This is fine.
While spending time in Mexico City, Chuck Prophet fended off the swine flu craze, instead choosing to pen a new set of songs. His new album, Let Freedom Ring!, is set to come your way on October 27th. Supposedly, the lyrics will hit out at the realization of the American Dream, but we’re sure Chuck won’t be shoving anything down your throat, as he’s not that type of guy. Try the album’s title track!
Download: Chuck Prophet – ¡Let Freedom Ring! [MP3]
Even though the new album, Contra, doesn’t officially hit stores until January 12th, Vampire Weekend are slowly starting to leak out the hype. They let loose the first single, “Horchata” via their web site, and the site hints at future leaks, not to mention touring random Californian towns. Personally, this tune doesn’t reach out and grab you like “A-Punk,” but perhaps it’s one of those that gets better with time. You decide.
Download: Vampire Weekend – Horchata [MP3]
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When Headlights released Some Racing, Some Stopping, they showed hints of absolute pop glory. “Cherry Tulips” was one of the best songs I heard that year, and I still use it, but could they build on the continued promise and move forward with their third album Wildlife?
Whilst recording the album, turmoil struck the band, and they lost a guitarist, so it won’t surprise many to see this album as a side-step, rather than a natural progression. Erin Fein’s presence is definitely felt here more prominently than I expected, as each song is filled to the brim with her fusion of keyboards and angelic vocals. Don’t get me wrong, it’s not a record you can dismiss, it just doesn’t necessarily live up to the dreams in my head; then again, little does.
“Secrets” is one of the songs you’ll definitely fall in love with once you get your hands, and ears, on it. Slowly it builds with keyboards and rimshots, but the faster the handclaps go, the faster the song seems to pick up the pace, before it bursts forth. Juxtaposed to this tune is “You and Eye,” which builds on some of the haziness from the band’s first album, Kill Them With Kindness. It’s a song that seems to trod along, built upon the voice of Fein and her little electronic flourishes.
One of the standout tracks comes just as early, but the oddity here is that Tristan Wraight seems to take the spotlight from Fein. His voice recalls the sunny-side of pop music, and the song is structured carefully around the percussion and guitar work. This definitely is the direction I saw the band heading when I got my hands on this album, but unfortunately it’s one of the distinct moments, only because there aren’t many songs that live up to it on Wildlife.
By the middle album, the group seems to have taken the middle ground between Emily Haines solo work and Stars. Not all will find this as a disappointment, as those bands deserve as much acclaim as they get. But, the problem with songs such as “Long Song for Buddy” or “Wisconsin Beaches,” which is an acoustic number, is not that they aren’t enjoyable or artistic, but rather that they seem to be a lackluster performance in comparison to the brighter moments of the record, and the promise of the record before. Clearly, the lyrics point to a darker side of the human relationship, dealing with love and loss throughout as the subject matter, but one can still discuss such things with a certain panache. The fact that it’s not there is what holds this album back from being one of the great indie-pop albums of the year, but if you take a careful look inside, you’ll find that Headlights have left you with plenty to be happy about.
[audio:https://austintownhall.com/wp-content/uploads/2009/10/04-Get-Going.mp3]Download: Headlights – Get Going [MP3]
These little ladies have a new album coming out here at the end of October. Said record is titled Sainthood, and we’ve got another new tune to throw your way as you anticipate the release of their new record. Here is Tegan and Sara’s “Hell.”
Download: Tegan and Sara – Hell [MP3]
Princeton have just released their new album Cocoon of Love, and we’ll definitely get a review of it up shortly. This new tune is little bit more laid back than the previous “Calypso Gold” single, and it features the vocals of Meredith Metcalf. You’ll definitely want to check out the record if you enjoy this tune, as this is definitely a group with a rising star.
Download: Princeton – Sadie and Andy [MP3]
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When The Dutchess and the Duke burst onto the scene last year, creating havoc for every person using Microsoft Word, we couldn’t have been happier. Their acoustic duets recalled The Rolling Stones, but with a little bit more with portrayed in the lyrics. Now, they return, with their second album, Sunset/Sunrise, willing to do it all again.
“Hands” opens the album, and it’s clear that the sun has gone down on this duo. Lyrical messages hint at dark times for the narrator, but as the chorus bursts through, you see the same formula from the hits off their first album. Sure, there is a hint of guitar soloing, but it’s just enough to show hints of change, without altering the game completely.
“Scorpio” exists as one of the finest moments on the album; you would call it the brightest were it not for the lyrical imagery. Flourishes of orchestration (a violin perhaps) fittingly add a bit of melancholic tone to the tune, hinting at the gravity which exists at the heart of the song. So when you come across “Living This Life” you can see that the distance referenced in “Scorpio” has finally come to sit in with the band. Everything about this album seems to exemplify a distance, be that with family or lovers. As the guitar meanders, seemingly over a horizon afar, you can feel the emotional change of the group.
As you hit the album’s almost title track, “Sunrise/Sunset,” the picture of a shift in the writing process has come to complete fruition. Kimberly Morrison has taken over vocal duties for this song, as well as “When You Leave My Arms” Although her smoky vocals are a perfect accompaniment to Jesse Lortz, these two songs demonstrate that she has a knack for pulling every bit of emotion out of her songs. It’s a refreshing twist to Sunset/Sunrise, clearly deepening the repertoire of the group, rather than labeling them as re-hashers of classic rock.
Unlike the last album, which hit you in the face real hard up front, the new record seems extremely even. From start to finish, there seems to be some sort of focal point for the group that allows for such balance, which ultimately might make this album stronger than its predecessor. And you come to the perfect ending with “The River.” The song is treated by some soft touches of piano, perhaps providing it with a touch of the epic ending. Ultimately, this song serves as a summary for the album. Questioning one’s existence, and one’s relationships to loved ones, all wrapped up in one final tune. Perhaps it was written for the soon to be child of Lortz, who, like us, will look on Sunset/Sunrise with pride, longing, and perhaps a little bit of reflection.
[audio:https://austintownhall.com/wp-content/uploads/2009/10/10-The-River.mp3]Download: The Dutchess and the Duke – The River [MP3]
We caught up with Gregg Gillis, the man behind Girl Talk on the phone. We discussed copyright law and how to make the panties drop, on both males and females of course, so read on to get an inside look at Gregg and Girl Talk.
We spotlighted The Authors a few weeks back as one of our favorite new local acts we think you should check out if you get a chance. Speaking of chance, they play this week at Art Disaster No. 9, which is Thursday. Until then, we hope to hold you over with one of their newest tracks. We hope you support these guys, and if not, at least you have a sweet new track to grab onto for the day.
Download: Authors – Feels Like Running [MP3]
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After he released Lady’s Bridge, it seemed that the British crooner Richard Hawley could do no wrong with me. As the release drew near for Truelove’s Gutter, I wasn’t quite sure what I expected from this new record. Would it be similar to his previous work, or would he branch out into a new direction, much as his friend Jarvis Cocker has done?
Well, as the odd soundscape opening of “As the Dawn Breaks” began, I will say that anxiety crept into my throat. Sure, this dabbling in sonic structuralism was indeed a new direction, but from a man who has blanketed his albums with lush orchestration, it seemed a step too far off. Still, as the song progressed, the music almost loses its focus, bring Hawley’s throaty baritone to the forefront. Perhaps this is where the album would go?
When “Open Up Your Door” came on, you could hear the instrumentation that so often backs Richard, although it seemed to be in the distance here, that is until the slow drum work came into the picture. It’s at this point that I found Hawley completely stepping into the role of a modern-day Leonard Cohen. You hang on every syllable, on every gentle note; and eventually, it all breaks into the dense orchestral movement you would expect.
It seems fitting to me that this record was already causing me to waiver on my decision to love this album or not. Richard Hawley is not a taste for everyone, though surely everyone can find beauty in his voice, which sounds as guttural as anything you’re likely to find out there. Perhaps the way the instruments traipse about, barely catching your attention until the song requires them to do so, seems striking to most. Almost unimportant. But, how can such songs evoke so much emotional toll on a listener? It made Cohen great. It made, for some, Waits a classic. Surely Richard Hawley will find his place, though his lyrics are that of the forlorn lover.
And so it went, to the point where I arrived at “Remorse Code,” the second longest song on Truelove’s Gutter. How does a nine minute long ballad capture you, wrap you around its finger, and throw you upon its back until the end. Listening to the subtle guitar work, I found no answer, only that I adored this song absolutely, as I adore the man singing the words. I didn’t have to go far, one song past, to find “Soldier On.” There’s some biblical allusions here, or at least some references to Christianity, though not in the overt sense. Hawley seemingly walks through this album, pacing himself, creating tension for the listener. It’s as if we’re merely meandering through this tune, until you reach just past the four minute mark where the song crashes into you. It releases you in a wash of cymbals and emotions.
By backing it all into the finer moment that is “For Your Lover Give Some Time.” I don’t particularly want to go into the detail of this song, as I’m sure, as with most Hawley tunes, each person will get out of it what they will. It’s such a personal song, for me as a listener, that I don’t dare ruin your impression of it, or what it may offer you.
Thus the album walks into the longest song, the perfect ending to Truelove’s Gutter. The epic failure that could be this album’s bookend is not there. Although it may be long, it encapsulates everything you wanted from the end. Your time with Richard Hawley has come to an end, and though you want it to last forever, you needn’t fret, as you can simply relive it time and time again by pressing repeat. I know I will.
[audio:https://austintownhall.com/wp-content/uploads/2009/09/07-For-Your-Lover-Give-Some-Time-1.mp3]Download: Richard Hawley – For Your Lover Give Some Time [MP3]
Had the weather dropped about fifteen degrees, there would not have been a better show in town. Lights against the limestone enclave and a little bit of folk music, just a slight bit warm. But, The Cave Singers, along with Lightning Dust, still managed to outlast nature and pull off a wonderful show. Follow the jump for more.
