She & Him – Volume Two

Rating: ★★★☆☆

After a stunning debut that won over many a doubter, She & Him return for their second album, Volume Two.  You’d be hard-pressed to find someone who didn’t appreciate the first effort, at least to a certain degree, but would the yearning for a second helping of Zooey be nearly as fulfilling as the first run through?  Honestly, it’s probably equally as rewarding as the first record, but that gets lost in the fact that it doesn’t find the group really pushing any limits.

“Thieves” finds the duo transported to precisely the place where they left off, cashing in on our adoration for Motown girl-groups of the past or female country singers with lush orchestration.  While you can see that this was definitely mapped out a whole lot better, with Ward’s raspy whisper singing along during the chorus, it’s not too far removed from the last release, something that may trouble some listeners.

“In the Sun” displays Zooey’s vocal prowess.  Perhaps it’s not the most perfect voice of all time, but you’ll find it every bit as enchanting as you did the first time you heard her sing while watching Elf. However, it has to be M. Ward who steals the entire show here; his guitar work cutting in and out of the song definitely makes this a whole lot more memorable than some of the tracks you’ll hear this time around.

While the album opens with a more upbeat feeling, due mostly to predominantly featured piano, the warmer songs hold the bread and butter.  “Me and You” is probably the most simplistic song, yet the arrangement of the song, accompanied with slide guitar makes it extremely powerful.  She & Him back this up with “Going to Get Along Without You Now,” a song that definitely has a hint of playfulness to it, but Ward’s simple strumming holds the song in place, never letting it stray to far into the realms of kitsch.  Which is not how much of the latter half-of the album goes.

Perhaps the redundancy of the piano work here makes it all seem a bit too childish.  There’s not a lot of exploration on the keys, instead relying upon simple chord progression. While it was charming mixed in on Volume One, this time around it comes off as if the band has run out of ideas. You can contrast that with some of the simple guitar songs, like “Brand New Shoes,” which comes in near the end, and you can feel as if something just hits home with your heart when the piano is absent.

In the end, “If You Can’t Sleep” closes out the record, doing so in a bit of a different fashion.  The title definitely reflects the emotional appeal of the song, and the pacing, which makes perfect sense, as the band isn’t one to push boundaries too far.  All in all, Volume Two leaves you with the feeling that She & Him didn’t want to stray too far away from their original work.  That being said, a detractor here is that it doesn’t stray too far at all, and you get the feeling that this sits perfectly next to Volume One. It’s a pleasant enough listen, just one that isn’t nearly as exciting as the first time you heard Zoeey and Matt together.

[audio:https://austintownhall.com/wp-content/uploads/2010/01/She-Him-In-the-Sun.mp3]

Download: She & Him – In the Sun [MP3]

New Tunes from The National

This morning news broke of “Bloodbuzz Ohio” being leaked all over the net.  Being huge fans of The National, we wanted to run it, but it was a radio rip, so we hoped to bring you better quality.  Fortunately for us, the band posted the song on their web site, probably hoping people would get to hear the recorded version.  This song makes me really excited for the record, High Violet, which comes out on May 11th.

[audio:https://austintownhall.com/wp-content/uploads/2010/03/The-National-Bloodbuzz-Ohio.mp3]

Download: The National – Bloodbuzz Ohio [MP3]

Tre Orsi – Devices + Emblems

Rating: ★★★½☆

The burgeoning music scene in Denton, Tx has long been known for releasing quality music; Tre Orsi is apparently going to be another one of those bands.  Recently, they’ve gotten some press for their appearance on Casual Victim Pile compilation by Matador, but Devices + Emblems gives the group a more definititve sound.

From the onset of this album you can tell that there is a brooding sense of post-punk that lies beneath this record.  Repetitive angular guitars seem to drive the opener “Manumission” prior to the climactic break down that kick starts the rest of the number.  But, it’s “Engineer” that will undoubtedly grab your ear as it did mine.  For some reason, I hear a young J. Mascis wailing away on the guitars here, or at least in the vocals.   Still,  people will want to toss around Unwound references, which I suppose is relevant.

One of the things that just gets me here, though never quite fulfills, is the increasing tension that is built by piling guitars atop one another in a repetitive fashion.  But, while they could completely release the fury upon listeners, they use a bit of restraint–perhaps this a trait suggested by their producer Bubba Kadane.  I love it all, but give me a little bit of a yelp, or just  a nice solid scream.

What’s amazing on Devices + Ebmblems is how enthralling the record can be with just the simplest songwriting.  Nowadays, every record seems to need a touch of electronics or string arrangements ( I do like that stuff too), but a song like “Sargasso” desmonstrates that some bands don’t really need any of the tricks.  It’s refreshing to hear a song that relies a great deal on cleanly produced vocals with just a hint of some off-kilter intonation to drive the song’s message home.

Then again, perhaps this is just a record of nostalgic purposes.  It’s clear cut in its goal, and it doesn’t deviate too much from where it began.  You get guitars cutting in and out, along with moments that seem to build towards no ending.  Yet, in using this approach, Tre Orsi strays away from every mainstay in independent music.  They’ve got a stylistic approach that is all their own, but one that seems to echo every record in your collection from those teenage years.  By no means is this meant as a condemnation of the group, as I definitely have an affinity for this music, and this album.

Devices + Emblems is a record that wears its influences openly, leading you to walk down memory lane with Tre Orsi.  Still, something within this record is begging you to be pulled in (or it begged me), and you’ll find yourself enjoying every twist and turn of the guitar all the way until you arrive at “Declaring Space,” the last track.  It’s here where it all makes sense, it all comes together; the past, the present and the future unite for a really solid record.

[audio:https://austintownhall.com/wp-content/uploads/2010/03/02-The-Engineer.mp3]

Download: Tre Orsi – The Engineer [MP3]

New Tunes from White Fence

This is Tim Presley of Darker My Love.  He has a new project called White Fence, and this jam has been floating around all day, though I heard it just before SXSW.  It’s got a real dark psychedelic feel to it, and though comparisons have been made to Love, it doesn’t have that same sexual power as Arthur Lee, it’s a solid brooding mess none the less. I think you’ll dig it.  And if you do enjoy, look for an album in April on Woodsist.

[audio:https://austintownhall.com/wp-content/uploads/2010/03/white-fence-the-love-between.mp3]

Download: White Fence – The Love Between [MP3]

New Tunes from Teenage Fanclub

Great news out of Scotland today!  We’re proud to announce the return of Teenage Fanclub, who’ve taken a bit of time off.  They return June 8th with Shadows via Merge Records.  Listening to this single, it seems the band are at it again with their summery power-pop that shoots straight for the heart, or my heart at least.  Welcome back fellas.

[audio: https://austintownhall.com/wp-content/uploads/2010/03/02-Baby-Lee-1.mp3]

Download: Teenage Fanclub – Baby Lee [MP3]

Love is All – Two Thousand and Ten Injuries

Rating: ★★★★☆

You have to have hidden under a rock to miss the last two releases from Love is All; if you were hiding, you missed a ridiculous amount of boisterous pop tunes.  Now, the group has returned with their newest work, Two Thousand and Ten Injuries, which shows a bit more experimentation and a shift in direction.  One things for sure, nothing is as joyous as listening to this group when they’re at their best.

Once this record kicks off, you can definitely tell that Love is All is no longer in the same place, as the blistering pace has been slowed back a bit, revealing a little bit more clarity in the songs.  “Bigger Bolder” is the first tune, and you can tell that more time was spent on the guitar work, which seems to reveal a hint of nostalgic garage rock.

As a long time fan, “Never Now” is a winner.  It’s not nearly as dense as anything in their past, which allows for the playfulness in Josephine’s voice to break through.  In the past, the cacophony often overpowered the pop element, but here empty space is not being filled, so you get a more concrete song pushing through.

But, one of the things that Love is All have continued to push is the bubbly dance tracks that seem to blur the line with discordant guitars.  “Less Than Thrilled” has a guitar line that sounds an awful lot like U2 guitarist Edge, but wraps you up in its bouncy bass hooks.  “Dust” also brings about that catchy bass work in the beginning, but here you see the band reverting to their old tricks, feeding saxophone into the skeletal backbone of the tune.  You’ll find yourself loving the drum circle moment near the 2 minute mark just before the band marches you into the concluding moments.

The thing that makes Two Thousand and Ten Injuries such a strong effort, and one that might exceed their prior work, is that the band isn’t shoving every possible instrument into each inch of the record.  “A Side in the Bed” sort of meanders along while Josephine cooly drapes her vocals over the drum beat.  Barely audible guitar and saxophone work cut in and out of this track, where as the group would have filled this song to the brim in the past.  Closing the record in this manner also works to the advantage of the quintet, as you’ll find them ambling during “Take Your Time.”  This is the first time where I’ve felt an emotive quality be created from the group rather than just sheer joyous noise.  I like it both, but it makes listening to the entirety of this album much more gratifying than the quick bursts that you might have found on something like Nine Times That Song.

It’s refreshing to see that Love is All seem to have made it out of the possible rut they could have found themselves in after their first two releases.  Two Thousand and Ten Injuries shows the band experimenting with different song construction, allowing for emotional releases that often evaded older efforts.  No longer do they need to beat you over the head with energetic playground fist-pumping, instead choosing to let you relish in more complex, and complete, songs.

[audio:https://austintownhall.com/wp-content/uploads/2010/03/02-Repetition.mp3]

Download: Love is All – Repetition [MP3]

SXSW Awards

What a week that was! We’re worn out, as we’re sure you are, and we’ve been trying to figure out what our favorite moments of SXSW 10′ were.  We’re excluding our own party, as obviously that was a great time, so this list includes a lot of things we took part in during the week.  These are just our thoughts, and sometimes they’re based on a thirty minute set, so don’t hate us.  But, we’d love to hear what the highlights of your week were, so leave a comment to share.

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New Tunes from Think About Life

Canada’s Think About Life just busted out their new album Family on Alien8 Records, and this opening single is just ridiculously bouncy.  It’s got some off-kilter vocal vibes, backed by this throbbing bass and precision snare.  It just gets you moving your feet right away, and that’s what we all need on the day after SXSW.

[audio: https://austintownhall.com/wp-content/uploads/2010/03/210-Havin-My-Baby-1.mp3]

Download: Think About Life – Havin My Baby [MP3]

Happy Birthday – s/t

Rating: ★★★☆☆

One of the most recent signees to historic Sub Pop is a relative newcomer to the music scene.  Happy Birthday, for those of you stumbling upon the band, just formed in 2008, and their self-titled album is their first official recording.  This album fits nicely into the new fascination with fuzz-riddled guitar pop, though the band isn’t just a one trick pony.  While the majority of the album is filled with charm, there are a few missteps that keep it from taking off.

Happy Birthday kicks off their debut with one of the catchiest tunes of 2010, “Girls FM.”  Jangling guitar rings hollowly in the background as Kyle Thomas wails a bit, just before the drums are added.  Once you get to the chorus, where Ruth Garbus joins Thomas, you can’t escape the sugary sweetness.  Placing this song up front establishes a lot of the music as surf-pop, though the group does go in different directions at times.

One of the tricks the band employs to great effect is to have Kyle’s vocals carefully backed by the warmth of Ruth’s voice.  “2 Shy” utilizes this tool, and it moves the music away from garage band to polished power-pop.  Such a combination creates blissful moments for the band, and they pull it out just often enough to make it memorable. You’ll see the same elements in “Maxine the Teenage Eskimo,” which might be the secret gem of this album.  It’s late in the collection, and this general sweetness comes in a bit later in the song; stay with this one folks, as you’ll be rewarded greatly.

Interestingly, there are some odd Marc Bolan-esque vocals floating throughout spots on this record.  “Subliminal Message” has that trademark T. Rex guitar, and Thomas seems to channel a bit of Marc’s vocal inflections on his delivery–this actually makes for a really fixating slow jam.  Unfortunately, they return to this same formula for “Pink Strawberry Shake,” at a point in the album when you’re really looking to be revitalized by something new; you might find yourself bogged down at this point.

Still, a new band has to have some drawbacks, right?  Well, this is true of Happy Birthday.  At times, they seem to have a little bit too much simplicity in their songwriting, which can be translated to childishness.  “Zit” is just one of those songs that demonstrates some of these weaknesses; it’s a juvenile song, both lyrically and musically.  While the lyrics throughout definitely hint at the unpolished quality of the group, this song takes it a bit too far.  Clearly, there is room for simplicity and youthfulness, but it kind of goes too far at points on the album.  This is just another factor the band will eventually work out on the next album, as they sometimes don’t seem to know when to hold back, pushing songs beyond a point of impact for the listener.

However, don’t end the album without listening to closer, “Fun.”  Yes, it does use that recently popularized style of mundane lyrical songwriting, but there is a touch of real brilliance here.  Some might recall Superdrag or Teenage Fanclub, and fans of those bands will surely love the ending to this album.  All things considered, Happy Birthday‘s debut has demonstrated room for growth, with touches of brilliance throughout, so we should expect a solid second outing based on the charms of this beginning.

[audio:https://austintownhall.com/wp-content/uploads/2010/03/01-Girls-FM-1.mp3]

Download: Happy Birthday – Girls FM [MP3]

New Tunes from Sweet Apple

Let’s face it, everybody loves that nostalgic sound from the 90s, and the recent revival of J Mascis in the past several years can’t hurt.  So, we’re excited for his new band, along with several member of Cobra Verde, Sweet Apple to release their debut Love & Desperation on April 20th.  This new single is ridiculously good, and it has that dirty pop feeling only Mascis seems to perfect. It’s time you took a listen.

[audio:https://austintownhall.com/wp-content/uploads/2010/03/02-Ive-Got-A-Feeling-That-Wont-Change.mp3]

Download: Sweet Apple – I’ve Got A Feeling (That Won’t Change) [MP3]

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