Wavves – Wavvves

wavesRating: ★★½☆☆

It has been a productive year for Nathan Williams of the beach punk band Wavves. He released his first self titled album, a cassette, two 7”s, and now his second LP entitled Wavvves. Whew… but, ferrrrrrrrrrrt. You can’t help but give him credit for being prolific and releasing everything he creates without a filter, but herein lies the problem of not having a solid, well crafted album from beginning to end. His lo-fi approach reminds me of Times New Viking’s recording style in that they are lo-fi for the sake of being lo-fi. They have enough money and resources to record albums properly, but they’re too effing cheap to cough up the dough. It’s either that or they think they’ll get credibility for sounding raw, edgy, and punk as fuck but really, they just sound like total shiite on record. I really don’t understand why someone would want to record an album where a listener can’t even make out the lyrics? Everything is hitting red on the dials while recording which makes it clouded in white noise and fuzz to the point where it all breaks up. This minimal recording method can be thrown to the waste-side, but the album does have some shining moments when the album’s few strong songs break through Williams’ pot-fueled instrumental experiments.

“So Bored” is an instant ear grabber that breaks the trance of “More Fur,” a song in which Williams is setting the course for the Enterprise to deep space and does little more than use delay and an arpeggiator. “So Bored” brings things back to earth by starting off with a driving drumbeat that gets one of the raddest and dirtiest guitar intros I’ve heard in awhile. That’s right mofos, I just said rad. The vocals soon follow and the song is a beautiful dirty mess which showcases his melodic sensibilities instrumentally and vocally. (Note: try and figure out which 80’s song he copies with his closing guitar line. First one to do so gets free drinks on me the whole show when they play here in Austin for SXSW). “No Hope Kids” is another rocker that talks about, well…I don’t know because you can’t understand what in the hell he is saying since the recording sucks so bad. But the chorus is…(drum roll) “Nooooo-hooooope-kiiiiiiiiiiiiidsssss!” “Surf Goth” is another honorable mention just based on the weirdness of the singing alone. It sounds as if Williams invited Gene and Dean Ween over and began knocking a few rounds back and taking whip-its together.

It is tough to say whether Williams’ output is something to admire or if it needs to be controlled. I like the fact that he is willing to put everything out there for everyone. The problem for me is that his ideas seem a little fragmented at times. The space voyages that he goes on are tiring and trying of one’s nerves. Alot of artists will use noises to add to a song for texture later. Some of these ideas can be used, some thrown away. Sometimes the artist will release the songs that aren’t quite as strong on b-sides or reissues in the future. Williams needs to critique himself a little bit more to make an album that is more defined. Shave off the fat, get rid of the noises and the songs that aren’t as good and be patient for at least another 6 months to a year. Then he’ll hopefully have from beginning to end, a slew of well-rounded, more thought out songs.

We will definitely get to see step by step, note for note, the progression or digression of this 22 year old. Will he wait a little bit longer on his next release and fine tune these thoughts? I am curious to see which way Williams is going to go because there are good moments on Wavvves where you can see the hints of potential. I just need to be able to hear what he is saying.

[audio:https://austintownhall.com/wp-content/uploads/2009/02/07-so-bored.mp3]

Download: Wavves – So Bored [MP3]

FT5: Pub Rock

0206top5coverWhile it’s true that most early Pub rock was just a bunch of British dudes ripping off The Band, at it’s core it was a roots rock movement reacting to the wankering of Emmerson, Lake and Palmer and other over-the-top progressive rock acts of the early 70’s. You can just imagine a working class kid in England seeing this on the telly. More of a circuit of pubs and music halls than an exact musical genre, Pub rock created an outlet for stripped down roots rock that would eventually pave the way for punk rock in England. Ranging from bluesy country to basic rhythm and blues, if there was one aesthetic that was common to all of the Pub rock scene it was a no frills return to basics. So grab a pint, start calling your friends your mates and your pants your trousers, and check out the Pub rock top five.

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Appleseed Cast @ Mohawk (2/7)

acastNow that we have sufficiently hyped up The Appleseed Cast’s latest release Sagarmatha, it’s time for the boys to play a show in our little town.  You can catch the band at Mohawk this Saturday evening along with True Widow and Austin locals The Calm Blue SeaTickets are running at $10 with doors set to open at 8pm.  Don’t miss your chance to see this incredibly underrated band in the live setting.

[audio:https://austintownhall.com/wp-content/uploads/2009/02/03-forever-longing-the-golden-sunsets.mp3]

Download: Appleseed Cast – Forever Longing the Golden Sunsets [MP3]

Iran – Dissolver

irandissolverRating: ★★★★☆

It has been seven years since the last release from Iran, which makes the forthcoming record Dissolver one of the more curious and anticipated albums of 2009. Especially after the song “Buddy” was found all over blogs in October of 2008, we heard the new direction that the sound was heading in — Hi-fi(ve) and thank-you for doing so boys. Fresh off of living in Norway for two years to make a successful documentary about the black metal movement, “Until the Light Takes Us,” Aaron Aites returns with an album that touches on many musical templates. Pop, soul, doo-wop, folk and of course- the NOISE can all be found on this outing. Helping bring the sounds to life are Kyp Malone (TV on the Radio), Peter Hoffman (The Mendoza Line) and Aaron Romanello (Grand Mal).

The first thing that catches your ear from the get-go is that this wasn’t recorded in a bedroom, on a 4-track recorder like the first self-titled album and the second called The Moon Boys. It is a natural progression for a band with more resources, a bigger pocket book, and everyone in it being more established. Where The Moon Boys built upon being a tinge poppier and more restrained than the mega-experimental freak-outs of its predecessor, Dissolver aborts the pit stops and emerges with its fundamentals in tact, boldly new and refreshing.

The album was recorded at Gigantic Studios with Malone’s bandmate of TVOTR Dave Sitek putting his thumbprints all over the sound of the album. With concise and controlled fuzz always being the trademark on his own albums, Sitek’s sound meshes perfectly with the sound initially made by Aites during his gritty, 4-track days. While listening to these beautiful harmonies accompanied by larger than life doubled voices, it’s hard not to notice the TVOTR bleed over. Songs like “Buddy” and “Can I Feel What” are prime examples of Malone’s contributions of high, ball-grabbing harmonies and tasty fuzzed out guitar playing. “I Already Know You’re Wrong” is a Beach Boys inspired number ala’ “Sloop John B” that carries a great surf groove with a similar vocal rhythm and again, great harmonies.

Then there’s the experimental noise of “Baby Let’s Get High Together One Last Time” with its Pavement infused undertones. The sassy wordplay and erratic guitar lines have a familiarity about them that bring back memories of mid 90’s slacker rock. The song ends in a wall of sound of electronic bleeps and glitches which segues into “Digital Clock and Phone.” Not leaving their roots far behind, Iran shows they still like to make a little noise. This will take you old fans back to “The Music Plays Itself” from their first album. Enjoy!

Btw-do yourself a favor and buy this album, though rumor has it that it may not be released until February 17th, because chances are, you will never get to see them play live. They are renowned for not going near stages very frequently with their only show being scheduled for March 6th at the Mercury Lounge in New York.

[audio:https://austintownhall.com/wp-content/uploads/2009/02/02-buddy.mp3]

Download: Iran – Buddy [MP3]

New Tunes from Nite Jewel

niteHere’s a new track from Nite Jewel and her album Good Evening. It’s got a dark 80s wash all over it, as if it was produced strictly for one of those secret clubs you can only enter by the back door. If you like what you hear, keep your eyes and ears posted, as she’ll be all over town singing her heart out at SXSW. 

[audio:https://austintownhall.com/wp-content/uploads/2009/02/04-weak-for-me.mp3]

Download: Nite Jewel – Weak for Me [MP3]

1/31 Broken Social Scene @ Bass

bss1This past Saturday we were lucky, as were many of our fellow Austinites, to catch Broken Social Scene in the act. The band played for nearly three hours, despite Kevin Drew’s illness, which forced him to cancel their show in Dallas on the previous evening. Here are some solid pictures from the show for you to relive those special moments, or to pretend you were there. You can also read our interviews with Charles Spearin and Brendan Canning.

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From the Closet: The Faces

faceThis week we bring you a tune you’ve all probably heard, at least for those of you who are fans of Wes Anderson. Or maybe you just like to go through Rod Stewart‘s entire catalog. Regardless, this is a pure gem. And, to top it all off, Austin is now home to one of The Faces founding members, Ian McLagan, who now fronts The Bump Band. Cheers. 

[audio:https://austintownhall.com/wp-content/uploads/2009/02/3-16-ooh-la-la.mp3]

The Pains of Being Pure at Heart – s/t

painsRating: ★★★★½

Some of the simplest music occasionally connects with you on the most personal level, and this probably is just one of those times.  The Pains of Being Pure at Heart have released one of the most personal albums of the year, and yet there is no explanation.  From start to finish, the album wins you over, time and time again.

Minute one is full of the jangly guitar pop that leapt all over the indie landscape throughout the late 80s and into the 90s.  Surrounded in layers of reverb and feedback, it chugs along, claiming that “you never were a contender.”  Lyrically, it is one of the most simple ideas put to paper, but you can carry that any which way you like; it never takes away from the magnificence of the music.

At times, you can clearly see the influence of bands like My Bloody Valentine, as the band use various effects to coat their sound in a darker spectrum, but at the heart of it all is a clear understanding of the craftsmanship in pop formulas.  Suppose you cleared away all the atmospherics intentions of the band, just for a moment.  You would find the most accessible pop song you’ve come across this year, but that’s what makes it so wonderful. This New York quartet didn’t take the easy way into your hearts, they took  the road less traveled.

Vocalist Kip seems like the sort of guy you always wanted to hang out with when you walked through your campus.  He wasn’t pretentious, not even in his writing, as he was assuredly an English major. Still, every time you saw him cross your path, you knew he had something to him; you knew he could take over the world.  Here, his voice is warm and entirely unassuming. The songs he crafts are all the things you wish you could’ve written, and he’ll gladly share them with you.

One of the more intriguing elements here is that the bobbing bass work is precisely what this record needs to move along.  It’s got a certain bounce to it that makes you want to continually move your feet.  It’s club music for those that  just don’t have the need to go to the club every single night of the week. Toss that in with the simple, yet exact, drum work, and you have a rhythm section that can really claim to be the backbone of this band. See “Teenager in Love” for the perfect example of the strength of the rhythm section.

Vocal interplay across the album is perfectly fitting, coddling every little harmony.  There is nothing modern about this record, other than the fact that it came out in modern times.  It could fit in alongside the best albums of the Cure or even the Go-Betweens, yet it stands on it’s own two feet.  Each turn brings you a new melody, a new angle with which to approach the songs. You don’t want to put it down, as you are sure that there has to be more to what lies beneath the album.

But, greatness aside, there is a drawback to the album. You want to keep listening to it over and over again. You want to play it on your walks, in your house, in your car on a sunny day.  That can be a bit much, and since the sound is a bit repetitive at points, you might find yourself worn out on the album in a short time frame.  Rest assured, you’ll be back soon to keep listening to this album time and time again

[audio:https://austintownhall.com/wp-content/uploads/2009/02/07-everything-with-you.mp3]

Download: The Pains of Being Pure at Heart – Everything With You [MP3]

1/30 Los Campesinos @ The Parish

lc2We’ve always been fans of Los Campesinos!, but we honestly weren’t sure what to expect in a live show from a 7 piece indie band comprised of members all in their early twenties. Throw out those preconceptions if they’re keeping you from seeing the band, because they brought the house down at The Parish on Friday night. In a time when most indie or indie “pop” bands can be boring and uninspired, Los Campesinos! brought a raw energy, musicianship and stage presence far more mature than their years would suggest. The band was a non stop bundle of energy jumping on and off stage while telling jokes in between songs. Despite the sometimes spastic tendencies of their music, the songs were beautifully done and created some small mosh pits towards the front of the crowd. Make a point to check these guys out the next time they come to your town and don’t forget your dancin’ shoes. Follow the jump to see some fancy live photos from the show.

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