Author: nicole.baumann

Los Campesinos! – No Blues

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lcRating: ★★½☆☆

Though the high-energy twee pop of Los Campesinos! may not be the perfect companion for any mood or time period, their bright music seems to shine brighter than anything else when I am in the mood for melodically sunny tunes. However, on their last record, Hello Sadness, we got a glimpse of a darker side of this band that formed a few years back in Cardiff. Will they bring the darkness back on this release, or does the title signify a return of only sunny days?

As per usual, with this band, I find myself falling in love with a few tracks from this album and leaving the rest behind. This time around, at first, opener “Flotsam,” feels like one of those to keep, with its small intro of just lead singer Gareth David to its big ending and overall more grounded sound, but there is also a reserved quality that doesn’t immediately grab you completely. It’s not until track six that I really get a strong wave of interest in the music. On “As Lucerne/The Low,” I’m immediately pulled in by David’s powerhouse vocals belting out at the top of his lungs: “There is no blues that could sound quite as heartfelt as mine—” a very angst filled, youthful sentiment. The spastic drums and general cramped nature of all the instruments fighting for your attention all combine to create a high energy and glittering tune.   And on the next track “Avocado, Baby,” you are brought back to the sound of this band that you encountered on their debut record. Group vocals and chants of seemingly nonsensical, but actually quite witty lyrics are at the center, and I’ll be damned if I’m not tempted to sing right alongside them.

There is a bit of a return to gravity on No Blues, but this time it is in the form of more grounded tunes that fit less into the genre of twee and more of straight laced indie-pop. Save for the two songs I mentioned and some other mildly interesting tracks, there isn’t too much new or exciting on the record that we haven’t already heard from this group already. This is the reason by No Blues ultimately falls a little on the weak side is because Los Campesinos!  have been doing the same thing, making the youthful energy feel less fresh. That’s not to say the energy isn’t high or that I didn’t enjoy No Blues, but I definitely picked out my favorites pretty fast.

Mirror Travel – Mexico

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mirrortravelRating: ★★★★☆

Living in Austin, I sometimes forget just how many great bands come out of this city, so I love it when I stumble across one such as Mirror Travel who is bound to make waves. Formerly known as Follow That Bird, this trio is made up of Lauren Green as front woman on guitar and vocals, Paul Brinkley on bass and backing vocals and Tiffanie Lanmon going to town on the drums. Together, they come together to give you Mexico, their first proper release as a group, and not to mention a stunning display of good old rock and roll with a hint of dreamy elements to bring you into the present.

First, they present you with an ambient introductory track comprised of delicate guitar sound, a shaker for percussion, and some other gentle sounds to warm you up to the sound. Immediately, it strikes me as the lead into of an Explosions in the Sky track, but “Sands” is just about as mellow as it gets before they kick into their punch-you-in the face, dare-I-say psychedelic rock, like the calm before the desert storm. “I Want You To Know,” begins purely with a killer bass line and a finally you get a taste of the real cutting guitars and the raspy vocals of Green. Her voice is pure power, staking its claim amidst the buzz of the guitar and evoking a cross between Stevie Nicks and Dolores O’Riordan at points. The vocals don’t seem to be especially mixed above the instrumental parts of the songs, but sound as if she is in another room and you’re just lucky enough to have stumbled upon the sound  and stayed because you liked it so much.

This group isn’t only about melting your face with their angular guitar sound and kick ass vocals coming from the front woman, but they’re also here to make you dance, as any good rock and roll band should. Infectious tune, “Parties” comes fourth up on the album and will have you humming along with the choral hook while you’re jamming. Not to forget the ending of the song in which the guitar cuts out for a fast second and some rolling drum work in the background gives the song that build to put it over the top from good to grand. If you’re going to listen to only one song off this record, make sure it is “Parties,” as it’s bound to be one of the best tracks of the year.

Though it seems to only listen to one song from this effort would be a crime. I dare you to find a track you don’t like on Mexico; it’s easy to put this album on repeat and listen to it for days. In fact, that’s what I have been doing and will continue to do so. Look out Austin, as well as the indie world—here comes Mirror Travel.

Love Inks – Generation Club

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loveinksRating: ★★★☆☆

Love Inks are an Austin born trio consisting of husband and wife, Kevin Dehan and Sherry LeBlanc, as well as recently added guitarist Derek Brown. After going on tour through Europe they were inspired to create this lo-fi electro-pop record, Generation Club. Filled with sultry female vocals, wandering guitar patterns, and endless waves of synth centered around omnipresent drum machine beats, it’s a dreamy mix of tunes that you can spend an evening getting lost in.

The first track on the record is “Solar Diary,” and it takes you into the realm that Love Inks has created for you. The sleepy synthesizers wake up slowly in the opening second, and those drum machine beats kick in, giving the distinct simple sound that will carry on throughout the entire album. The uber feminine and yet simultaneously robotic vocals of Sherry LeBlanc question the realness of something, asking you to “only believe [her].”  The vocals seem to fit perfectly along with the blends of synth; the chorus arcing with the strumming of a few simple guitar sounds. The song is interesting at first listen, as you are enraptured by the dreamy landscape of sound, but there are a few moments in which the instrumentation feels bleak and lacking, allowing for a feeling of brief boredom.

Such a song is a good indicator of the rest of the album; it’s easy to be satisfied with the simplicity of the sound at points, and then left wanting a bit more at others. An example of total satisfaction comes on immediate hit, “Outta Sight,” that is fast from the start. A throbbing bass line that won’t quit and lush guitar to accompany said bass really complement LeBlanc’s vocals and this increase in instrumentation throughout the entire song take it to the next level, which is why it sticks out as a track above the rest. There are other tunes that embody the second half of the statement I made in regards to being left a little empty handed. Later in the album it is easier to notice, such as on track “I’m Gone,” in which the drum machine is a little grating and there doesn’t seem to be much novelty to the track in regards to those which have preceded.

Generation Club is a little over thirty minutes in total length, which means that you have really no excuse not to give it a spin. I found a few tracks to add to my listening catalogue, and hopefully you will too.

The Head and the Heart – Let’s Be Still

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Heat-and-the-Heart-Lets-Be-Still-1024x1024Rating: ★★½☆☆

If you haven’t heard Seattle band, The Head and the Heart, I’d be pretty surprised, as they are one of those groups that has undergone a Mumford and Sons leap from small timers to radio-played ‘indie folk band,’ consumed by the general public. Though they made said jump, their 2010 self-titled debut did not garner the popularity nor the recognition that the singles did, which allowed for the band to fall a little off the map since that release. Let’s Be Still offers the opportunity for this group to prove themselves to their fans and the general public that they are more than a one trick pony. Will they take that opportunity?

They start out on a positive note, with two back-to-back numbers that seem to show some growth from the band. “Homecoming Heroes,” starts out with the bouncy piano and violin work that the band made their signature. Raspy male vocals guide you along through some easy rhymes, while backing vocals smooth the background over with some ‘oohs.’ It’s a fun number, starting things out with an instrumental break at the end that is quite enjoyable. Second track, “Another Story,” is reminiscent of a simpler Cave Singers song, with slightly rambling lead vocals, which works well for this band—it gives a dose of chaos and unpredictability that you wouldn’t expect from them, proving to be the best track on the record.

Though, on the whole, the album falls into the same chasm that their debut did, just without those superstar crowd pleasers. The songs on Let’s Be Still aren’t all bad, but they do combine to make for a bit of a boring album. Those spunky numbers that spiced up their initial release just aren’t there, or if they are, they aren’t as bright and passionate; pun intended, the heart seems a missing from this album. Track after track it seems like all the numbers blur together in one massive, slow tempo, folksy pile. The smaller nuances that drew in audiences are lost when there is little differentiation from song to song. Even the brightest of numbers from the album, such as “Friends,” seem a little flat. They’ve lengthened the album, but thirteen mildly interesting tracks don’t make for an effort I see myself coming back to listen to regularly, or even at all.

Perhaps you’ll think differently, but this is not the strong sophomore effort that I wish for bands of this nature, and it seems as though The Head and the Heart have missed their chance to win me over. The enticement was there from their singles, but I couldn’t take that bait to really bite into their first album; Let’s Be Still doesn’t offer me much of a worm.

Cults – Static

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cultsRating: ★★★½☆

It’s been two years since New York buzz band, Cults, released their self titled debut album, which was catchy as all get out, but proved to be a little juvenile upon repeated listening. Now they’re back with sophomore release, Static, that interestingly features eerily similar album artwork as before. Still depicting a male and female mid jam, but this time in a pixilated form, the artwork, as well as the title, signifies no real departure from their original sound. That being said, Static comes off as a bit of a reexamination of their first record; they revise where they went wrong two years ago to make a record not only with a greater listening longevity, but one that is more enticing in its subtleties.

Though Cults prove this to be true after a bit of a slow start. The first track, “I Know,” is a hazy, ultimately skip-worthy track that may have been better left off the record, though it serves perhaps as a semi-introduction to the groups’ approach to music this go-round. Second up is an enticing number that incorporates the old and new sound. “I Can Hardly Make You Mine,” touts the familiar sugary vocals of Madelin Follin articulating simple lyrics, along with some xylophone-esque tinkering in the background. However, the vocals and tinkling xylophonic sounds are no longer gimmicks of this bands sound, but attributes that add texture to the overall mix. There are more layers and better ones at that, and such attention to detail makes each song seem more thought out and planned.

But the real superstar of this album is single, “High Road,” which is fourth up on the track list. Begging you to put this song on repeat and just drive around, slow and steady urban jungle beats welcome you, and swelling synth sounds make you stick around for the catchy chorus. Follin’s vocals on this number together with the smooth and cool instrumentation remind me of a Frankie Rose tune.  After this number the songs seem fairly interesting and good, but this single definitely sticks out as a sure highlight that you will want to revisit over and over again. Honorable mentions for other stand out tracks go to “Were Before” for a groovy bass line and hair raising vocals, as well as “So Far” for its gritty guitar.

At the end of the day, this record may not be what a diehard fan of Cults’ original record really wants; Static is a touch more mature in its sound. However, to me, and perhaps newcomers to Cults, this serves as ultimately a positive change for the group. So if you weren’t a huge fan before, maybe it’s time to give Cults a second chance: they’re still fun and youthful, but Static is a ‘young adult’ record, while Cults was a ‘preteen’ record.

Show Review: Local Natives ACL Taping (10/10)

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Riding high on the waves of their stunning sophomore release, Hummingbird, Local Natives, from Los Angeles, took the familiar stage of the Moody Theater to a fairly enthusiastic crowd. Sandwiched between the two ACL festival weekends there was chitchat amongst those who had seen the group on the big stage last Friday, who would be seeing them the second weekend, or those who were just lucky enough to catch them at such an intimate venue. Having taken advantage of this bands’ delight in playing in Austin, I knew we were in for a real treat, as these gentlemen pack a great deal of passion and energy into their live shows, and Thursday night was no disappointment.

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Azure Blue – Beyond The Dreams There’s Infinite Doubt

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AZURE BLUERating: ★★★☆☆

 Azure Blue is the solo project of already successful Tobias Isaksson, who is hailed internationally for his work with Swedish bands, Irene and Laurel Music. Also a popular DJ in Sweden, Isaksson has made his name well known all over Scandinavia, which is probably why you’re asking yourself who exactly is this guy and why he matters to you, since his fame hasn’t really made it to the States yet. The answer is simple: Beyond The Dreams There’s Infinite Doubt is a new wave record that deserves some attention.

Though some of you may have heard some Azure Blue through the debut album, Rule of Thirds, for most this is probably your first encounter with its new wave, electronic style. “Time is On Our Side” opens up the journey through the dreamy electro pop on a bold note, with the line, “I only wanted something real,” that seems to embark upon a story of a romantic nature; the declaration so earnest and sincere it begs you to connect to it. Meanwhile the music is a constantly swirling mix of battling synthesizers and soft percussion that you would expect of something that belongs in the new wave genre. At just under five minutes in length, this opening track gives you a basic idea of what this album has in store for you, but Azure Blue is only just beginning.

Immediately after this opening warm up track, the energy level gets turned up on “The Road I Know,” and from there they refuse to look back. The synthesizers are now more than droning waves of sound, but active parts of the mix, evoking the melody of the song right alongside Isaksson and some higher pitched vocals that pair nicely with his deep-set voice. Together, they create a lovely choral, dreamlike, arc to the song. Their vocals are smothered in reverb, which culminates with the chalky percussion so that the meandering synth riffs really stick out to give the song some harder edges. It ends slowly, with each layered element gradually fading away from the mix, and creating a solid song with a beginning, middle and end; six minutes flies by without you ever feeling slightly bored.

Like a dream in which certain instances particularly stand out to you, some of the songs on Beyond The Dreams There’s Infinite Doubt also allow for a little bit of attention-wandering. You have numbers that emerge from the dreamy trance of synthesizers and electronic beats like “Sunset,” as well as the aforementioned “The Road I Know,” but others slightly fail to bring something exciting to the album or the new wave/synth based electronic genre. It’s up to you to decide if that’s a positive or negative attribute for Azure Blue to have.

Delorean – Apar

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deRating: ★★★☆☆

I’m sure I’m not alone when I say that the first thing that comes to mind when I hear the word ‘Delorean’ is Back to The Future. So my gut feeling, when I learned that there was a band with the same name as the raddest time machine ever, was that this band must encapsulate some sort of nostalgia for the eighties that goes along with that image. Over the years, they have grown closer and closer to this image, creating tunes that’ll make you dance as well as take you back in time a bit.

Apar is no exception to this continuing trend, as it is chalk full of tracks to help you dance your way through life, complete with catchy choruses and hooks. The first real stand out number comes after the first track on “Destitute Time.” From the start you have the feminine vocals wailing in the background, sounding off something special coming in the form of new wave esque guitar hooks that sink their teeth into you from the get-go. You can totally understand how this group opened their own nightclub; this track just begs you to shake it. As far as comparisons go, you get a bit of a Cut Copy vibe in the seemingly flat male vocals that serve to propel the song forward. The guitars cycle onwards, each wave over the chorus becoming that final layer of sound to stabilize the overall mix and make for it to be a great song.

Though there isn’t much variance from the 80’s new wave mixed with some electronic components stylistically, there is a change from male lead vocals to the female lead vocals of Caroline Polachek from Chairlift on “Unhold,” which provides for the most interesting song on the record. Initially it sounds like a track you would hear off a jangly pop record, but then the vocals are drastically modified and auto-tuned for an odd effect. Half of me really likes this track, and is completely on board with the direction this group takes on this number, but the other half of me has its reservations about it. At points the vocals promote the excitement of the hard pounding drum beats, but at other instances I find myself wishing they were a little less auto-tuned and modified.

Overall, Apar is one of those albums that is excellent to put on while you want to have a dance party with your friends or when you want to clean the house. Track after track Delorean will have you moving and grooving to their sounds, and it’s up to you to find your favorite track to jam to.

Arctic Monkeys – AM

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AMRating: ★★★★☆

When a bunch of young chaps from Sheffield formed a band back in 2002, I doubt they had any idea they would be headlining Glastonbury, let alone headlining Glastonbury… twice. But ten years later, here they are, on their fifth LP release, still taking the indie world by storm and gaining more and more of a following after every release. AM, as aforementioned their fifth studio release, and gives a bit of a nod to their growth into a headlining super power. With this growth, do these no-longer-chaps from Sheffield still have something left in them to keep the hype going around them?

The single, and opening track “Do I Wanna Know?” certainly gives a roaring answer to this question. Stomping drumbeats set the tone, followed closely by some extremely buzzy guitar lines that come off as dark and sinister. Alex Turner’s enticing and subtly sensual vocals coat everything in a sort of heat that reminds me of the edgy coyness of Humbug. Turner spits lyrics out quickly, each line catchier than the next in his bad-boy persona, urging you to empathize with him and perhaps slick your hair back a bit when you sing along to the front man’s part in the call and response chorus. This song sets the tone for the rest of the album: cheeky, but not to the point in which evokes disgust. Turner and company make tunes that embody the very essence of cool.

But what makes AM relatable and not intangibly too cool is the subject matter: heartache. If you were to just listen to the instrumental portion of this record, you would enjoy it because it’s catchy and interesting, but as for emotionally available, it is a bit harder than you would expect from the Arctic Monkeys. The guitars are a bit edgier and noisier for the most part, with riffs tending to the hard rock genre. Take the song “I Want it All,” for example—extra heavy on guitar and light on everything else save for vocals. Musically, it sounds like a very dominant and confident tune, but then there’s Turner confessing: “Ain’t it just like you to kiss me and then hit the road?” There is this steady confidence exuded through the heartache that Turner spins songs about. Even on the slower numbers that don’t possess the gritty guitar, such as closer “I Wanna Be Yours” that embodies an R&B song more than anything, you still have unapologetic longing to be in love.

Though I wouldn’t consider myself a diehard fan of this group, I simply can’t deny that this is a great record, complete with a variety of genres touched upon here. Yes, Turner’s edgy lyrics remain constant, wrapped around the theme of love/infatuation—perhaps not enough in return from a particular subject—but it never comes across as repetitive or banal. AM is something you can take bits from and sympathize with as well as just enjoy on a musical level.

Okkervil River – The Silver Gymnasium

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okkervil-river_the-silver-gymnasiumRating: ★★★½☆

A few weeks ago, I had the great privilege of seeing these local darlings play some of their vast, now seven full-length albums deep, catalogue. While I was originally there to hear my favorites from prior releases, I was soon treated to several new songs off this release, The Silver Gymnasium, which got me excited to hear the rest of what Will Sheff and company of Okkervil River had to bring to the table this time around?

First to reach your ears is single, “It Was My Season,” which has this band doing what feels right for their little niche of folk inspired rock music coated in darkness. Some campy piano bursts onto the stage, joined together with Sheff’s unmistakable voice, and like the opening number in a musical you actually want to see, you go right along with Okkervil River as they take you down that path “all that time ago” into a tale of past love. The song picks up, to culminate into a full-blown chorus that should have you stomping along with them in a springier step then you may imagine. At the end of the four and a half minute track, the band leaves you on a nostalgic level, simmering down and letting you self reflect for a bit right before they launch into the next song.

While the first three songs on this record serve as a nice little trio of goodness to start of the record, you can notice a bit of a drop off after this point. There are still some good tunes awaiting you on the latter half of this record, they just don’t immediately grab you on your first listen through. Take “Walking Without Frankie—” second to last, the song starts with a rolling drum beat, and continuously builds upon itself, with Will Sheff twisting his storytelling lyrics around the music that keeps being added upon in the background. It gives the sensation of the tide rising; one moment you are taking note that the water is getting closer to you and the next it is upon you, with cymbals crashing in a frenzied finish.

And as simple as that, this band has added yet another number of songs, albeit not all of them, to add to your list of favorites. Some may argue that this album lacks the bleak bitterness of age and time that you would expect from a band that has been around for quite a long time now, but I think the youthful spin on The Silver Gymnasium is a turn in a good direction for Okkervil River; the darkness is still there, just waiting for you to find it.

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