Author: nicole.baumann

Eternal Summers – The Drop Beneath

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ESRating: ★★★★☆

Back in 2012, Eternal Summers made my radar with their wonderful sophomore record, Correct Behavior, as it was one of those that maintained not only the sunny punk-pop that seems to be all the rage these days, but brought sophistication to the genre with its detailed song writing and variety. Such elements made me excited for their next release, and The Drop Beneath far from disappoints.

While the previous album brought a bit of weight and substance to the usually light punk-pop tunes, this album continues to bring the darkness in a controlled manner. Even if you simply take a look at the song titles as well as the album artwork, you can see a streak of sinister cutting through titles like “A Burial,” or in the dark swirling image on the cover. “100” transfers this darkness into their sound quality. While the slightly fuzzy guitar, tinny percussion, and of course Nicole Yun’s sugary vocals make their way back, the mix seems closer to the ground than that of before. The vocals are more of a part of the instrumentation than sitting high above them. Next you have aforementioned “A Burial,” which, forget sunny pop, is a straight up rock’ n ’roll track, with Yun lowering her voice for the verses to build up to a bright chorus. This second song is mature, yet not overly refined, complete with a nicely timed jam session at the close.

Just when you think the band has moved away from their poppier sounding tunes, you come across a track like “Never Enough,” that takes you back to sunshine and warm breezes; the track sounds like a late 80’s pop song, with its driving bass line rocking away and some infectious arcs that will have you singing and dancing along. A new side to Eternal Summers also comes on “Not For This One,” with male vocals and acoustic guitar. The softness of this track serves as a perfectly timed reprieve from the thusfar stony garage rock. Though, the group hasn’t gone completely soft on you; they still manage to build the track up into a jam, albeit gentler.

The Drop Beneath is exactly what its title entails—a drop deeper into the sea of heavier tracks with the occasional surfacing for air in a pop tune. I find it to be an apt sound for this transition from winter to spring, and perhaps later on it will be good for those dog days of summer. Eternal Summers have done it again, why they aren’t a bigger name in the indie-sphere is a mystery to me.

Real Estate – Atlas

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AtlasRating: ★★★★☆

Here in Austin, whenever March rolls around we usually find ourselves baring our arms and legs to the air, the weather on the toasty side for what most would consider to be the end of winter or the beginning of spring (though the recent uncharacteristic cold snap would suggest otherwise). What that means for us is that we are ready for sunny and breezy indie pop long before most other parts of the country. So if you’re still trudging through snow and ice, you may not think you’re on board for the bright and surf-y guitar riffs of a band like Real Estate quite yet—Atlas may just change your mind.

Real Estate have already arrived at their third full-length release with Atlas, despite forming as a band just four short years ago. Their first two records were widely hailed in the indie-sphere, allowing this conglomerate of talented gents, some of which have their own successful projects outside the band, to keep progressing in their sound. “Had to Hear,” begins the album, instantly evoking the mood of a perfect spring day that’s perhaps chilly in the shade, but balanced out by the sunlight. The angular guitar riffs are there from the second you press play, but you don’t really focus on them until the choral hook, akin to the sun emerging from the clouds of winter. It’s a long number, pushing five minutes, but a welcome lengthy introduction to the record. The instrumental outro yields itself to grooving along to the tame jam.

“Talking Backwards,” and following track, “April’s Song,” are a back to back combination that should have fans of this group salivating and those who have never heard this band before completely hooked; here are two songs that perfectly compliment each other with the effortlessness that Real Estate have on lock. The first of these two songs is a sure single for the group, with their premier dueling guitar riffs abundant and Martin Courtney’s semi-transparent vocals adding another layer to the guitars in its angular qualities. The soft percussion compliments the sharp hooks of the guitar, generating a dreamy soundscape for you lavish in. The end of this song builds to a climactic finish, which would suggest a drop off to the next number, but they compensate with “April’s Song,” an entirely instrumental number that will bring you down slowly from the high of the previous track. If these two tracks weren’t enough, it’s impossible to forget a slower number like “How Might I Live,” where we see a slight change of pace as well as vocals for the group, while maintaining their signature sound, though with a touch of blues.

There’s nothing to really dislike on Atlas—it’s solid through and through. My only qualm is that it doesn’t really push my already established appreciation of this group to a new level; the tracks aren’t a stretch from what this band has already done on previous albums. This however, does not diminish their worth, nor their ability to make you feel like you’re strolling amongst flowers in bloom on the perfect day, which is a feat in itself.

The Notwist – Close To The Glass

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cttgRating: ★★★☆☆

This German band has been around making records for a long time. When I open a review with something about a bands’ extensive career I usually mean somewhere along the lines of a decade or so, but The Notwist handily defeat this notion through their 20+ year career effort that is still tacking on more releases. 2008’s The Devil, You + Me reminded us all that this band still had it in them, and Close To The Glass looks to repeat that phenomenon.

On the aforementioned record we heard the subtle indie rock of this group somehow manage to feel subtler in its simmering singles like “Good Lies,” but Close to the Glass has something else in store: electronic. From the very first track this is impossible to miss: consisting of pure electronic elements to begin, The Notwist certainly don’t skirt around this change. “Signals,” carries on this way, incorporating what resembles some dub sounds, breaking it down to a groovier and choppier mix than we’ve heard from the group. Of course Markus Acher’s hollow vocals still compliment this beat with ease and delicacy, balancing out the violence of the electronic sounds with his calming voice. The title track follows in the same pursuit, though this time the electro-beats, aided by hand claps feel tribal, which makes for an odd sound whose enticing nature cannot be challenged, but perhaps worries me a little for the sake of longevity.

Third track, “Kong,” takes a complete departure from everything you’ve thus encountered on Close To The Glass, and pushes you back to their classic sound. The mild vocals are abundant and focal, the driving synth base hovers in the background, while a faded drumbeat drives the song all in a hyper-collected fashion. Songs like these are simply what this band do best—you’ll hear a lo-fi fuzzed out version of this archetypal song, albeit a bit slowed down, on “Seven Hour Drive.”  Its got the build up to the outburst of sound and tempo of a chorus that will have you rocking along with them.

The drawback on Close To The Glass, is that it is easy to fall in and out of attention with the tracks. If you’re not careful, you will find yourself finished with the record without a strong recollection of some of the songs Acher’s voice is soothing and easy, glazing over the sometimes ambient—sometimes all out alt-rock—backing instrumentation. So listen carefully for your favorites to add to your catalog.

Yellow Ostrich – Cosmos

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YellowOstrich_CosmosRating: ★★★☆☆

Though five full albums into their career, it seems like Yellow Ostrich are still a bit under the radar, or perhaps just my radar. Regardless of their notoriety, the band is currently a four-piece outfit that hails from Brooklyn, of all places. What started as the solo project of lead vocalist and guitarist, Alex Schaaf, has blossomed into the group effort that produces guitar focal indie rock, which is quite clearly found on Cosmos.

The main difference on Cosmos, oddly enough, is that the balance between electronic elements and electric guitar have been switched for the most part from what we came to know on earlier efforts such as on the Ghost EP. Heavy guitar is the central element, and even on the opening track, which isn’t the most enticing number that Yellow Ostrich have put out, you can see this shift. “Terrors” seems simplistic for the group, relying on the hardness of the guitar sound to carry the number. Though different, it provides listeners with the notion that a different kind of sound can be expected, even if it isn’t exactly what the first song entails.

And if the opening track is a lacking in the intricacy that this ban has thus established, then “Neon Fists,” directly after, offers a rebuttal to everything that I just described in the last paragraph. Suddenly the band is equal parts guitar, equal parts electronic aspects. These two sounds seem to play off each other, each swirling around the other until they have layered to create a cosmic soundscape for Schaaf’s high-pitched nasal vocals to sit lightly on top, bouncing around. Another track that seems to flip around the notion of guitar heavy centricity at first is “How Do You Do It,” which picks up with a drum machine beat and slight clicks and pops. Schaaf comes in with heavyset lyrics, contemplating the nature of the normalcy of day-to-day life. He poses us the question with some power chords of guitar. Here is juxtaposition that I wish was more prevalent on Cosmos: the detailed lyrics and the balance between delicate and harsh seem to blend effortlessly, giving this track real traction and intrigue.

Though there are some good tracks to this album, all in all it seems that it is lacking in the grand vastness that the title might imply. I find myself enjoying a fair amount of numbers, but missing something overall. You might disagree with this sentiment—and at 34 minutes in length, you can see for yourself. Have a listen.

St. Vincent – s/t

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St-Vincent-album-coverRating: ★★★★☆

Recently quoted, when Annie Clark was asked why her fourth full-length solo album was self titled, she responded with something along the lines that this record felt the most like who she is. If this is the case, the version of St. Vincent that the public eye can see has undergone a sort of metamorphosis since Strange Mercy. Call it touring with David Byrne, or whatever you will, but Clark has gone regal in her style. If the pastel-bleached untamable curls or her seat atop a throne on the cover wasn’t enough to show this, just start listening.

“Rattlesnake,” opens the album with the classic sound that audiences have come to know with St. Vincent: buzzing and eclectic guitar work. What are new, however, are some jazzy sounding synth riffs that make up the backing soundscape. Clark then spins a tale of broken isolation with her distortedly beautiful vocals that are a mirror to the instrumentation; it’s choppy and sporadic, as if you were to take a hammer to a cohesive synth-rock song and break it up into pieces. Regardless, it’s a hell of an opening track, peaking the interest of newcomers and established fans alike.

If the opener was choppy and up and down, the follow up and single-ready “Birth In Reverse,” is an all out cohesive triumph that combines Clark’s turbulent style with the qualities of a pop song. From the start, you have the gritty guitars, but it is joined with a rapid pace beat seems to hold everything together. Even as we are lead through the up’s and downs of the jumps from verse to chorus, it feels like a natural path to be taking, and will make you dance—what more could you want?

I could go on about the other single, “Digital Witness,” with it’s jazzy horns and killer grooviness, but chances are you’ve probably heard it, and if not, get to it. A later track on the record that captures the overall sound of this release and that will have you grooving right along with Clark is “Psychopath.” It’s a softer, more approachable tune, but it is not devoid of the rough prowess you’ve already grown fond of. Instead, the vocals are pushed further back in the mix, letting it sit on equal footing with the instrumentation and the driving synth beat, so that when Clark enters the choral arches of the song, the effect is a gentler build and an interesting balance unparalleled by the other tracks.

At the end of this record, one thing is clear—St. Vincent has indeed turned herself inside out—the ferocity that once seemed buried beneath the innocent softness of an alternative-rock star is no longer hidden, but cherished. The result will have you playing this album on repeat for days; all-hail Queen St. Vincent.

Sun Kil Moon – Benji

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BenjisunkilmoonRating: ★★★☆☆

For a long while, Mark Kozalek has been making music under the moniker of Sun Kil Moon. To be more specific, Benji marks the sixth full-length release from this man and the company that he surrounds himself with. He crafts his version of the singer/songwriter tale and takes you with him, if you’ll let him.

“Carissa” opens the album, presenting you with the potential beauty that can be found on this album—it’s Kozalek at his finest, with his dark vocals and lyrical creativity that make Sun Kil Moon what it is. Melancholy guitar plucking immediately fills the space once you begin, and immediately brings you into an intimate conversation with the artist. The chorus breaks in, Kozalek is joined by other voices coming together and suddenly it feels like you’re shooting the shit around the fire pit in your best friend’s backyard, sharing honest stories from your past and not worrying about the clock. This first track works like that—before you know it, you’ve been in it for almost seven minutes, letting it take you where it wants to in its wandering tale of nostalgia and grand simplicity. Most of the songs here do just this, taking you on a journey into some sad tale which may or may not resolve, or just leave you staring into the fire.

The odd thing about the songs that are found on Benji is a dissonance between the gravity that the instrumentation and vocal quality present and the lyrics that Kozalek has crafted. With the often-simple combination of acoustic guitar patterns accompanied by Kozalek’s solitary voice, one might expect poetry set to music—the songs becoming complex and intricate fastenings of wit and poignancy. While this does happen frequently on this record, it is not always the case on Benji. There are some moments that stick out painfully from the subtle beauty of Kozalek’s music. For example, take “Dogs,” which is the crude depiction of the loss of virginity of the songwriter—most of the song is uncomfortable imagery that is very much disconnected from the tonality of the music it’s set to. Another moment of this uncomfortable simplicity is the track “I Love My Dad—” which, while dear and sweet, leaves little to the imagination in its honest confession of exactly what the title proclaims. I don’t mean to be critical of the sentiment, just the means, or the lack thereof, of communication present in some places here.

But perhaps the moments of human simplicity on Benji are what draw some to Kozalek; the reality and closeness to human consciousness serves as a reprieve from lofty contemplation. For the most part, I can see such allure, but at some points these moments seem a little too base, adding comedy or seeming parody to something that is meant to be serious.

The Black and White Years – Strange Figurines

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b+wRating: ★★★½☆ The Black and White Years are a local outfit composed of Scott and Adrienne Butler, Landon Thompson, John Aldridge and Billy Potts that first came together in 2006. While originally a three piece, the band added on over the years to this final lineup. A mix of indie art rock and dance floor inducing tunes, Strange Figurines makes their third LP, the likes of which will have you grooving along with the group.

“Embraces,” kicks this album off with a bang. There’s a brief moment of acoustic guitar and subtle ooh’s at the opening of the song, before the beat jumps in and picks up the rhythm—this moment of repose is reminiscent of something you might find on a Cut Copy record, and the hype is just as tangible.  Suddenly you’re in the song, and Scott Butler is there with you, his commanding yelp informing you loud and clear that he’d “Die for you, but only if you want [him] to.” Besides the ever-apparent detailed lyrics and catching vocals, the instrumentation also begs for your attention. Layers of drum machine beats, buzzing synthesized drones and guitars all combine to create not only a groovy, but a sonically complex tune that stirs not only your dancing shoes but your mind as well. The song ends nicely rounded to the beginning of the song, bringing a somewhat cathartic and satisfying close.

The nuances of “Embraces” are just what makes The Black and White Years’ music stand out from your average electro-pop group. Another dimension that is relatively new to this group is the female vocals of Adrienne that pop up prominently on “Just Like Old Times.” Semi-robotic, but also charmingly innocent in their quality, these vocals serve as lovely juxtaposition to Scott’s fluid power. Such a nice coupling reminds me of the vocals of Torquil Campbell and Amy Millan of Stars. The title track, “Strange Figurines” is a good example of this—the vocals become the focal point at times, but are met halfway with a synth riff to combat them, giving this group balance.

My one and only real piece of criticism, while very small, is by the end of the album, if you’re not in the mood to groove, some of the electronic aspects can wear you down a bit. The result may be that your favorite tracks come from the beginning of Strange Figurines at first, but after repeated listening the latter tunes make their way into your listening queue. Enjoy these locals  and the lovely album they’ve brought to you.

ATH Interview: Mirror Travel

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Mirror Travel AMBA BannerIt’s been an incredible year for Mirror Travel; their Mexico record for Modern Outsider was our Number One record in our Top 15 Austin Albums, and it looks like they’re continuing their meteoric rise.  They’ve been nominated for several Austin Music Blogger Awards (find all nominees HERE), so we caught up with the band to give a little bit of insight into the life of the band.  Click below to read all about it, and don’t forget to pick up your tickets HERE…the band will be playing as part of the night’s incredible line-up.

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Snowmine – Dialects

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dialect_zps43d236b1Rating: ★★★★½

If you seriously don’t know who Snowmine is at this point, the time is now upon you to become close with this Brooklyn based outfit. In 2011 this band put out a killer debut album that had us salivating for more, and their own campaign for a self-produced and fan supported sophomore album has proved successful for the band. This time around the group definitely took risks, not only releasing it themselves, but also in streaming it for free a week before its release. These details aside, this band has sealed themselves into the indie pop world with Dialects.

“To Hold An Ocean,” sets the tone, first up on the album, with its serene and yet constantly moving sound. The vocals are soft and so are the music components—string work and bubbling synth, precisely akin to the kind of music you would expect to hear before a band takes the stage in a live setting and it gives that feeling of hype of the album. The band just jumps right into it with “Rome,” their textured indie pop music complete with vocals drenched in reverb and a beat that makes you want to dance around your bedroom. If you’re new to the band, this track should spark your attention immediately, as its elements in culmination offer a different take on indie-pop. Call it a combination of alternative soft rock with electro pop and classical elements mixed in, but whatever you call it, it’s hard to turn away.

Though Laminate Pet Animal was a lovely first album, this second effort shows grace and maturity from the group. The sound is cohesively smooth, while sharp enough to prick your attention and hold you there. Each song is a delight in itself, even up to the close of the album, you are excited to hear where the band is going next. Take rocker “Plans,” which is dominated by its heavy beats and bass lines and lightened with some synth riffs to push it into a dance friendly number, all while not losing sight on some detailed lyrics that their previous album was far from short of.  Or maybe “Silver Sieve,” with its crescendo-ing culminating finish, is more of your favorite number. It’s sharp and smooth, near and far away, and all you could want from a pop group: detail and effortlessness all in one neatly wrapped package. Or perhaps “Dollar Divided,“ the slow simmering finale is more of your speed—my point is this: it’s all there and it’s all good.

Call me impressed. Dialects is a firm statement for Snowmine: they are here and here to stay, perhaps even to burst onto the big stage. Don’t wait to hear them on the radio, if you still listen to that thing, but enjoy this delightful album now! Get in on this love affair we’ve been admittedly apart of for years.

Dum Dum Girls – Too True

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DumDum_TooTrue_coverRating: ★★★★☆

When it comes to catchy noise pop, Dum Dum Girls already have two full-length albums and a handful of EPs under their belt. Though they originally released those first two albums in back to back years, they’ve let a few years pass since Only In Dreams of 2011. In that time, it seems that this group of ladies has poured themselves into Too True and it shows; this album is filled with what sounds like their best tracks up to date.

“Cult of Love” starts Too True out in a sultry and exciting fashion, with the girls embarking on their third LP. Musically, there are a lot of things going on, but none of which seem to overcrowd the sound space that these ladies are working with. Though it still fits into the style that Dum Dum Girls have established, there is a bit of reserve and overall poise in this first number. The drumbeat, although still fast paced, feels like a comfortable pace, whereas in the past they might have been leaning a bit on the drums, furiously trying to allow the rest of the elements to catch up. Here, however, we have a nice combination of the classic sixties surf rock riffs in the guitar with swirling synth coating everything in a new, extra sinister sounding layer of darkness that suits their sound perfectly.

That’s the change for the band here that ought to have you still interested in what this band is putting out, and it is apparent even in the softer corners of this album. On “Are You Okay,” the hard-edged guitars are replaced with delicate, acoustic sounding strumming, but Dee-Dee’s signature vocals still bring it down from getting too light and airy. Even the last song on the album, “Trouble Is My Name,” that features mostly stripped down sound of Dee-Dee and some barely audible guitar for the beginning part, has lyrics like “I had a vision/ I wanted to be dead” which show the inherent darkness that presides over all songs here. As I mentioned before, it’s a step that really works for Dum Dum Girls, and though I enjoyed their past albums, this small change makes me feel like something was missing this whole time.

As per normal with this group, their albums aren’t entirely that long; at just around thirty minutes, they pack a lot of intriguing tracks into this time, and Too True is no exception. This time around, they’ve shown some significant maturation in their sound that offers new listeners and old something really great to jam to. I look forward to their continued forward progress in excellent noise/garage rock music.

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