  We all have sat in our rooms, at least I hope, waiting for that last song, that last breath of music, in hopes of the perfect summation to an album.  A brilliant closer almost always warrants a brilliant album, and we’ve compiled a list of our favorite album closers that always guarantee we listen to said album all the way through until the needles hits the vinyl and emits that hiss signaling the end of the record.
Read More

Rating:

Britain’s The Boy Least Likely To have made waves in the past with their multi-instrumental pop tunes, and their back at it again with their latest release The Law of the Playground. Their sound clearly hasn’t evolved too much on this album, as they rely upon the same set of tricks that gained them popularity in the first place.

Once you press play, those of indie-pop should surely find a resemblance in vocalist Jof’s delivery, as his voice is a clear descendant of Matt Sharp of Rentals and Weezer fame. Even the musical accompaniment encourages this association, but its nice to have a familiar voice singing in your ear, even if it comes from someone entirely new.

Musically, you can find lots of similarities to various bands.  The usage of multiple instruments throughout the album recall memories of other groups such as Architecture in Helsinki or I’m From Barcelona.  All three groups rely upon an extensive use of layering in order to complete the accomplished goal at hand.  And their is no shortage of bells and whistles here, not by a long shot.

You know the saying “everything and the kitchen sink,” well, it certainly applies.  There indeed are bells and whistles, and it seems as if the band uses any thing at their command to create infectious melodies.  Add some horns, and you’ll find that every single instrument you could imagine to find on a pop album is utilized here.  It’s great in concept, but it has a tendency to wear the listener down.  Just saying.

Now, looking deep in the lyrics will be hard to, as there really isn’t a great deal of depth swirling around the presentation here. Let’s take a song like “When Life Gives You Lemons I Make Lemonade.”  Can you work a larger cliche into song than that one?  Probably not.  Which is precisely where this band loses you; their lack of interest, or seeming disinterest, is where you start to feel frustrated in listening to the band.   They’ve built these perfectly crafted songs, yet they can’t ever seem to close the deal by attaching quality lyrics to such melodies.

Two albums into their career, the band have created a wide array of pop gems to their name, each built with precision and attention to every melodic detail.  Time after time, they surprise you with moments of splendor, as they do in “Stringing up Conkers” on their most recent release.  But, in the end, they always leave you craving for more, be it in regards to lyrics, or in regards to wanting more well-crafted songs, you’re sure to ask for more.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download: Boy Least Likely To – Stringing Up Conkers [MP3]

Rating:

When Say Anything’s Max Bemis decided to join forces with Saves the Day’s Chris Conley, kids all across the globe were salivating as they awaited the first proper release from Two Tongues. Releasing the album via emo stalwart, Vagrant Records, meant that the union was destined to find an eager audience.

The best thing one could hope for in this union is for the lyrical content, as Bemis and Conley have long been penning amazing lyrics for their respective bands.  Their efforts here are, as expected, nothing short of their individual accomplishments, each coupling great rhyming moments, often pairing them with one another effortlessly.  This is precisely how it was supposed to be done.  Sure, they’re still tackling the same old issues, but they do it well.

Moving beyond, it would be difficult not to comment on the vocal compliments these two offer to the other. Conley’s high pitch is counter-balanced by the heavier, deeper tones of Bemis. Their intermingling of vocal parts adds a musical element to the album that is difficult to come by outside of Kanye’s studio.  Not to mention, the combination of vocal harmonies definitely keeps the album fresh, which the gentlemen have been unable to do in recent efforts with their mainstays.

Musically, you just have to combine the stylings of both groups.  Sure, it sounds simple enough in theory, but to fuse these two songwriters, and their distinctive styles, one must jump leaps and bounds.  The heavier elements almost certainly owe to Conley, as Bemis’ forte seems to be in crafting bouncing pop-punk elements along with angular guitar chops.  At times, the combination creates some unique moments, such as the Weezer-esque “Don’t You Want to Come Home.”  It might even have a little bit of Billy Corgan in the vocals, but you’ll have to see for yourself.

Perhaps the best moments come on this album when they keep it short, as in under three-minutes, as some of the songs can drag out just a little bit much.  But, when they keep the elements contained and simple, they hit hard and fast, just as you would want from a band of this ilk. It’s a solid album for those searching for a more upbeat sound as Spring rolls itself out, which apparently isn’t for another six weeks. Hopefully this will get  you there with your spirits up.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Download:  Two Tongues – If I Could Make You Do Things [MP3]

Looking back at my sad excuse for a life, I realize that my obsession with music had to begin at some point. I flirted with metal, as I alluded to last week, but mostly I found my love in classic California pop music and punk rock. Along the way, I meandered a bit off the path, as most did during the late nineties. Where did I land?  I landed in the wonderful world of emo. Sure, you’re thinking that I shopped at Hot Topic and couldn’t get Fall Out Boy out of my head, but I’m talking about the predecessors to the entire scene; well, the predecessors of the predecessors. I’ve devoted this week’s Top 5 to my one true love, emo. We’ll call it my Pop 5 Emo Records, and the countdown is after the jump.

Read More

Today marks the beginning of a new feature on Austin Town Hall.  Every Friday we plan to bring you a completely random Top 5 List.  We’ll be bringing in all of our writers for this one, with the goal of creating lists based on what we are most passionate about.

We apologize for starting on a negative note, but today’s topic is “The Top 5 Worst Things In Music”.  We try to focus on the major problems and not just nit picky things like the existence of Scott Stapp.  These are the issues.  These are things that must be changed.  Follow the jump to read the full list.

Read More