Author: jon.wagner

Blitzen Trapper – Destroyer Of The Void

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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)

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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

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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

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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

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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.

FT5: Road Trip Albums

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Well students, it’s nearly finals time for a lot of you and before the prospect of (dare I say it) summer school, many of you have two or so glorious weeks of freedom. It’s time to hit the old dusty trail and have some adventures farting on each other, spilling beer in your friend’s car and of overheating engines in the middle of nowhere. The wildly adventurous times of our youth elude many of us today, but the memories remain; stuck together like the pack of gummi-bears that fell into the dash air vent. Yes, the good old fashioned road trip is about as American as it gets. Piling in a car, carrying more people than available seatbelts and heading towards the border or greener pastures (wherever they might be). Two questions become instantly prevalent: 1.) What should we listen to? and 2.) Where to? (Although the second is MUCH less important) After all, music and the open road are as inseparable as college and binge drinking. Fear not my young compadres, throw the calculus and audio books out the window and crank up the tunes. Here is the FT5 of Road Trip Albums to get you down along the road and back again.

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Flying Lotus – Cosmogramma

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Rating: ★★★★☆

In the vast, deep of night, we peer into the cosmos searching for answers to all of life’s questions. For innumerable years, humans have gazed to the stars. Some receive answers. For producer and beat-maker Steven Ellison, (AKA Flying Lotus) rooting deep in the earth, peering high into the sky, and becoming one with the universe is the modus operandi on his latest full length album Cosmogramma. Those unfamiliar with FlyLo, may have unwittingly heard some of his first work as a beat-maker during Adult Swim’s commercial changeovers.  These ambiguous and quick bass-heavy sketches built a massive fan base for which Ellison would leap from his rather innocuous 2006 debut full length 1983 and find great critical acclaim in his Warp debut, 2008’s Los Angeles.  

On his latest, his influence is taken mostly from his personal relation to his great-aunt, Alice Coltrane, from whom the title of the record is taken. The late Alice Coltrane was a jazz musician in her own right in addition to being known as the wife of Saxophone legend John Coltrane.  Flying Lotus uses these family bred jazz influences in very subtle ways in his beat-making scenarios while combining sublime live instrumentation from a global laundry list of talented musicians to create a soundtrack which is simply out of this world. If Los Angeles was his ‘Dr. Strangelove’, Cosmogramma is his ‘2001: A Space Odyssey’.  

From the first bass hits of ‘Clock Catcher’ the listener is shot into the atmosphere with the addition of Rebekah Raff on harp. The playfulness between the smooth, tender harp and the sharp, rigid bass is just a taste of what FlyLo does best. His production style has evolved over the past few years, but creating dense, layered tracks is becoming second-nature. From here into the bass heavy, jazz improv ‘Pickled’ with former Suicidal Tendencies bassist Stephen “Thundercat” Bruno putting down intricate bass lines. ‘Intro//A Cosmic Drama’ is the record’s first influence of vocals, with Niki Randa providing the choir-like voice over a beautiful string arrangement from the very talented Miguel Atwood-Ferguson. The vocals are subtle, but are very effective in giving the overall tone of the track a celestial sense.

Most casual listeners may have heard the single ‘…And The World Laughs With You’, no doubt a highlight for many. With the addition of Thom Yorke’s vocals, FlyLo creates an Eraser –esque vibe, though it’s short-lived and doesn’t settle on the vocals in a manner of Yorke’s 2006 release. Similarly, Ellison never dwells too long on any particular thought process. The tracks on the album average just under 2.5 minutes, but there’s no lack in substance throughout.  The list of collaborators continues with ‘Arkestry’ utilizing relative Ravi Coltrane on sax, giving the record its first true jazz sensibility, and no doubt an ode to his Aunt and his family’s jazz lineage.  Jumping ahead to ‘Satelllliiiiiiiteee’, which is a funky groove and by ‘Recoiled’ a dense, hard hitting track, it’s obvious that FlyLo has mastered his craft and created his strongest release to date by far.

As a listener it is important to not pass judgment after first listen. It’s the kind of record that will not immediately hit you due the subtly and denseness of the layers, but repeated listens are well worth the effort.  The record as a whole flows like a single track, much in the same manner of Prefuse 73’s ‘Everything She Touched Turned Ampexian’, though the record feels to end in a more abrupt manner that I would have expected.  Overall, however, it is still one of the best, far-reaching musical journeys of the year. Expect much more notoriety and critical acclaim in the future for Flying Lotus if he continues to produce in the same manner, focusing not only on the beats, but the composition of instrumentation as well. 

Secondhand Sureshots – CD/DVD

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Rating: ★★★★½

Do you ever have that romantic image of walking into a thrift store or Half-Price Books to rummage through the old vinyl and finding a true hidden gem? Every time I go into a record store I think this is the day I find the one I’ve been looking for. Well, for some, they turn the left over scraps of vinyl records into gems. Such is the story of Secondhand Sureshots; putting new life into old, unwanted vinyl. This is a collaborative mixing project from Dublab and Stones Throw, which gathered together some of the most prominent beat-makers in the US (if not the world) for a fun, spontaneous, collaborative beat making project.

The rules are simple. 1.) Each DJ gets $5.00 to buy 5 records of his choice. 2.) No additional instruments. The players in the game include J.Rocc, Daedalus, Nobody, and Ras G; each with their own unique style and flavor to bring to the table. They also exhibit different approaches to cutting and splicing; their wide ranging taste in music which adds to the intrigue of the final product. The set comes with a CD of the final mixed tracks, but the DVD is worth the cost alone. Over 2 hours of footage on the documentary shows each DJ carefully selecting their 5 records with their method and reasoning behind the selections. One thing is for sure, there is no shortage of Barbara Streisand (you’ll see what I mean). Once each man makes their picks at 4 different L.A. based thrift stores, it’s off to the studio for the magic to happen and a first spin of their random dusty vinyl.  The facial expressions as they listened to their records for the first time, trying to decipher what they can use and what is total crap, are priceless. Also, it is interesting in watching the way which each of the men worked and their systems of chopping and laying down beats.  

What’s truly inspiring is the finished product. From 5 “craptastic” records emerges top quality stuff. You would never have guessed where the original pieces came from. Consequently, the final pressed remixed albums were redistributed in beautiful re-purposed album covers with ninja-like precision. There they will wait to appear as a hidden gem for the next vinyl bottom feeder searching for that treasure.  This is a very entertaining set and I highly recommend checking it out for yourselves. We, in Austin, have a special treat in store for us as tonight at the Alamo Drafthouse Ritz.  The documentary will be played with Ras G to perform live. This is not to be missed if you are a fan of the electronic genre or if you enjoy spontaneous beats.

Mynabirds – What We Lose in the Fire We Gain in the Flood

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Rating: ★★★½☆

After D.C. duo Georgie James disbanded, the two members went their separate ways. Singer/songwriter Laura Burhenn found herself attempting to discover herself from behind the space of former band mates John Davis’s shadow. On her solo album, What We Lose in the Fire We Gain in the Flood, Burhenn’s voice soars like a bird from the onset and it’s obvious that she’s feeling a sense of liberation after James’ demise. After first listen it’s obvious that the former duo was not letting her fulfill her potential.

It’s fitting in fact that the opening track, “What We Lose In The Fire” is a tune about rebirth and reemergence. With quality backing rhythms by Richard Swift, Burhenn is reveling in her new-found freedom. With the help of producer/instrumentalist Swift, here we find a performer at her most-relaxed, creative state.  The tracks found here are simple and display a timeless quality of folk echoing the likes of Patsy Cline and subtle gospel touches of Neil Young. “Numbers Don’t Lie” is a highlight of the release and shows Burhenn’s whole range of vocal skill; which is ample.

“LA Rain”, another good choice for a single is a wonderful moment for the listener to hear her undeniable talent opposite Swift’s penchant for simple yet catchy hooks. “We Made A Mountain” utilizes a horn section with a very Motown beat in a playful tune reminiscent of Duffy, though much more easy on the ears, making it one of the highlights of the release for me. She slows things down directly following with “Right Place” and the final track “Good Heart”. The latter displays the most obvious feeling reminiscent of yesteryear.

As a whole the album is tight and soulful, showing many tricks in Burhenn’s bag, but I foresee many more tricks up her sleeve. Here, it’s a focus on the past, but there’s no doubt she should be looking forward to a very bright future. 

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