Author: nicole.baumann

The Lonely Wild – The Sun As It Comes

397270352-1Rating: ★★★★☆

Though this band hails from L.A, you may have caught them somehow in your slew of SXSW shows this year. However, if you didn’t, not to fret, this band is an up and comer that will be hard to miss in time to come. Born in 2010 as the project of Andrew Carroll, The Lonely Wild released an EP that generated them some fame in their local scene, but their first full length, The Sun As It Comes, is here to stick this band on your radar.

This album is one that grabs your attention the instant you put it on. First, song, title track, and possibly one of the best tracks I’ve heard this year, “The Sun As It Comes” is a cathartic build up of folksy beginnings to a fiery finish. What starts as hair distant but powerful feminine “Oohs” accompanied by soft plucking of guitars transitions to the hair raising harmonies of Carroll and Jessie Williams, as they take you on an eerie journey of storytelling. All the while, the electric guitar gradually pushes itself into your listening spectrum and demands attention. Then, suddenly, Williams has gone back to the background vocals and Carroll’s Conor Oberst-meets-Ben Gibbard voice is screaming at you in frenzy. Such songs of gentle intrigue, along with outright fire, are to be found and enjoyed on this album.

The Lonely Wild have a lot of things going for them on this first full length release aside from a great opening track. Additionally, the songwriting on all of the songs here is engaging, apt, and relevant, serving as the icing on the cake to the sonically delightful music that this band doles out, track after track. By yhe third track, this band proudly shows you that they mean serious business, and aren’t shying away from creative details. Take “Everything You Need” as another example of an exemplary song that can be found here. Once again you have the dual vocals of Carroll and Williams, but wait, what’s that? Horns?! And an outright jamming beat from the start? What more can you want?

If your answer to that rhetorical question was a variety of tracks that transcend genres and bridge the gaps between rock and folk then look no further—The Lonely Wild has you covered. From start to finish, they hook you and then close the deal too, sealing it with their glorious harmonies and effortless likability. Do yourself a favor and give it a listen; you won’t want to be the last one to hear this band!

Wavves – Afraid of Heights

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Wavves-Afraid-Of-Heights-600x600Rating: ★★★☆☆

Nathan Williams, better known as Wavves, may have crossed your radar at some point, be it through the media realm of the indie music world, or through his music; either way, Wavves is one of the most buzzed about bands. Back in 2010 he released a full length album, which seemed to take the buzz to a whole new level and his relationship with Best Coast’s Bethany Cosentino made for his place as the title within his 2010 release: King of the Beach. Now that it’s been a few years and the buzz has died down some, will Nathan Williams come back swinging from the fade?

The answer isn’t so straightforward, as this is decent album, but the honeymoon stage for fans may be long gone. Afraid of Heights begins with some tinkering instrumental, feeding the anticipation of audiences. The first track, “Sail to the Sun” bursts into life quickly, though, the guitar wailing along with Williams’ vocals, as he kicks straight into it. Fast paced and laden with lyrics classical to the California punk lifestyle that Wavves has always explores. It’s a short and sweet track, but reminds audiences that this guy knows how to rock.

Pushing onwards, you’ll find that it’s not all full speed ahead on Afraid of Heights. The second song, “Demon to Lean on” evokes a sound that reminds me of a grungier, wilder, Weezer, which isn’t a bad thing. Tempo slowed, you can focus on the details that Williams has to offer, which include small nuances within the verses. Other strong moments on this album include, “Dog,” which gives listeners a break from blasting guitars and offers a catchy chorus to sing along. Later on, “Cop,” continues this milder, less garage-rock style, with mini-builds inside of it to explode into choruses, but as on “Dog” there aren’t those waves of dominating electric guitar. Some fans may detest this, but Wavves may be gaining some new fans.

What works against Wavves on Afraid of Heights is time—the album just feels long. With songs that are so repetitive and similar to each other, it seems like a few could have been cut from the track list that would have simplified the album and made for a snappier overall sound. Williams’ music gets a bit sluggish toward the end, and so did my interest, which may be the biggest problem for listeners on here.

Regardless of length, there are some excellent garage rock tunes on this album, which should feed the buzz just enough for Wavves.

Colleen Green – Sock It to Me

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ColleenGreen_LP1Rating: ★★½☆☆

It seems like girl pop and grungy lo-fi are some of the hippest genres at this stage of the musical world, so Colleen Green really fits the bill. Sock It To Me combines both the grittiness of lo-fi records as well as the lyricism of typical teenage girly pop all in one neat and concise package of a 10 track, 34 minute record.

At first, it may not seem to be a record that really grabs you. On the first track “Only One,” everything is there to love, but the sound may come across as a bit intangible and far away due to the synthesized backing drums, the high pitched ultimate girl vocals of Green herself, and fairly monotonous gritty guitar. The song comes across as a younger band trying to pass itself off as older. However, after the first track is out of the way, you’ll find it easier to get to know and enjoy Sock It To Me, as “Time In the World” goes along with a more youthful, bouncy vibe that suits Colleen Green better. Most of the other tracks from here on out follow this trend, which works fairly well for Green.

The album moves right along, bouncing from gritty minimalist pop track to gritty minimalist pop track, one after the other. There are certain moments that shine above the simplicity, such as “Heavy Shit,” the shortest song on the whole album. It rages through its 2:14 time, with hyper active drum machine and furious guitar in tow. Though snappily short and sweet, it is a good direction for Green; the minimalist lyrics are matched by the duration and fast pace that screams youth. However, along with this youthful vibe, there really isn’t much to offer on here lyrically, other than stereotypically whiny teenage girl problems. Which evokes some of the same basic boyfriend imagery akin to that of Bethany Cosentino and early Best Coast. That’s not to say the songs aren’t catchy or fun to listen to, but if depth is what you are looking for, you’ve turned to the wrong album.

If you can get past this lack of depth and just focus on the simple and catchy guitar riffs, then you are set to love Sock It To Me, but like other albums of this playful nature, it certainly isn’t for everyone. Some people may never be able to connect to the music here, but others may find something fun to jam to.

The Cave Singers – Naomi

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CS482358-01A-BIGRating: ★★★½☆

While I love a good folksy record on the softer side, sometimes it is nice to have some variation in your audio repertoire, and Pete Quirks grungy vocals will sure do the trick. Step aside mellow folk bands, The Cave Singers have a new release to rock the delicate harmonies right out of you.

Though, Naomi isn’t really a record that falls into the easy categorization of a single genre, but rather one that falls into many. While its pandering guitar lines gently nudge you to believe it’s a folk record, the hillbilly vocals of Quirks push you towards the raw edge of rock. For example, the first track, “Canopy,” is one of those tracks that really just fits in with The Cave Singers classic sound of folk. A seemingly gentle, yet pervasively intriguing riff welcomes you to the album, but the rawness of the vocals gives an edgier touch to the folk tune. The riff continues through this opening number, feeling as though The Cave Singers are picking up right from where they left off on 2011’s No Witch. Towards the end of the song you get this great little break down that makes you yearn to see this song in the live setting.

“Have to Pretend,” the song immediately to follow, shows the rocking side of The Cave Singers. Pete Quirks spits his lyrics at you as if some moody and broody rock star front man who takes control of the stage rather than a bearded folk man plucking away at his guitar. Some gang vocal variation between sharp and soft “oohs,” keep things interesting as Quirks continues on his lyrical monologue. It’s a great track, and in my opinion one of the stronger tracks that The Cave Singers have on this album.

There are certainly other gems to be found on Naomi, especially later on with “Easy Way,” in which the percussion, which is never that prominent in the mix for this group begins to stand out through the utilization of cymbals in the chorus. It’s also pretty hard to miss “Evergreens,” a soft number in the middle of things that strips this group down to bass, guitar, and vocals—a nice step back from the constant movement this collection of songs seems to possess.

Though some long time fans may wish for a little more variety in sound on this album, if this happened to be your first exposure to The Cave Singers, it would not be a bad thing at all. This band keeps putting out albums that continue to hold true to their base sound and yet move away slightly in the ways that you want it to.

Shout Out Louds – Optica

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Shout-Out-Louds-Optica-e1354709617122Rating: ★★★★☆

Okay, so you thought that Shout Out Louds couldn’t get any cooler: they’re Swedish, they’ve been making records that make your body move for more than ten years now, they’re Swedish… the list goes on. But then, this band decides to put a new single out, but also on a record made out of ice, which is also really cool (pun intended). Coolness aside, this band is back with their fourth studio release, and after 2010’s Work, they have a lot follow up.

For longtime fans of Shout Out Louds, or really to anyone looking for dance-ready jams laden with endless guitar hooks, Optica will not disappoint. From the beginning, there is this anticipation that comes from the second you hit play on “Sugar,” and some extra fuzzy guitar floods your speakers. For a first track, it doesn’t really overwhelm, but it gives you a taste of what’s yet to come; it’s a nice little introductory track before Adam Olenius and company really hit their stride. The second song, and a previously released single “Illusions,” kicks things up to the next level, with its highly percussive and prominent drums adding some texture to the background, while the guitars cut through with the chief riff. Also cutting through the static and robotic base elements are some delicate female vocals that utter the songs tagline, and then harmonize with Olenius that might just make you stop your dancing to laud the band for creating something so filled with substance.

But this is just the second track of twelve! The band continues grooving onward, but changes up the pace on “Blue Ice,” the number they released via ice record for a contest. It’s a track reminiscent of their last album in the way that it feels a bit softer; there’s less angled guitars, Olenius’ vocals are mumbled instead of belted, etc. This variation works well for the band, and the album’s pacing—Shout Out Louds don’t get too hot too fast and they make you wait until the fourth song until they really bust out their killer track: “14th of July.” Multiple hooks and a catchy chorus will have you singing along in no time and I can see this track making its way onto many party mixes and year end lists.

Really, I could go track by track on Optica, enumerating praise for this band because fast, slow, upbeat, downbeat: they know what they’re doing. See for yourself and go buy this record. Now.

The Little Ones – The Dawn Sang Along

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1360750994_coverRating: ★★½☆☆

Releasing their debut album back in 2008, The Little Ones have henceforth been known for their hyper-energized, guitar laden power pop. With members of this group coming from the band, “Sunday’s Best,” this group is comprised of several musicians giving their best go at making music that people can shake it to.

If I could say one thing about The Dawn Sang Along, it would be that it essentially defines a ‘fun’ record. When the first inklings of synthesized beat begins, you can already feel the anticipation building quickly before the song takes off. Such is the beginning of the album in “Argonauts,” which opens things up with all of The Little Ones’ explosive and energetic bouncy pop. The borderline falsetto vocals work to keep things extra light and airy, while mechanic drum beats and synthesizers give this band a sound that resembles a mixture of bands like Two Door Cinema Club and Cut Copy. “Argonauts,” though the first track on the album, manages to maintain its resonating catchiness all through the rest of the album, driving to return to it time and time again.

But, as I mentioned before, The Dawn San Along is pretty much the embodiment of a fun record, and so The Little Ones have a lot more to offer than just one song of sunshine. Indeed, the follow the first track with the equally catchy “Boy on Wheels,” which possesses the same hooky guitars that this group exemplified on their previous record. Some other stronger tracks off the album include “Shake Your Sign,” which incorporates some less static sounding drums, opening up the dimensions of sound. Also, late on the album is “Ain’t It Like You & Me,” which closes out things nicely with its building and echo-y vitality.

Though this record is sunshine and fun expressed in a summery sound, it may just be a little too sugary and bright for anyone but teenage girls. To their credit, they do try and slow things down and sober up a bit on numbers like  “AWOL,” but The Little Ones just can’t really shake off the sunshine. And to some, it may just be what is needed to shake off the winter blues, but for others, The Dawn Sang Along might come across like that person who is always smiling a bit too widely, too early in the morning.

Ducktails – The Flower Lane

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Ducktails-Flower-LaneRating: ★★★½☆

The Flower Lane is the third studio album from this group, fronted by Real Estate’s Matt Mondanile. The band specializes in garage-esque, murky alternative rock music, though they take a step further into clarity with this release.

The album starts out on an unmistakably high note, with “Ivy Covered House,” which is one of those tracks that makes you yearn for that perfect sunny day so you can roll the windows down and just let the breeze ruffle your hair—it’s that glossy and smooth of a tune. This first number is just about as full of jangly guitar as possible and it is as though Matt Mondanile is evoking the style of his other band, Real Estate, which is far from a bad thing. Regardless, when the band circles around to the final repeated chorus after a short instrumental break, it’s impossible not to be onboard.

Though this is about as jangly as Ducktails go on this album, and the next few tracks put some distance between its sound and the others. Two tracks later on “Under Cover,” the band still has their swirling guitars, but have leapt into the realm of jazz, complete with saxophone interludes; it is safe to say that this isn’t a predictable Ducktails track. That being said, this album is quite a different step for the band, not only in a decrease of fuzziness via the production, as well as the different experimental directions they take.

But what is interesting about The Flower Lane is that if you skipped ahead to the latter part of the album, you’d probably be confused as to if you were still listening to the same band. Though they have already jumped a few genres earlier, there are a few tracks toward the end that don’t really seem to fit in with the rest of the tunes on this album. “Letter of Intent,” the second to last track on The Flower Lane, is really more electronic than anything Ducktails has put out up to this point in time, as it is a collaboration with Dan Lopatin on Synths, and the feminine vocal styling of Jessica Farkas of Future Shuttle. It’s a groovy number, but it really strikes hard as out of place after you’ve been listening to a primarily guitar motivated album. The track before it, at roughly two minutes long, “International Date Line,” retrospectively only feels as though preparation for the track that follows, but alas, it still doesn’t really sit right when the band returns to their ‘normal’ sound on the final track after it.

Even with this odd ending, this album is still one that has a number of good songs to entertain those who are a fan of garage rock. So if you haven’t yet, give Ducktails a spin.

Local Natives – Hummingbird

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preorderRating: ★★★★½

In 2010, Gorilla Manor put this band on every keen indie-music fan’s radar, and since then, due to an insane amount of touring (they’ve played in Austin at least four times since their debut alone, not including the SXSW the year prior) it seems like everyone has been wondering when this band was going to put out a follow up record. But now that time is upon us, a bit of pre-flight jitters and second thoughts fill the air: would it be as good as their debut, or leave fans wanting to break free from the sophomore slump?

Those who have heard the two singles, “Breakers,” and “Heavy Feet,” that the band were circulating in hype of this album should know that Hummingbird is a completely different animal than Gorilla Manor (pun intended). In every way that Gorilla Manor was percussively raw and indulgently explosive, Hummingbird is refined and yet powerful, constantly effervescing in some way—be it a percussive element or a gentle riff, or a cathartic “ooh.” You can hear the difference in the two tracks aforementioned. On “Heavy Feat,” the drums flutter hyperactively in the background while the blissful harmonies you’ve already come to love fill the foreground. On “Breakers,” the percussion is still there, but what is most noticeable are the building waves of “Oohs,” that layer upon themselves and give the song an elegant ferocity that will have you playing it on repeat.

But these two songs are far from the only hard hitting tracks that Hummingbird has to offer—on the contrary, the whole album shines almost as bright as the band’s debut, albeit in a different light. Part of this is due to the National’s, Aaron Dessner, who helped produce this album, as well as his recording studio wherein the band recorded this time around. With his finesse, the band’s nuances are amplified, and a sharper, cleaner record comes into focus in which the music is less gimmicky, and more emotionally accessible. Even on the numbers that are of a faster nature, the lyrics are still vividly expressive, though perhaps on a bit darker, more National-esque, note. Take the opening lines of “Black Balloons,” one of the strongest songs, for example: “I can see the words as they come out of your mouth/Black Balloons form into a poison cloud—” such imagery is much more prevalent.

And in the end, it’s pretty hard to be disappointed with Local Natives, as Hummingbird lives up to the hype even upon first listen and gets better upon repeat. That being said, it’s important to let go of your preconceived notions of this band as one-trick percussive ponies and let yourself be carried away by the refined ferocity, if not, you’ll be passing up on a band who has only put out, and will continue to put out impressive music.

Yo La Tengo – Fade

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Rating: ★★★☆☆

Okay, so you know Yo La Tengo, the alternative band who has only been around for about thirty years and have released twelve studio albums? No? Well, crawl out from that cave you’ve been living in and get with things! This band has been putting out quality indie rock for a lot longer than most, and Fade is far from a disintegration of such merit and raw talent that this band possesses.

On the first song of Fade, “Ohm,” you have a fine example of the Velvet Underground-esque style of endless looping of the gritty guitars to start things off right. It’s a long track, pushing seven minutes, but the persistence of the song keeps you intrigued for its duration. The mild gang vocals slide in amidst some heavy hitting percussion, contributing to add up to a fuzzy, beast of a number, which sets the band up to launch right into yet another album filled with music that is simply easy to listen to—you can easily find yourself lost amidst the subtle vocals and the overall gentle sound.

While the first song is a bit grungy, it really doesn’t give way to the rest of the album is going to go; the first track is the grungiest number you’ll find on Fade. Immediately after, on “Is That Enough,” while the fuzzy guitars are still present, the string work lightens up things quickly. But as far as the lighter tracks go on this album, stronger songs are to be had later on, such as “Stupid Things.” Fifth on the album, it’s about the peppiest of songs to be had, with Ira Kaplan’s vocals coming at you, echoed and foggy in the verses and sweetly soaring through the choruses. Meanwhile you have a steady upbeat carrying things on jollily. Another unmistakably strong song comes at the very end of the album with “Before We Run,” which incorporates the string work from before, the persistent buzz of Yo La Tengo, and the deep vocals of Georgia Hubley. Similar in length of the first number, the last track on Fade provides for a wonderful ending to the simplicity and comfortable tracks on this album, complete with some magnificent horn work to round things out.  

While the majority of the tracks are easily accessible, Fade can also be lost track of when listened to. Sure, it’s a great record to listen to when you’re just laying around or on an afternoon drive, but it isn’t really the kind of album that persists you to listen to it. Fade doesn’t beg for your attention, but it makes good use when it gets it.

Lone Wolf – The Lovers

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Rating: ★★★½☆

Paul Marshall, the heart of Lone Wolf, has been dabbling in the music world since 2007, when he released a solo album under his own name, but Lone Wolf emerged in 2009 as another solo project of Marshall’s, edified with a new moniker. The Lovers is his second album under this name, and it is full of swirling darkness and groovy tunes that will slither its way into your listening palate and curl up and stay.

After a forty five second introductory track of ambient and minimal sounds, the first track, “Spies in My Heart” kicks things off on a mellow note, setting the chill tone for the rest of the album. It’s a slower number, but it also shows off Marshall’s rich vocals, which are charged with emotional power and subtleness. There is an encompassing quality to his voice, which lures you in and makes you hang on his every word. Also on this song, the interesting and complex percussion is introduced in the background, which makes Lone Wolf unique from other alternative, and electro-folk outfits. All together, the elements of this number make for a deep and gradual introductory track.

There are several elements of this album that remind me of that of a stripped down Twin Shadow record. You have the swirling and meandering electric guitar loops and the central focus of percussion, which are exemplified on one of the most interesting songs on the album, “Ghosts of Holloway.” The third real track on Lovers, this song begins with an infectious riff and complex rhythm that will have you grooving even before Marshall’s vocals chime in. After a few opening moments of instrumental, Marshall joins in with the choppy percussion and riff to add another element of smooth to the mix. His voice, combining with the guitar’s cohesive riff, nicely juxtaposes with the cutty drumming. If you haven’t enjoyed the album up to this point, do yourself a favor and listen to this little baby on repeat a few times—it’s damn catchy.

While the juxtaposition between smooth and sharp is quite effective on this number and others like “The Swan of Meander” and “The Good Life,” there is quite a bit of it within the small space of this thirty-four minute album. I’m not saying that it’s not intriguing and appealing, but that The Lovers is missing that element of surprise and variation that would allow it to go from a good album to an especially great one. It’s still a haunting and groovy album with several excellent tracks to enjoy and get lost in. So give The Lovers a try and find some new tracks to spice up your mixes and musical repertoire.

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