The Men – Open Your Heart

Rating: ★★★★½

2012 has been a really good year for rock n’ roll so far, and The Men aim to keep that spirit up! Their third LP, Open Your Heart (out now on Sacred Bones Records) is filled with pummeling rock that begs to be classified.  Is it punk? Hardcore? Maybe post-punk? Truth is, there’s no way you can really label everything they’ve done here, crafting an album that fits into all the above categories, yet never stays in one place for too long.

“Turn It Around” opens up the record in furious fashion, if you just wait ten seconds.  From there, the sound kicking out of your stereo will surely have you pumping your fists in the air.  Perhaps what’s the most interesting is that the group fills their songs with elements of classic rock, they just play it faster than everyone else around.  The Men will keep this spirit up with “Animal,” a song that has a bit more of a growl to it.  You can see remnants of New York Dolls (it can’t just be me), only with a heavier element–though it’s often balanced with a female backing vocal track.  From the get-go, you’re getting kicked in the mouth, and you’ll happily offer up a toothless smile while you rock along.

But, what makes Open Your Heart worthy of repeated listens revolves around the band’s ability to sort of play with more than one formula, while still maintaing their own identity.  For just a moment, albeit a long one, you get “Country Song” and “Oscillation,” two sprawling instrumental tracks that span over 12 minutes in length (when combined). It’s no wonder that their bio mentions allusions to Thurston Moore, although they don’t seem as discordant in their style.  It’s a nice moment for you to pause and reflect.  Yep, this album still rules.

And then we’re off again, with the soaring gang vocal moment you’ll find on “Please Don’t Go Away.”  Stylistically, you can see some resemblance to noisier indie bands like Dirty on Purpose, with The Men not afraid to add elements of melody all the while pounding away.  Throwing this track in the middle of the album provides that perfect conundrum, yet again illustrating a group who’re willing to throw all their influences into their songwriting. “Candy” is yet another such track; it’s almost a country ballad.  Even if it seems unexpected, it’s tied into the album perfectly, using a seemingly lo-fi recording to hold true to the band’s form. For the rest of the album, and really for its entirety, the band go back and forth between sounds, finishing with “Ex-Dreams,” a tune that’s unified by all the band’s possible nostalgic nods.

Open Your Heart might just be a record that we’ll look back on years from now, grateful that someone wrote it.  At times it’s intense, yet still has points where you can sit back and absorb the goings-on rather than have them browbeat you.  The Men have concocted their own formula for writing a record, and it might just be a lasting formula more bands look to in the future. You can be fast and loud, but you can throw that slow jam in there just for kicks–if you execute it like this, we’re all going to love it.

[audio:https://austintownhall.com/wp-content/uploads/2012/03/06-Open-Your-Heart-1.mp3]

Download:The Men – Open Your Heart [MP3]

The Magnetic Fields – Love at the Bottom of the Sea

Rating: ★★★☆☆

Personally, The Magnetic Fields is one of those bands that I can’t explain to people, let alone explain to myself.  For almost two decades Stephin Merritt has used the group as his primary outlet for songwriting, but the last couple of years he’s definitely led the group in varying directions, with various effects.  For all intents and purposes, Love at the Bottom of the Sea is a great return to form, demonstrating the prowess of Merritt and his band of merrymakers.

“Andrew in Drag” is the second song on the record, but it’s so phenomenal it’s hard not to start with such a track.  The sound’s definitely on the more playful side of things, at least with the accompanying instrumentation, but Merritt’s soaring voice will win you over.  His gifts as a poet, oddball that he may be, shine through here. “Your Girlfriend’s Face” has the same childish tone in the lyrical matter, which harkens back to the days of 69 Love Songs in its accessibility and clarity.  Electronic flourishes seem to be the sound du jour on this outing, rather than the more distortion-based tracks we found on the last two efforts.

“I’d Go Anywhere With Hugh” is a great track, featuring vocalist Claudia Gonson, but what really sticks out is its remarkable similarity to Bob Dylan‘s “You Belong to Me.”  I’ve played this song so many times tonight that I’m not sure if I love it for its similarities or on its own merit; regardless, you’ll find this song playing in your mind for days to come. What does stand out when listening to this song is the vocal presence of Gonson throughout Love at the Bottom of the Sea, though I’ve always found myself gravitating more towards the Merritt led tracks.  She’s got a certain light-heartedness in her tone that makes it easy to find that union between music and voice; the band’s usage of electronics definitely fits Gonson here.

But, with Gonson taking a more prominent role here, Merritt seems oddly missing for parts. Of course, “I Don’t Like Your Tone” finds Merritt gently wooing the audience, using the deepness of his voice to draw you into the song.  However, when he comes in on “All She Cares About is Mariachi” it sort of seems like a one-tone approach that he’s used on this Magnetic Fields effort, minus the outstanding “Andrew in Drag.”  I guess I miss the man on the oft-overlooked i.

For all intents and purposes, there are some great songs here on Love at the Bottom of the Sea–one that’s probably goes down as a top in the band’s long cannon.  However, the songs by and large just don’t stand out the way you expect from a Merritt penned tune.  You’ll find the juvenile playfulness and short songs, but for once, theses tracks don’t demand your attention and adoration; they sleek by as cute and enjoyable, yet not wholly remarkable. I’ll still stand by this as a good record, just not my favorite from The Magnetic Fields.

 

New Jam from Bright Moments

You’ve probably listened to Kelly Pratt thousands of times and not even know it.  He’s the multi-instrumentalist who has worked with Beirut, Arcade Fire and even LCD Soundsystem, but now is his time to shine as Bright Moments.  His album Natives has just been released, and you’re going to enjoy listening to this track–I guarantee it. It’s definitely a pop song, but it’s got all the careful brush strokes you would expect from a talented musician such as Kelly.  It’s filled with horns, unique percussion and an overwhelming sensation of joyousness.  Try this one on for size.

[audio:https://austintownhall.com/wp-content/uploads/2012/03/08-Travelers-1.mp3]

Download: Bright Moments – Travelers [MP3]

New Jam from Stalking Horse

There wasn’t a lot of music out there this weekend, so I figured I would scour Bandcamp to see what gems I could find floating about.  Stalking Horse is an UK outfit, and I’ve really been digging listening to their album Specters on this sunny afternoon.  For some reason, I want to lump these guys in with the traditional Brit-pop moments, as they definitely have the feel of the brighter side of Supergrass.  It might not be for everyone, but I know that I’ve definitely got my eye on these guys. Try it out: it might just be up your alley.

[audio:https://austintownhall.com/wp-content/uploads/2012/03/Head.mp3]

Download:Stalking Horse – Heathen Head, Howling Heart [MP3]

Brilliant Pop Number from Aloha Tigers

Man, this song really blew me away today.  As we’ve all (hopefully) been taking in the sunshine, I’ve been jamming to this number from Aloha Tigers.  The band is a duo from Bloomington, Illinois, and I hope they get a chance to branch out.  Their self-titled debut is remarkable, offering touches of dream-pop, but crafted so well that you won’t even care what they sound like; they’re just flat out great.  Carefully sung vocals, emotionally appealing harmonies, and a quality of craftsmanship that allows you to float away in your own head.  This is probably the best way to start out your Monday!

[audio:https://austintownhall.com/wp-content/uploads/2012/03/02-Young-Ghosts-1.mp3]

Download:Aloha Tigers – Young Ghosts [MP3]

Bowerbirds – The Clearing

Rating: ★★★★½

It’s been about three whole years since we last heard from Raleigh’s Bowerbirds; their last effort Upper Air definitely warmed all our hearts.  After one listen to The Clearing, you’ll be glad the band waited; this record’s assuredly the best thing they’ve put together with their unique blend of folk, strings and sweet melodies.

Momentarily a guitar is plucked as “Tuck the Darkness In” begins, but the band quickly adds a minimal percussive stroke to the track.  A gentle piano accompanies Philip Moore on his vocal foray, just before strings join in to sweep you away in a stupendous melody. Moore’s voice is often united with Beth Tacular too on this number; they’ve created one of the most beautifully warming songs of 2012. But, Bowerbirds aren’t just going to let their melodies swell over and over again, as you see on “In the Yard,” where Beth takes the lead singing role.  Their approach here is less grandiose, yet the union of Moore and Tacular again creates moments you’ll have a hard time getting out of your head.

The Clearing has the group really working with their sound, providing more intimate details to the negative space, crafting a sonic experience not unlike Wye Oak.  “Brave World” holds this quality, especially with the percussive element and the piano that flesh out the song itself, though clearly you can say that Moore’s vocals steal the show. Similarly, the following track, “Hush” goes about things in the same manner, allowing the song to really come to the listener, rather than forcing melody on us.  While it remains clear through moments like this that Bowerbirds have changed their musical dynamics here, such progressions really highlight the band’s writing gifts.

You’ll still find the band working with their bread and butter, however, especially with songs like “Death Wish” and “Sweet Moments.” The latter uses little more than a strummed guitar and some oddball additives to fill the space, but it remains mostly a folk-driven track.  “Death Wish” has some deep string arrangements that provide sort of a haunting emotion, which perfectly juxtaposes the soft quality of the Moore’s voice. I’m moved each time I listen to that darkened string element creep into the track.

It all comes to a fitting end on the closing track, “Now We Hurry On,” which is sort of a track that’s compiled all the elements that are present on The Clearing into one final statement by the group.  There’s tinkering piano parts, traditional folk moments, and yet quietly fades out in the end, just as a perfect record should do.  After a three year absence, the time appears to have been well-spent for Bowerbirds; they’ve advanced their sound to a degree that will surely find them reaping huge rewards.  It’s truly a listen that will reward you time and time again.

[audio:https://austintownhall.com/wp-content/uploads/2011/12/01-Tuck-the-Darkness-In-1.mp3]

Download:Bowerbirds – Tuck the Darkness In [MP3]

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