This is fine.
The ATH crew rushed from prior arrangements to get to The Parish on Monday in order to catch a good evening with some of Canada’s finest, along with one of California’s best. It was a great show for a Monday night and all bands involved wowed the crowd. Follow the jump to read our thoughts on the show and see some sweet pics.
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A few years back, California’s great Grandaddy decided to break up; they cited lack of financial success despite critical acclaim as one of their reasons for going away. Many heartbroken fans were happy to hear that Anti Records had signed frontman and lead songwriter, Jason Lytle, to a record deal. His album, Yours Truly, The Commuter, is exactly what you would expect from a man who left California for Montana in search of a new muse and new inspiration.
Opening the album with the title-track immediately brings back all the memories of your old Grandaddy record collection. Electronic blips and keyboard steadily build before the percussive element joins the fray. Furthering the song with simple strings (samples possibly) and Lytle’s familiar voice marks this album as the return of one of indie rock’s great voices.
If one were to go on song titles alone then we would be led to believe that Jason came to Montana in seach of new horizons and a return to a different type of focus that would create inspirational songs once again. In so many ways, he does seem to have regained his form on this album, but it’s that retreading of old tricks in his bag that seem to work the best for him.
“Brand New Sun” discusses the departure for greener pastures, and the simple acoustic song is filled with what one can only assume are laser noise created by martians, or Lytle’s keyboard. “Birds Encouraged Him” is simply a beautiful song; it’s one of the better songs in the Lytle catalog. Very light percussion accompanies the acoustic fingerings here, and string arrangements allow for the song to create a more atmospheric element; this is all added by the electronic whizzing of space noises.
Jason even decides to break out the rock element on this album with “It’s The Weekend.” Chugging power chords create a bouncing song that begins just as soon as it really ends, closing with Jason mellowing out on piano before zooming out one last time. But, it’s the softer element on this album that seems to take precedent.
A piano ballad appears courtesy of “This Song is a Mute Button.” It’s one of the simpler songs on this record, but it reminds you of how personal songwriting can be for the likes of Jason Lytle. And it’s followed by another spectacular number in “Rollin Home Alone.” Using string arrangements really seems to bring out a lot of the vocal melodies in Lytle’s voice, and the arrangement of the song is equally beneficial. You’d find difficulty not including this as one of your favorite songs of the year.
It’s refreshing to note that not a lot has really changed in the capabilities of Mr. Lytle. He still fuses guitar and electronic elements as breezily as in his days of Grandaddy, which not only makes you nostalgic for the good old days, but grateful he’s returned with an album as good as Yours Truly, The Commuter.
The great thing about Austin is that we get the benefit of having our local promoters put together amazing weeks of shows, and this week, Chaos in Tejas proves just that point. Sure, the bands might be a little bit on the harder/faster/heavier side of things, but there are some great bands; just check out these names: Ted Leo, The Thermals, Harvey Milk, Propaghandi, Strange Boys, Times New Viking, The Business and The Shaky Hands. All bands that deserve your time and attention…not to mention the other great bands that will grace the stage along the whole Red River district. A detailed list of shows and venues can be found here.
Download: Ted Leo – Under the Hedge [MP3]
We caught up with An Horse during SXSW for a quick interview, and now that their album Rearrange Beds has been circling aroudn, we thought we’d offer up more of their festive pop for you today. Also, this single, “Camp Out,” has just recently got the video treatment, and you should check it out here.
Download: An Horse – Camp Out [MP3]
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Brooklyn via Columbia, Missouri six-piece the White Rabbits rose to critical acclaim seemingly out of nowhere with their debut album, Fort Nightly. This time around, the band has enlisted Spoon frontman (and sometimes Austinite) Britt Daniel for production duties on their latest album, It’s Frightening. You’ll find his touch on a lot of the songs, but ultimately, this sophomore effort is worthy of your attention on musical merit alone.
One of the runners for song of the year, at least up to this point in time, opens the album. “Percussion Gun” with its dual drumming technique climbs into your ears as the tribal element of the song bombards you. But, this isn’t the only trick the band has, as the piano work provides a much needed backbone that allows the song to go beyond just a mere rain-dance.
You’ll find the influence of Britt Daniel marking “They Done Wrong/We Done Wrong.” This songs is reminiscent of pre-Gagagagagaga Spoon, with a bouncing bass line accompanied by a meandering piano. The guitar stutters along the song as the vocals arrive in that croon come falsetto that Britt uses to perfection. Now, we’re not assuming that this is just a knock-off because the song definitely warrants repeated listens; we’re just stating you can find Britt’s fingerprints on it.
“Comapny I Keep” is the slow summer jam come early. It’s a mostly acoustic number with light percussion walking along the backbone of the song. It’s the warmth of they lyrical content here that makes the song ultimately rewarding. Sure, it might not be the most exciting of this batch of tunes, but you’ll definitely find this as one of the ones worth putting on your summer mixtapes.
One of the things that’s lacking from this album, however, is a little bit of pacing. It’s not that there is poor pacing in so far as the organization of the songs, rather that the majority of the songs don’t seem to have too much movement to them, often becoming entirely too subdued for their own good. Oddly, the only songs that have movement seem to rely upon the drum stylings of “Percussion Gun” with just a softer quality to them.
Still, there is something to be said for the quiet presence of this album. It provides for the easy listening experience now that you need to focus on new projects. It’s an album full of songs constructed precisely for headphones and mellow moments in this time of your life. A decent effort, though much stronger on the front end.
[audio:https://austintownhall.com/wp-content/uploads/2009/05/03-they-done-wrong-_-we-done-wrong.mp3]Download: White Rabbits – They Done Wrong/We Done Wrong [MP3]
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When legendary producer Steve Albini was rumored to be at the helm of the newest Jarvis Cocker solo outing, Further Complications, many were chomping at the bit, awaiting the arrival of something entirely special. While the album does have a lot of those elements, it’s difficult to attribute these strictly to the presence of Albini’s magical touch. After all, who can really take control of an piece of work by a man like Jarvis.
Albini’s production influence is most notable in the first half of the album, especially the first four tracks. Opener, “Angela” hits harder than anything we’ve heard from Jarvis in all his previous work. It’s a fuzzed rocker of a tune, but one would be difficult to identify this as a track that exhibits Cocker at his best. These first four songs all fall to the exact same trap; they succeed in be decent rock tunes, but they fail in the way that they are not your atypical Jarvis piece. With that in mind, we can always be thankful that Jarvis has his usual literary wit in tow, which definitely helps along those early songs.
“Hold Still” serves as the turning point in this novel, as the tone of the album takes a drastic turn, and for the most part, this is for the best. The song features Jarvis at his best, with his voice taking on the raspy crooning whisper in your ear, begging you to come hither, which was always his best vocal trick in Pulp. Present hand-claps and backing vocals bring this song back to the orchestrated best moments that broke out on Jarvis.
Of course, there is always that whimsical song that hits home with all listeners when Jarvis is rocking the mic. “I Never Said I Was Deep” is this exact song; Jarvis struts his voice in the verses, with that cocky sexual undertone we all know and love. When the chorus comes in, with the character claiming that he isn’t as deep as his lover requests, you are drawn into the magic of the song. This is Jarvis at his absolute best.
Bookending the album is “You’re In My Eyes (Discosong),” with the title alluding to the more soulful quality of the instrumentation. Not only his this the longest song on the album, but it’s one where our old friend Jarvis truly returns. This song has all the swagger you expect from Mr. Cocker, but with the feel of your favorite lounge singer. It’s hard not to love a man with such talent. It exemplifies everything that has made Jarvis Cocker one of the more interesting, and vital, musicians of the last two decades. Further Complications is just another notch on his already quite respectable belt.
[audio:https://austintownhall.com/wp-content/uploads/2009/05/i-never-said-i-was-deep.mp3]Download: Jarvis Cocker – I Never Said I Was Deep [MP3]
My continuing love of Scotland is being furthered as the days go on. I’m sending our writer Corey with his wonderful fiance overseas to research the possibilities of the transatlantic move; this entire idea has been encouraged by the current musical landscape. Twilight Sad is just another incredible band, with another release slated for a September street date. Their walls of distortion are reined in on this new track, but it only raises the high expectations for their upcoming release.
Download: The Twilight Sad – Reflection of the Television [MP3]
Long-running Paste Magazine is struggling in this economy, just as we all are, and they are asking for your help. Most of us here at ATH have attended various Paste parties during SXSW, and we respect everything they’ve done for the independent music community. To top that off, while we may be contributing to the technological musical age, we still harbor great love and admiration for the traditional print format. So head over to Paste and help these guys out.
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To refer to this as one of the most anticipated albums thus far this year is probably an understatement; throw out Grizzly Bear and this is the album everyone wanted to hear. Passion Pit finally have a full length, Manners, to help you make up your mind; are they worth all this hype?
You’ll have to make up your own mind on that one, as this album is sure to be a polarizing one for many listeners. It builds upon the promise of the bands Chunk of Change EP, but does it go much further than the sounds the band first introduced? Really, at some points, the band seems to sort of tread upon the same spot for a little bit too long.
One thing you will note immediately is that the band definitely will have you moving your feet, as the opening moments of the album definitely provide you with full bouncing capabilities. The pulsating rhythm does not, however, make up for the lack of vocal quality, which really is probably just a matter of personal tastes; the high pitched yelping all across these first two songs is just a bit much.
Then the band hits you with their one-two punch, bringing in “Moth Wings” and “The Reeling” in succession. “Moth Wings” succeeds for the group where other songs have failed, as the band seemed to have tamed that vocal, which allows listeners to see right into the moving sound collages Passion Pit have constructed, as layers dance upon layers, shimmering to the surface. “The Reeling” surfaced as the band’s first single, and deservedly so, as it packs the dance-floor ready stomp that recalls elements of MGMT during their brighter moments. Still, the most enjoyable quality is the warmth of the vocal contrasted against the electronic pulse beneath.
Other moments on the album seem to find the band going over the same space, as they attempt to combine various electronic samples with unique vocals (still a touch annoying), building and building until it achieves dance-psych bliss. But, elementally, it all sort of blends together, as there isn’t much that differentiates each song from the next. Each song seems to run into the next one, making the listening experience a little redundant.
Don’t get upset here, but the release of Manners is probably exactly what everyone expected it to be. It’s a good listen for a few rounds; it’s an interesting one to say the least, but it won’t be the most moving thing you come across this year. Too much of a good thing sometimes turns things for the worse, and in this case, Passion Pit might have just gone that route.
[audio:https://austintownhall.com/wp-content/uploads/2009/05/11-seaweed-song.mp3]Download: Passion Pit – Seaweed Song [MP3]
For those of you into all the newest lo-fi hits of the last few years, there is really one man we need to look towards: Calvin Johnson. The man was the driving force behind the great Beat Happening and also the Halo Benders, which featured Built to Spill frontman Doug Martsch. Clearly, this man’s fingerprints have been all over the musical landscape, and he’s at it again this Saturday night at Emo’s, as he takes the stage with his new outfit Hive Dwellers; former Nation of Ulysses frontman Ian S. will also have his new outfit Chain and the Gang as the show headliners.
So hit up Emos this Saturday night for a definitive good time. Here are some tracks from the closet.
[audio:https://austintownhall.com/wp-content/uploads/2009/05/02-left-behind.mp3] [audio:https://austintownhall.com/wp-content/uploads/2009/05/track08.mp3]