Author: jon.wagner

Deerhunter – Halcyon Digest

Leave a comment

Rating: ★★★★☆

Deep within the confines of the vast, mysterious internet, news of a certain album emerged. Following the leak debacle of the last release, Bradford Cox and Co. took a more ambiguous approach to releasing a record. The Atlanta based quartet known for their post-punk, shoe gaze roots and enthralling live shows have been relatively quiet since the fantastic Microcastle and pre-release fiasco. The only news we heard even related to Deerhunter was a small tour with untitled new material. This tour debuted while much more press attention was paid to Bradford Cox’s solo outfit Atlas Sound, with its 2009 release of Logos and subsequent tour. Grumblings here and there and a subversive marketing strategy soon after allowed us to put the pieces together and alas we find ourselves in the midst of another gem of a record, Halcyon Digest released via 4AD.

On the opening track ‘Earthquake’, Deerhunter takes a slow, steady approach in reintroducing themselves to the listener. At once, we find ourselves in the middle of an alien, yet unmistakably familiar soundscape. Like the spider and the fly, Cox has a way of pulling the listener in with his swan-song voice while slowly sucking the life out his prey with the rhythm. Though this process is not a violent one; it’s a beautiful dance where Deerhunter spin their web, all senses at once pulsate before it seems like it’s too much. The tapping of a foot turns to muscle memory and we can barely hear the world around us. Rise and fall, these moments erase from existence and what are left are Cox, Pundt, Fauver, Archuleta , and their stunning torturing devices only to open us up and let them in. There’s no way to resist, as our grey matter is their lunch.

On Cryptograms, the band went through a rough stretch and this era brought out a more disjointed song structure while producing some of the group’s most complex ambient elements thanks to Lockett Pundt’s silky-smooth approach. With Microcastle, Cox and Co. reformed with a new purpose and the while the ramblings of previous times are more or less gone, a stronger comprehensive album composition emerged, though the group can’t quite reach that same level at present. There are elements of both sides to the story on display here with ‘Basement Scene’ and ‘Revival’, respectively. This shows that the band is aware of their roots and is willing to not hide their past while searching for perfection. Obviously they are on the right track and even find a new lighter style as heard on ‘Desire Lines’, a definite highlight on the record.

“The devil is now gone from me” croons Bradford Cox on the near perfect track ‘Helicopter’, but I don’t believe him. It’s evil how seamlessly he can create touching and soft, yet unreasonably haunting lyrics. It’s straight up sinful how he can pair these lyrics to the music with such reason and perfection. The tone changes and compositions on this track alone are catching the eye and ears of everyone far beyond the indie community.

With Halcyon Digest, Deerhunter have found themselves as comfortable in their own sound and skin as never before and we can hear this stability in the record as a whole. The vast waves of psychedelia contrasting with the subtle nuances Cox is growing to become well known for are everywhere to be heard. Hipster communities will wine and cry about it, but they’re going to need to find a new band to love, as Deerhunter is soon to become mainstream news. This album has solidified them in the driver’s seat in the indie genre (perhaps even more) and there’s no hope of commandeering the wheel. They are on a road, destination unknown, and you might as well jump in the back, buckle up, and enjoy the ride.

[audio: https://austintownhall.com/wp-content/uploads/2010/09/08-Helicopter.mp3]

Download: Deerhunter – Helicopter [MP3]

FT5: Music Fashion Accessories

One comment

We here at ATH hope that all of you had fun over the past 3 months soaking up the Vitamin D, getting wasted, and subsequently wreaking havoc across our city, but now it’s time to get back into the dreaded educational mentality. One of the truly great things about going to school is the first day. You’ll be meeting new people and making a good first impression is all it takes sometimes to get an excellent shot at a get-together with that certain someone you’re sure to see that day. Well, if music has taught me anything, musicians usually know how to dress to impress. I’m sorry to say it, but summer is over. Get some style for the new school year after the jump.

Read more

Autolux – Transit Transit

Leave a comment

Rating: ★★★★½

In today’s music scene, some bands enjoy success at an early stage in their careers, while some don’t ever see it. For others, success is like a flash bulb, if not a little subdued by quickly falling from the public’s awareness. Such is the case with Autolux, who after nearly a decade hiatus following their nearly flawless debut, are finally releasing their sophomore album, Transit Transit on TBD Records. The still shockingly underground band (despite opening for Elvis Costello, Beck and the White Stripes) has some big shoes to fill in response to their brilliant, and in many ways, perfect debut, Future Perfect. In many ways I see their 6 year hiatus from new material as a sign of acknowledgment that they produced something truly astonishing. The hard question, just like in any art form; how does an artist follow up something so seemingly flawless? These days the music scene is all about ‘what have you done for me lately?’ just ask Arcade Fire. Personally I feel this instant gratification by the listener is flawed and forces musicians to rush their thought processes and formulate abbreviated results. Admittedly, I’m not certain this was the case for Autolux, (apart from drummer Carla Azar‘s freak injury and subsequent recovery time), but the romantic in me hopes it was. Whatever brings the trio to this particular junction has certainly worked, as Transit Transit has and will continue to prove.

Going back to their debut again and into the new release, if there’s one thing that Autolux does very well, it’s the quiet, subtle, and somber arrangements such as found on the title track and opener ‘Transit, Transit’. These well thought out, dark, though dull, yet altogether moving arrangements work well against the soft vocals of Eugene Goreshter. Emotion is the name of the game and they formulate these moments with a minimalistic approach to stunning results. Here’s it’s an epic entry point with towering piano chords and off kilter harmonies arranged in a sweeping spin. The second track ‘Census’ brings more tempo, but still shows the trio at its best while introducing more heavy elements the alt. rock side of the group is also well known for. Following up these 2 tracks however, the thought that just perhaps they had produced another piece of magic is a little short sighted. ‘Highchair’ is one of the weaker tracks on the album for me, while it does contain attractive elements. Apart from a catchy minimalistic beat, the vocals portrayed here aren’t strong enough to keep me interested, though it’s one of the only flaws in an otherwise magnificent effort.

The following track and the essentially the entire remaining album is nearly flawless. ‘Supertoys’ brings back into the fray more vintage Autolux and one of the catchiest hooks displayed in the release; while the first introduction of Azar’s vocal addition is always a highlight for me. ‘Spots’ brings back the superb muted arrangements of the opener but with a more cinematic soundscape produced, echoing their past experiences with writing score. ‘The Bouncing Wall’ marks the first entry of Azar’s vocals in the spotlight in a splendid song against layered guitar riffs and electronics, while their lead single ‘Audience No. 2 is back to the basics with one of the best tracks on the album.  All of the elements from Shoe-gaze to Post Punk to New Wave are here on display and are combined with astonishing timing; this track is one I’m looking forward to live in September at Emo’s. The final track, ‘The Science of Imaginary Solutions’ builds with a simple guitar rhythm against Azar’s heavenly vocals before pounding out a short interlude and into a piano lead crescendo; and this pattern is repeated to great effect.

Overall, Autolux set the bar incredibly high with Future Perfect, and for me they didn’t quite reach that same level of consciousness. In its own regard, Transit Transit is still one the best album of the year, and just hopefully, they continue to build on this momentum and get in the studio more often. As I mentioned earlier however, I’m going to enjoy the hell out of this one. Who knows when we’ll get another chance to hear new material and I’m fine with that. Catch Autolux at Emo’s Outside September 9th with Gold Panda.

[audio: https://austintownhall.com/wp-content/uploads/2010/08/07-Audience-No.-2.mp3]

Download: Autolux – Audience No. 2 [MP3]

Paul White – Paul White & The Purple Brain

One comment

Rating: ★★★★☆

When a man turns into his own private realm to find inspiration, the results can be quite unexpected. If madness and immersion in a subject matter take over a man, the results can perhaps be more predictable. However, when both are combined, you get someone like Paul White. In this specific case, armed with only a sampler, renowned British hip-hop producer Paul White relied heavily on the eastern musical influences from the entire seminal works of legendary Swedish psyche rocker  S.T. Mikael. What emerged from this study is the second album to be released via his own determined One Handed Music label. It also marks his debut in conjunction with Now Again, Paul White & the Purple Brain, which was released back in early June.

For years, Paul White has been gaining quite the reputation as one of the most unique and forward thinking beat-makers in the UK, while in the process continuing to defy categorization. As his discography continues to grow on the foundation of his brilliant debut full length release, The Strange Dreams of Paul White, his sound and even his followers continue to evolve. Known at first as simply a hip-hop producer, White’s beats soon became something more, appealing to audiophiles of all genres. Nowadays, there is no limit to where his beats and his reputation can go, though one thing is for certain, he is working ahead of the curve.

As seen on his previous works and again found here in this primarily instrumental work, the sound-scapes he produces are relatively short in duration (with the longest at 2:23) but lengthy in number. Although his different effects and layers create unique worlds in each ‘sketch’, they all contain the original, overall psych-rock theme. On the opening number ‘Gentle Freak’ he uses a simple and summery guitar riff to form his main layer and from there he continues to form his piece with beat culminating in a track which is unavoidable catchy. On ‘Pride‘ he utilizes the same approach as the opener but creates a dreamy yet psychedelic sound-scape which is truly difficult to describe. He reunites with his hip-hop roots however on ‘Marshen Signals’, though the psych element never strays too far from the source. It’s remarkable how seamlessly White can combine different elements while composing a study as a whole so convincingly. Even on ‘Come Back’ which is the first entrance of a vocal track with its slow groove and ethereal vocals making it especially enjoyable.

Regardless of the track throughout the record, there’s no mistaking it’s the work of Paul White. It’s an incredible piece by one of the most forward thinking producers in ‘hip-hop’ today. The creative and spontaneous nature of his works continues to push the limits of the beat-making world while conversely staying strictly in its own world. It’s this adverse nature and approach to beat-making that gives White the vision and wherewithal to discover new things about his studies and his fantastic purple brain.

[audio: https://austintownhall.com/wp-content/uploads/2010/07/02-Pride.mp3]

Download: Paul White – Pride [MP3]

Blitzen Trapper – Destroyer Of The Void

One comment

Rating: ★★★½☆

ATH Favorite and Portland, OR’s own Blitzen Trapper are back with their latest from Sub-Pop; the ominously titled Destroyer of the Void. The task of following up 2008’s critically acclaimed Furr was no easy one. Following in such momentum of an impressive record and equally hyped tour however is easy with the laundry list of talents and influences which Blitzen Trapper wear proudly on their sleeve. The last time we spoke to the band during ACL in 2009, they told us they were going to highlight more piano and it quickly becomes apparent with their latest they held true to form.

From the first notes of the title track to the last not on ‘Sadie’, the record as a whole is very piano heavy utilizing once again strong song writing fundamentals from Eric Earley. ‘Destroyer of the Void’ (the song) shows in no uncertain terms the sampling of everything in their bag of tricks. These influences and genres include piano ballads, strong off-kilter harmonies, good old fashioned rock, a little country thrown in for good measure, and as always strong songwriting fundamentals. On the second track, ‘Laughing Lover’ the piano is again the focus and this time it is the catalyst for wonderful layering techniques that are quickly becoming the band’s new trademark sound. ‘Below the Hurricane’ and ‘The Man Who Would Speak True’ form a good 1-2 punch with slow intros building into a tempo that the band seem to thrive in, similar to that found on ‘Black River Killer” from Furr. Solid harmonica play starts in the former and continues through the latter creating wonderful flow and consistency. If Earley is good a one thing as heard in the release, it’s creating compelling stories.

From there, the group deals with duality on ‘Love and Hate’ and again on ‘Heaven and Earth’. The latter finally shows more of the heavy blues sound listeners grew used to on such releases as Wild Mountain Nation. This change in pace is short-lived however, with Earley back into piano ballad mode with the latter.  The high point for this listener comes a little halfway through the album starting off with ‘Dragon’s Song’ and its bluesy, almost Shin’s worthy instrumentation, into a wonderful duet with Alela Diane on ‘The Tree’, and topping it off with ‘Evening Star’, perhaps the most lasting and single-worthy track on the entire release.

Overall, the album is much quieter and subdued than any previous release. That may not be the best thing to keep a relatively new and hungry fan-base appeased, but it’s not necessarily a bad thing either. It shows some growth into not relying too heavy on one idea and for Earley, shows the continuous drive for writing the perfect song. Though I continually refer back to Furr and Wild Mountain Nation in years past, only time will tell if this album holds the same staying power. On first taste, the momentum gained by the band following Furr is slowed a little by this release, but only sidelines it slightly. The strengths of Blitzen Trapper are growing and they do many things very well.  This release definitely fills the void left by Furr, but Destroy? That may be a little presumptuous.

Free EP from Efterklang (sort of)

Leave a comment

In 2009, Efterklang was one of our band’s to keep an eye on in 2010, and they lived up to our expectations with their new album Magic Chairs.  Now we’ve got news that the Danes are releasing a free EP with their mutant band, SlaraffenKlang, made with friends Slaraffenland.  Some of the tunes on the five song EP are mash-ups, while some are just joyous jams for you to enjoy with your friends.  So instead of listening to those new Arcade Fire tracks (as they’re mediocre at best), take a listen to this killer ensemble group.  Get your copy of the free EP HERE.  You can also just enjoy this killer track from the Magic Chairs.

[audio:https://austintownhall.com/wp-content/uploads/2010/02/01-Modern-Drift.mp3]

Download: Efterklang – Modern Drift [MP3]

Stornoway – Beachcomber’s Windowsill

Leave a comment

Rating: ★★★½☆

In what seems an endless stream of choral, men’s folk group releases in the past year or so (i.e. The Avett Bros., Mumford and Sons to name a few), another has come along with a highly impressive entrance; this time from across the pond. Coming in with their debut album via 4AD, is the quartet (+ two) Stornoway, hailing from Oxford. Their debut album is chockfull of beautiful vocal arrangements and tight folk instrumentation, including a healthy string section, a scholarly intelligence, and a distinctive character to today’s folk music.

Although Stornoway resonate folk in its purest sense, few folk groups can convincingly croon about the topics of which these Oxford lads converse. The opening track, ‘Zorbing’ gives the listener a good sense of the experiential disconnects. (Try to make it through the whole video without feeling nauseous.) Zorbing if you weren’t aware “is the recreation of rolling downhill in an orb”. This track was the first single to catch the airwaves several years ago in the U.K.. The release only whet the appetite for hungry ears, though only recently are they getting much attention states-side. Correspondingly to this rather obscure hobby, the album slowly rolls along a gentle slope in a graceful and joyous manner. The addition of organ and harpsichord on ‘Fuel Up’ makes this song a dense, catchy tune. The violin and piano intro combined with the stark vocals give ‘The Coldharbour Road’ a more dark, haunting, and bitter tone but the track builds into a warming glow like a lantern on a dim-lit ocean-side.

While listening to ‘We Are the Battery Human’ and a healthy dose of banjo with barber shop quartet vocals is the perfect soundtrack to jump in the Lorry with a group of mates and drive aimlessly after a few pints. This reaction is similar to the way the record as a whole feels. It’s carefree and simple but with a sophisticated tone about it. ‘Watching Birds’ is without a doubt the heaviest anthem on the record. It’s a barn burner with the accompaniment of a kazoo! The title of this track refers to the fun fact that lead singer Brian Briggs holds a PhD in Ornithology, the study of birds. Supposedly during their live sets, he likes to teach the audience of habits of birds and their characteristics, though I have to see this to believe it.

The group slows the tempo back down for ‘On the Rocks’, a slow building ballad focusing more on the vocals and beautiful songwriting. Before long, the snare drum beat accelerates into a locomotive pushing the song along with wonderful harmonies and the vocals grow into a goose-bump inducing crescendo. On ‘Long Distance Lullaby’, the bell tolls for the final track and an echo of “good night” and a wonderful send off for one of the finest debut records to come wafting in the winds from the UK in a long time.

[audio: https://austintownhall.com/wp-content/uploads/2010/05/01-stornoway-zorbing.mp3]

Download: Stornoway – Zorbing [MP3]

The Black Keys – Brothers

One comment

Rating: ★★★★☆

Though they may not be related, the relationship between Akron’s Patrick Carney and Dan Auerbach is as close a bond as you will find.  When they link up, things just seem to fall into place; even here on their latest, following a 2 year hiatus from ‘The Black Keys’ proper. In the time following the polarizing Attack and Release in 2008, Auerbach has released his critically acclaimed Keep It Hid, Carney released an album with his side project Drummer, and the group collaborated with many high profile rappers for yet another critically acclaimed release 2009’s, BlakRoc.  While some may be lead in different directions following a break or may show signs of rust, The Black Keys engine is running like a finely tuned motor. Their latest Brothers, continues in their latest music trend, to build on their more refined sound, for better or worse.

Brothers is another heavily produced album, but this time it is mostly all self-produced in several sessions. The effect is again clean and polished, proving that they have learned a lot of tricks in 2 years. While (it seems) they desire to keep a ‘broke ass’, stripped down blues-rock anthem, they are discovering new recording methods after working with producer Danger Mouse, who pushed them in the opposite direction. Luckily for the listener, they seem to have struck a balance.  Many listeners will enjoy the latest over-production on the past 2 studio albums, but I for one am always relieved that Dan and Pat continue to tour without the extras.  The question for many will be whether or not they will tour with an additional member, as many tracks here carry bass lines. During SXSW this year, they were still only a duo; so that gives me hope. There’s something romantic about blues music in its simplicity and when surrounded by fancy recording contraptions it’s easy to get carried away. Here, for the most part, it’s back to the roots and these ‘Brothers’ continue to be one of the best touring acts around and continue to grow their brand based on this simple, rare talent.

The album begins with a foray into new vocal territory for Auerbach with ‘Everlasting Light’, as he utilizes a falsetto voice. If the Black Keys are known for one thing, it has become Auerbach’s raspy voice. For most listeners, this opener doesn’t sound like a typical Black Keys song, especially as the entry point into the new material, though it is catchy. However, ‘Next Girl’ is much more traditional for the duo, though after hanging with the likes of Q-Tip and Raekwon, they seem to have picked up a hip hop influence or two, expecting Mos Def to chime in after the first verse and chorus. Similarly, ‘Too Afraid to Love You’ holds the same vibe very effectively. The first single on the album is the lone Danger Mouse produced track, ‘Tighten Up’ and by now, most of you have should have heard it.  No doubt this track is a Danger Mouse special and continues to get better with time. Another new venture for the duo is the instrumental track ‘Black Mud’ with a 60’s vibe pipe organ and heavy feedback.  The frist half of the record is solid, but the duo really hits their stride with the great three track combo of ‘Ten Cent Pistol’, ‘Sinister Kid’, and ‘The Go Getter’, highlighting some of the best songwriting for Auerbach, which is becoming old-hat.

In general, the record is lengthy and carries much more subdued blues ballads than energetic numbers apart from ‘Howlin’ For You’ and ‘She’s Long Gone’.  However, this overall slower tempo doesn’t mean the potency is not there. The question for many fans will be do they come across better with the new tricks or rather without the added production gimmicks; essentially back to the roots of simple Kimbrough-era instrumentation. The tunes are great and Auerbach’s songwriting is as solid as ever.  The lone detractor for me is Carney’s percussive style is so restrained throughout that his power and energy is long gone from the Thickfreakness days.  In most tracks, I could see a drum machine being used in his place and no one would notice (maybe even with him on bass). I don’t want to condone a band not evolve, and I feel this album is one of their most polished, complete, and accessible/ genre-bending. It will most certainly grasp a new audience and appease the masses that are growing used to this newer sound. I just hope the boys travel back to Akron and revisit Pat’s basement soon. That said, Brothers still one of the best albums of the year so far and their best since Rubber Factory.  If Austin gets lucky enough to have the boys back for ACL, they will no doubt dominate the massive crowd they are likely to receive.

[audio: https://austintownhall.com/wp-content/uploads/2010/03/The-Black-Keys-Tighten-Up-WR.mp3]

Download: The Black Keys – Tighten Up [MP3]

The Dead Weather – Sea Of Cowards

Leave a comment

Rating: ★★★☆☆

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.

1 … 3 4 5 6 7 8
Social Media Auto Publish Powered By : XYZScripts.com