Author: nathan.lankford

New Music from Sad Accordions

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All bands will have to grow in order to progress from recording to recording, and that seems to be the place that we find Austin’s Sad Accordions today.  The band is busy prepping a new EP, The Colors and the Kill, for a March 1st release date.  You can grab hand-decorated versions from the band’s at their shows this year.  Listening to the single from this six-track effort, you get the feeling that the music itself is spreading out, giving the band a bit more variety, and a whole lot more power going forward.  It’s nice to see one of our local acts push themselves, and doing so, push the whole town to rock a whole lot harder.

[audio:https://austintownhall.com/wp-content/uploads/2011/02/05_Inside_Out.mp3]

Download: Sad Accordions – Inside Out [MP3]

The Dears – Degeneration Street

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Rating: ★★★★½

When the last Dears record, Missiles, came out, we all knew that there were obvious issues that needed to be addressed.  Amid line-up changes and more time spent collaborating with members old and new, the band have emerged with what might possibly be their best record to date.  Degeneration Street is full of squalls of feedback, great melodies and everything you’ve come to expect from the band.

You’ll begin the journey, and believe me, it’s a trek, with “Omega Dog” offering up a tight little angular guitar riff as Murray Lightburn does his best to approach a nice little falsetto.  There’s a nice little groove, and the guitar riff will definitely resonate with every listener.  Of course, the Dears never stand in place for long, going off into a darker corner of the song for the closing minute, with a fierce little guitar solo accompanied by noisy atmospheric elements.

But, one of the things that makes Degeneration Street so stunning is its ability to shift gears, much as the band does on the second track “5 Chords.”  While other bands bash out their hits in less than thirty minutes, here you’ll find a band building their sound, not only within individual tracks, but with the album as a whole.  This number definitely fulfills the happier pop element present in the record, with sweeping harmonies.  A stomping drum beat helps keep the pace through it all, but please, pay great attention to Lightburn, as its clearly his voice that deserves all accolades in this song.  Similarly, “Thrones” does a great deal to take the somewhat prog-leaning elements into a bit of melodrama, but that’s mean in a respectful sense.  Tiny guttural yelps from Murray signify his playfulness, which we can hope relates to his joy with writing this entire collection of songs.

You’ll never think that the band has gone completely soft after listening here, as sharp-edged guitars are a constant throughout.  Take “Stick w/ Me Kid,” which chugs along a jagged guitar line.  The keyboard or programmable element only furthers the tension in the song, keeping listeners on squirming.  Okay, so the operatic element in Murray’s voice definitely allows you to see a bit of light within the song, as we can imagine him standing in the middle of the audience, controlling us all with his voice as the band rages furiously on stage.

In the end, what stuck with me the most about Degeneration Street was the sense of jubilation that lives within the tracks, despite the usual lyrical content remaining.  Let’s face it, Murray hasn’t always been one for optimism, but even with similar themes intact, you can’t tell me that songs like “Yesteryear,” with its almost danceable beat, don’t portray a man who’s having a blast writing the record he always wanted to unleash.  Just try and tell me that “Easy Suffering,” in title alone, doesn’t paint the picture of a happier frontman. I blame this freedom and joy for one of the stronger tracks I feel the band have written, “Tiny Man.”  It’s a solemn tune, one that surely comes from Lightburn’s personal writing, but his vocal delivery, and the mood just creates something wonderful to witness, especially after following the band from their earliest years. Perhaps I’m a simpleton, but sometimes a step back from traditional habits allows for great moments to burst forth.

Such sentiment seems to pervade Degeneration Street.  At times in the past, they seemed victim of their unstable footing, but musical prowess never fell by the side.  It’s always lived in the writing of Murray Lightburn, and it seems that perhaps with a strengthened Dears line-up, he’s finally been able to fit all the pieces together, as we all hoped he would do.  It’s a sixty-minute affair, with varying styles, various approaches, all settling in the end, leaving listeners with one of the most rewarding listens that I’ve heard in a really long time.

[audio:https://austintownhall.com/wp-content/uploads/2010/11/01-Omega-Dog.mp3]

Download: The Dears – Omega Dog [MP3]

SXSW Interviews: Generationals

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ATH: You’ve got a new album coming out, Actor-Caster. How will this album compare with the work/sound of Con Law? Did you try any new tricks this time around?

Grant: This album is a little more cohesive than Con Law. The songs hang together a little better. I thought that the diversity of that record was one of its strong points, but we wanted to make this new record more of a unit than a collection of different influences. Not too many new tricks. I think we’ve gotten better and more confident at producing our demos. The demos we came in with for Actor-Caster were very close to what ended up on the record. A lot of the actual tracks from the demos made it onto the final record, so I think that reflects the fact that we’re getting closer to honing in on exactly what we want at an earlier stage in the writing process. As a result of that, I can hear that the performances are stronger and more confident, the vocals are stronger and better performances. We didn’t really worry about whether or not we could even make a record, which was something that we struggled with on the first one.

ATH: As a band that hails from New Orleans, how does the city’s music history influence your music, or do you tend to work against that history, choosing to create your own sound entirely?

Grant: It’s not a direct influence nor is it an anti-influence that we actively try to work against. That is not to say that we don’t appreciate traditional New Orleans music. Very much the opposite, Ted and I have spent a lot of our time in New Orleans going to see bands and musicians play traditional New Orleans music, especially in our high school years. Specifically The Meters, Art Neville, Irma Thomas, Rebirth Brass Band. We are huge fans of the city and the kind of music that New Orleans is famous for, we just don’t try to play it.

ATH: At this point in your career, where are you guys hoping to go, either musically, or popularity wise, etc.? Let it be known, we’re thinking you should be huge.

Grant: Thank you. We also think that we should be huge. I just read online that LCD Soundsystem instantly sold out their final show at Madison Square Garden. We will feel like justice has been done when we can instantly sell out the Louisiana Superdome instantly, which holds about 80,000. We would also like to be the first band to play a concert from the top of Mount Everest which we would broadcast over the web for all to see. We are currently talking to some folks at WFMU in New York about sponsoring that concert for us.

ATH: What are you looking forward to about your trip to Austin for SXSW? Are there any bands you’re looking forward to seeing? Sites or restaurants you have to hit up?

Grant: We’re playing a Force Field party on Wednesday 3/16 that I heard Lower Dens will be on also, we are admirers of their stuff so I hope that rumor is true. The Park The Van showcase at Mi Casa Cantina on 3/18 is going to be insane. We’re playing with Floating Action, The Spinto Band, Giant Cloud, Brass Bed and Empress Hotel. And that place is not a big venue so I know it’s going to be packed and it’s going to be so fun.

We really love Austin, we were there in August recording the Trust EP and we just fell in love with it. I can’t wait to get back. I will go straight back to Maria’s Taco Xpress on S. Lamar, Home Slice Pizza on S. Congress, we love Club De Ville and I can’t wait to go hang out there again. I’m getting really excited thinking about it!

ATH: You guys are a band who has this huge sound on record. In the live setting, do you think that you’re album transfers the way you want it to? Are there things you wish you had on hand to boost the sound, or things you wish you could leave out?

Grant: We have been tinkering with the formula of our live show for a couple of years now and I feel like we finally got something that I think is translating the songs really well to the live setting. At this point we’re playing the songs very faithfully to the recorded versions. We added a fifth member to the lineup so that we can fit in more of the parts and we’ve also added a couple of trumpets for all the shows we’ve done this year so far and we intend to keep that going for the foreseeable future. It might get hard for all the SXSW events we are playing, but we are trying really hard to set that up the horns for SXSW right now. Our old drummer Tess has started her own band called Au Ras Au Ras and we replaced her with our friend Juston Stens who has a style of drumming that is much closer to the records that we’ve made. Including horns, we’ve had seven and eight people onstage at a time for all of these shows, so I feel like we’re getting to where we are finally able to really put a really full huge sound together for the live shows, which is fun.

ATH: You’re in Austin, you meet a random guy on the street, and you’re trying to convince him to make it out to your show. What do you say? How do you pull it off?

Grant: “Do you want to continue to live in the darkness of not having seen this Generationals show? Come with us into the back yard of Sidebar, we will change your fucking life right now.”

Thanks ATH! You guys are radical.

ATH: No, thank you, Grant.

Generationals will be playing at Mi Casa Cantina on 3/18 @ 1 AM

New Track from Helvetia

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When I first got the email with this new track from Helvetia, I was immediately drawn to the band’s participation with Papercuts, one of my favorite acts.  Now, while I can definitely see some similarities in regards to how songs slowly build before reaching their climax, this group doesn’t seem to have the same somber tones, instead offering up a bit of light through that Pacific Northwest rainy weather.  The group will be releasing their new record, On the Lam, on April 12th via The Static Cult Label. Going off this single, it’s going to be a trickling affair full of harmonies meant to undermine your soul, forcing in a bit of pleasure and thoughtfulness.

[audio:https://austintownhall.com/wp-content/uploads/2011/02/OnTheLam.mp3]

Download: Helvetia – On The Lam [MP3]

Show Preview: Nobunny @ Emos (2/15)

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Date Tuesday, Feb 15th
Location Emos
Doors 900p
Tickets $8 from Ticketweb

So your Valentines Day might be kind of a bummer, but if you can hold out until Tuesday, we’ve got something that’s just going to blow you away, forcing you smile. That’s right, a man in a bunny mask!  Emos is hosting the return of Nobunny, touring in support of his recent release, First Blood.  You’re guaranteed to get drenched in sweat, pogo about, and leave feeling great about yourself after the set.  And, you can get a glimpse of some of the great rocking bands from Austin, as opening acts Hex Dispensers and Simple Circuit are two bands that really deserve a whole lot more love than they seem to have gotten here in town.  So go out, support your local bands, and just have an all-around good time.  Oh, and if you have an extra bunny mask, you might want to offer it up, as Nobunny was looking a little ratty last time around.

[audio:https://austintownhall.com/wp-content/uploads/2010/09/03-Blow-Dumb.mp3]

Download: Nobunny – Blow Dumb [MP3]


Akron Family – S/T II: The Cosmic Birth and Journey of Shinju TNT

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Rating: ★★★★☆

Forget all the hubbub and hype surrounding this release, as Akron Family deserve far more respect that to label their newest record some sort of creation via clever marketing.  On The Cosmic Birth and Journey of Shinju TNT you will likely find hints of the band’s past throughout, but not a group to rest their, they push their sound, and all their influences to new extremes.

“Silly Bears” kicks in with this really heavy riff, and for a minute, you’ll swear you just put on a Sleigh Bells record. Don’t be alarmed though, stomping drums continue, but a slithering guitar line meanders in and out, all the while the band do their best to contain the exuberance in their voices, until it explodes at the 4 min. 29 sec. mark. The track’s bombastic and all over the place, but that’s why its great. Juxtaposed is “Island,” a much slower track, filled to the brim with cinema-like atmospherics atop a hollow drum.  The vocals enter softly “off the coast of Mexico” and you’ll find yourself casually rocking back and forth on some sort of beach hammock.  Such restraint in this moment is why the band’s listens are so endearing, never afraid to go someplace completely different than where you thought you were headed.

Even more shocking for some listeners are the moments when the band give you two contradicting moods within a track, and do it successfully.  Listening to “Another Sky” you’ll get claustrophobic, as there seems to be so much going on; there’s what sound like drum rolls on the rim of the kit, crazy soloing guitars, “oohoohoohs” chanting in the background.  Then a bit of a clap-a-long breaks it all down into something momentarily quiet, resting primarily on the vocals, but the tension still builds to its eventual release.  It’s a brief soft moment, almost a pause, but just the slightest change in formula creates an emotional release for band and listener alike.

Personally, I’ll admit that I like when Akron Family stick to the traditional songwriting mode.  “Light Emerges” uses what one assumes are island percussive elements and just hints of guitar to give the vocals somewhere to walk.  And walk they do, but they also rise high, just before briefly stopping.  It’s then that the band breaks it down for a second, but those elements are then consumed by the song itself, sucked up into the fury that wraps itself around much of The Cosmic Birth and Journey of Shinju TNT.  These types of tracks are far more successful, and appealing, when placed next to noisier moments such as “Say What You Want To,” a song that borders on pure mindless noise at moments.  Yes, there are clear moments of skill and craft within, but rambunctious moments just don’t seem as successful.

Clearly, Akron Family are not your ordinary band, and in being such, they’re not likely to make a record that you can just sit and absorb.  They push your ears in all directions, begging you to deconstruct the songs as you seem fit, filling tracks with as much, or as little (“Canopy”), as they wish.  There are certain times when it all seems to be too much, yet they pull you back in with just a light change in direction in the middle of a track.  Such gentle moves are only a mark of the maneuvering and talent that lays within The Cosmic Birth and Journey of Shinju TNT.

[audio:https://austintownhall.com/wp-content/uploads/2011/01/01-Silly-Bears-11.mp3]

Download: Akron/Family – Silly Bears [MP3]

New Music from Emil & Friends

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If you’re stuck in a pattern trying to decide whether or not you like your acoustic folk or your bedroom electronica more, then you’ll be lucky to have stumbled upon Emil & Friends.  You’re likely to find the best of both worlds evident in the work here, and so Emil has solved your great dilemma. They just released their Downed Economy EP, and we’ve got an unreleased track to offer you, which still sounds like everything on the EP.  It’s a catchy little number that seems to twist and turn with every electronic touch, reminiscent of bands like Throw Me the Statue.  Try it out, and if you dig it, be sure to grab the EP from Cantora Records.

[audio:https://austintownhall.com/wp-content/uploads/2011/02/Emil-CheapImitations.mp3]

Download: Emil & Friends – Cheap Imitations [MP3]

Bright Eyes – The People’s Key

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Rating: ★★★½☆

Having been a long time fan of Bright Eyes, I was really interested to see how his return to the name would go, since I haven’t been overwhelmed, necessarily, by his Conor Oberst output.  For the most part, it’s a return to form, though most people will find that The People’s Key more closely resembles Digital Ash as far as production goes, rather than going the route of lush orchestration that was present on Lifted.

Of course, the album opens with over two minutes of spoken word, which, if you’ve been a fan, is something Conor has almost always used to begin his records, and in doing so, he seems to be stating that while it might have been some time, he’s still treating Bright Eyes as he always has.  Once “Firewall” gets going, you’ll find that his country-twang has dissolved returning him to the more soft-spoken troubadour of old.  And who doesn’t love a bit of Magic Mogis orchestration to accompany his work.

When I first heard “Shell Games,” the piano backbone reminded me of early work on Fevers and Mirrors, except this is definitely a more mature Oberst, one who now should celebrate great control over his voice.  As the song moves along, there’s definitely a more futuristic (read electronic) sound pushing the track.  My favorite line is “I’m still angry with no reason to be,” showing long-time fans that he’s still out there searching for the perfect path, much like the search we’ve all gone upon ourselves. Then to move from a semi-ballad to “Jejune Stars,” well, its a perfect move, while both songs share some sonic similarities, but differences allow for change in perceived mood.  Personally, the stuttering of the guitar lines, not to mention the rise and fall chorus, make this track a stand-out in my mind.

“A Machine Spiritual” opens up with some typical strumming, which slowly retreats into the background of the song as Conor’s voice takes control.  For some reason, his approach on this song, as well as throughout The People’s Key, gives him a sense of rejuvenation, as if he’s gone back to his twenties. He seems gentler somehow, almost more naive, but perhaps this all revolves around his subject matter.  Using bits like “impart to me/your wisdom/and eventually I’ll float into the ether” remind us that one of the great thing about Bright Eyes, past and present, is that he often walks the same path that his listeners seem to take; sometimes we’re all looking at a world we’re not happy with, struggling to find our own meaning, in a world we’re not sure we can necessarily change. It’s this sort of a theme that goes along with “Ladder Song,” that constant pursuit for what it all means, and how we can change it all.  Ultimately, it seems that Oberst realizes we all must live on our own terms, and the song is incredible, if not one of his best.  The fragility in his voice during the chorus, his openness with listeners, and the simplicity of the structure of the song serves as a reminder of just what an incredible writer he is…love him or hate him.

It’s been said that this would be the last Bright Eyes release under the name, and if so, then I’ll admit I’m probably a bit saddened by that thought.  The People’s Key is a reminder of just how amazing Oberst is as a songwriter, and that with his pal Mogis behind production duties, how heartfelt his music can truly be.  If he does manage to leave it all behind, let’s just hope that his new work can somehow manage to encapsulate all the things that make listening to his work great such as spirituality, great lyrics, and a certain nakedness, one that allows us to see ourselves in our favorite musicians. Here’s to that.

[audio:https://austintownhall.com/wp-content/uploads/2010/12/02-Shell-Games-1.mp3]

Download: Bright Eyes – Shell Games [MP3]

New Music from The Wilderness of Manitoba

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Admittedly, I’ve been posting lots of rock n’ roll, and things that aim to get your blood pumping.  But, I still have an affinity for well-crafted folk-leaning pop music, and so I was grateful for the change of pace that swept into my email late this afternoon.  The Wilderness of Manitoba definitely has a rootsy-feel to it, but their usage of lofty harmonies and all around craftsmanship have made them a joy to listen to this afternoon.  If you’re enjoying what you hear, and I sincerely hope you do, the group will release their US debut on May 10th, titled When You Left the Fire. If it’s anything like this track below, it’s going to come in handy on those summer road trips and camping ventures with your friends.

[audio:https://austintownhall.com/wp-content/uploads/2011/02/oronoparkedit.mp3]

Download: The Wilderness of Manitoba – Orono Park [MP3]

Champagne Riot – Moonstruck EP

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Rating: ★★★½☆

When I first got a press release of Champagne Riot, I expected that one of the participating members of Northern Portrait would bring me more hooks of the angular sort.  Not surprisingly, the Moonstruck EP definitely has plenty of hooks on it, but with a more delicate electronic bend, as opposed to my preconceived power-pop sort.

“Moonstruck” begins the affair with a nice little intro, but then this pounding rhythmic groove jumps in, as electronic beats seem to walk across the track.  Caspar Bock’s voice have this gentle quality that really bring the song together, and while you’re tempted to kick your boots up on the dance floor, there’s a bit of a steadying effect to the song.  Regardless, it kicks off the four-song trek joyfully.

You’ll find a bit more of traditional electronic-pop on “Goldrush.”  Every beat here is a bit more subdued than on the opener, which opens way for this soaring harmonic vocal that really seems to carry the entire track.  This track reminds me of the innocent joy I had as a young kid, when I first busted out New Order‘s Republic, before I worked backwards through the catalogue. Perhaps my favorite element of this song is its straightforward presentation; its not trying to be clever or witty, just wants to be a great track, which it is.

“Heart Stab” is possibly the one track here that just gets to sweet for my ears.  In the mix with a full album, you could probably slide it in nicely, but perhaps too much of a good thing can be bad.  It sounds really familiar too, and perhaps that’s why this song sort of irks me, due to the fact that I can’t place it! Still, there’s a bit of a twisted element in the lyrics, which sort of makes you wonder where Champagne Riot could truly go if they had time to craft an entire record of such music.

Your short journey with the Moonstruck EP ends with “A Friend of a Friend.” You’ll find that this song holds the future for Champagne Riot, as electronic elements are definitely present here, but piano/keyboard touches occasionally dominate the beats themselves, not to mention that the vocal delivery has this soothing quality.  You’ll find somewhat of an operatic montage moment in the latter half of the track, demonstrating that the duo are capable of pushing themselves in regards to their entire sound.  By the end of your journey, you can’t help but to wear a smile.  The tunes are written well, the melodies are great and sometimes we just need to let loose and enjoy this sort of fun.

You can pick it up at the Matinee Recordings Store.

[audio:https://austintownhall.com/wp-content/uploads/2011/02/1Moonstruck.mp3]

Download: Champagne Riot -Moonstruck [MP3]

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