Category: Reviews

Sigur Ros – med sud I eyrum vid spilum endalaust

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Rating: ★★★★☆

This band is epic. Given the task of singing “Happy Birthday” at an 8 year old’s birthday party, they could likely stretch the performance several minutes with multiple movements involving choirs of children and the London Sinfionetta. (see Ara Bitur`) That is just the natural skill of this foursome from Iceland. And though they showcase that skill in several areas of their new album; med sud I eyrum vid spilum endalaust, they have expanded their repertoire with looser, shorter, more traditional songs this time around.

The first track/single “Gobbledigook” isn’t quite their attempt at Ipod commercial appeal, but at just over three minutes, they might finally get to play on Letterman. In fact, there are only four songs on the album clocking in past five minutes. The single uses heavy percussion, alternating acoustic guitar lines, and harmonized vocals to create something… fun. Somewhat of a departure from the glacial, sparse musical landscapes they have focused on with their past five albums.

Building on the same theme, the second track is Inní Mér Syngur Vitleysingur. Though accompanied with brass and string sections and a soaring vocal melody, the driving force in this track is the bassline, piano, and four on the floor drumbeat.

Fans of the traditional epic sounds of Sigur Ros will also find much to enjoy on endalaust. Five minutes into Festival, the bassline and steady kick drum start the final build. Symphonic horns and strings add from there. Vocal harmonies, additional horns, and seemingly whatever other instrument is lying around the studio, take hold of the simple melody and build it to a stunning climax.

For me, the peak of the album comes with the turning point in Ara Bitur at four and a half minutes through the song. A simple piano line is augmented with lightly struck bass, and Jonsi’ Birgisson’s repeating vocal is suddenly accompanied with an entire symphony and children’s choir. At its peak, the song features 90 musicians playing at once. Recorded in one take in the Abbey Road studio in London, this is most epic track on the album.

In several niches of popular music, you can find dramatic shifts in loud/soft dynamics with bands like Explosions in the Sky, or even certain tracks like “Everlong“ from the Foo Fighters, but songs like this show just how far above their contemporaries Sigur Ros can be. It is tough to describe the resulting energy in this song relative to where it begins. Just make sure you only listen to it on empty desert roads with no speed limit, or seated comfortably in your home. But turn it up.

So with endalaust, Sigur Ros have shown that while they can narrow their scope and create succinct, meaningful, and well constructed songs that open them up to shorter attention spans and wider appeal, they are still kings of the epic.

Alkaline Trio – Agony and Irony

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Rating: ★★★★☆

For those expecting Alkaline Trio to come up with an entirely new formula for this album–their sixth full length–it may come as a disappointment, although it shouldn’t, that the band sticks close to their guns. They’ve been honing their skills at the pop-punk game for so long, that it might do more damage to fans if they strayed in a new direction.

Of course this album has the classic Alkaline lyrical stylings, filled with allusions to the darker side of things, which has always been Matt Skiba’s forte. An example of this lies in the song “Into the Night,” where Skiba sings “The carrion has been forgotten/Left for dead in the sun rotting.” It’s also visible with track titles such as “Calling All Skeletons” or “In Vein.” There is a real personal vibe in the lyrics as well, but I’ll let you listen to those on your own time.

There are some slip ups on the album such as the redundant lyrics in “Do You Wanna Know,” which is forgivable because of the quality of the music. Also, “Love Love Kiss Kiss” just doesn’t pack the same punch that the rest of the album offers listeners–not to mention how ridiculous the chorus is on this song.

However, there are some phenomenal songs here, such as “Over and Out,” which is probably one of the best songs I think that they’ve written in recent years– driven during the verses by some solid bass work. “Ruin It” is just another song that exemplifies everything that Alkaline Trio has been creating since their jump to the majors–and they throw in a nice vocal effect near the end to boot.

At first, I was weary of the really clean production on here–as I love the grit of that dirty guitar sound–but it really works to the benefit of the band here. Skiba’s melodies are well-suited by the newer sound the band has taken on. It makes the band sound sound really close to being at their absolute best. All good things.

Like I said, there isn’t anything new here–excluding the fact that there are new songs, of course–yet this is a solid effort from a well-seasoned band that has been doing it longer and better than most. Not quite the perfect album, but pretty close.

Below is a song called “Help Me” off the new album:

Download: helpme.mp3

[audio:https://austintownhall.com/wp-content/uploads/2008/06/alkaline-trio-help-me.mp3]

Hercules and Love Affair – Hercules and Love Affair

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Rating: ★★★☆☆

Anotony Hegarty put out one of my favorite albums of the last five years, and when I heard of his involvement in this project I was extremely excited. His voice–albeit one needing adjustment–is probably one of the more emotion evoking voices I have listened to in the these days. Sure, they are stripping him of his piano, but the possibilities of a solid album were definitely there.

The first track “Time Will” definitely maintains the spirit of an Antony record. His strong vocals come through in full force, met in the background by carefully constructed dance beats. It’s a fresh approach that definitely earned some interest from the get go. It’s hard not to listen to the the opening track without high expectations.

Then you come to the second track, “Hercules Theme.” Throbbing bass lines and other various beats have you bobbing your head as soon as this song comes into your ears. The use of horns–live or sampled–creates a blistering dance song that will have to be a staple at all your summer dance fiestas. Just ignore the sexual moans playing quietly in the background, and you will be well on your way to enjoying this album.

The next two tracks hit you just as hard. Encouraging you to dance along with all your friends in your favorite living space. This all comes to a culmination by the fifth and best track, “Blind.” Antony Hegarty sings throughout, carrying you up and down with his voice, while the beats have you tapping your feet ferociously–if your legs and arms don’t follow, go see a doctor. This is an exceptional dance track, and there is nothing else you can say. It all, however, stops here.

The rest of the album drags on like a really poor dance record. It’s hard to find the reason for the hype when you listen to the rest of the album. The beats become extremely repetitive, and there isn’t anything that garners your attention, as the album slowly fades into the background of your mind. The pumping beats that accompanied the first five tracks go off in the way of a really bad 80s porno soundtrack. The pace gone, and the creativity lacking, the album turns into something hardly listenable, unless of course you are into porno soundtracks.

Another flaw that I find with this album is that they still use Hegarty’s lyrics. His writing is so intimate and dark that it is hard to find it juxtaposed with disco dance beats. It all seems wholly out of place with the rest of the music. Sure, it’s great to hear Antony back again, but without the personality he carries with his piano, you find him coming off a little bit hollow; this is not what I looked forward to when I heard of this union.

If you need some dance tracks for your upcoming July 4th party, then I suggest you go out there and buy a few of these songs to keep your friends feet moving, but if you are looking for an intimate evening with Antony then you will find yourself disappointed, and possibly disillusioned with his tastes. So much for the hype.

Have yourself a go at “Hercules Theme” from the new album:

[audio:https://austintownhall.com/wp-content/uploads/2008/06/02-hercules-theme.mp3]

Download: herculestheme.mp3

Coldplay – Viva la Vida

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Rating: ★★★☆☆

In 2000, when MTV showed two music videos a day instead of one, I recall watching a video featuring a squirrel-y looking fellow walking along a merky morning beach. I didn’t care much for the redundant slow motion effect or the dusk-to-dawn illusion, but as a teenager, was enthralled in what this hoodie-wearin’ bloke had to say. “Yellow” was my introduction to Coldplay. Since releasing 2000’s Parachutes, the London quartet have sold more than 32 million records worldwide, filled countless arenas and made legions of Dodge Caravan-driving soccer moms in the process. You know a band is doing something right when you make a phone call to your mother and SHE asks you, “Have you heard the new Coldplay record?” No small feat…

Much has changed in Camp Coldplay since then. While 2002’s A Rush of Blood to the Head proved this band was destined to “rock” stadiums, 2005’s snoozefest X&Y brought us back to Earth proving that re-hashing singles is not always the brightest of ideas. Exhibit A: X&Y’s “Speed of Sound” tried it’s darndest to match the success of “Clocks” by sounding just like “Clocks.” Exhibit B: “Fix You,” a song that I’m pretty sure GOD wrote was X&Y’s answer to “The Scientist.” The boys we’re in dire need of assistance because the formula was already walking on thin tightropes.

On their fourth installment, the Tex-Mex-titled “Viva la Vida or Death and All His Friends,” that help comes in the form of producer Brian Eno (U2, Talking Heads) to assist in ship-shaping their form. Gone are the power ballads Coldplay are known for and the over-production of their past records. Instead, listeners are treated to a multitude of sonic landscapes, sweeping strings, and a buttload of church organ. Luckily, this change works in Coldplay’s favor showcasing a band that’s capable of writing challenging music rather than worrying about living up to their position as the “Biggest Rock Band in the World.”

I promised myself I wouldn’t mention any other bands in this review, primarily the obvious one that has a letter and a number in it (sigh), but after hearing “Life in Technicolor,” the opening instrumental track off the record, it’s an arduous task not to mention Coldplay’s Dublin doppelgangers. It’s a shimmering two minute piece that opens the album nicely transitioning into “Cemetaries of London,” a drag-of-a-tune that sounds more like Big Country with it’s lagging chants and guitatist Jonny Buckland’s Edge-riffic licks. Now if only these cats can learn some quality jigs for their live show.

As the album progresses, the band explores darker territories. “Lost!” is a well-crafted song mixing powerful organ and drummer Will Champion’s Afro-beats, and “42” is a stunner with it’s unique and daring structure. However, it’s difficult to sympathize with future Sir Chris Martin when he sings “I just got lost…every river that I tried to cross.” Martin has never been known for his profound lyrics and it definitely doesn’t do him or his troupe any favors on Viva la Vida. It hurts the record if anything. “Yes” with it’s “Walk Like an Egyptian” style strings, monitone vocals, and “profound” lyrics could’ve been spared from this record. However, the second half of the song dubbed “Chinese Sleep Chant” is English trance at it’s best. If only I had my glowsticks…

“I don’t want to blow my own trumpet, but I’d be surprised if it didn’t put an end to all violence and suffering.” Obviously, Martin was joking when he said this about the record in a recent SPIN Magazine interview, but after hearing the mighty one-two punch of Apple iTune’s smash “Viva la Vida” & first single “Violet Hill,” I would not be surprised if this record in fact ended all violence and suffering. Okay, I’m blowing smoke up your ass, but both songs serve as an excellent juxtaposition when describing the album as a whole. Everything from Martin’s fixation between life & death to the album’s awful Revolutionay War cover art that was ripped out of the pages of a 7th grade Social Studies book are embodied nicely during the record’s climax. “Strawberry Swing” is fantastic blending Buckland’s Afro-pop guitar hook and bassist Guy Berryman’s stomping rhythm. However, it’s all brought to a screeching halt when the final track “Death and All His Friends” wraps up the album. Sadly, it’s a trite tune that sounds more X&Y than Viva la Vida. The second half of the song revisits the beginning of the record. “And in the end, we lie awake and we’ll dream of making our escape,” Martin delivers in Abbey Road fashion over Eno’s soundscapes. It’s a comfortable refrain that does not coincide well with the 1st half of the song. And in retrospect, that’s how Coldplay’s Viva la Vida plays out. An easy-flowing record that gets lost periodically in it’s own ambition.

You can hear the title track to the new album below:

Download: Coldplay – Viva La Vida [MP3]

Jay Reatard – Singles 06-07

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Rating: ★★★½☆

About a year ago I stumbled into Jay Reatard, well, his record, Bloodvisions. Since that day I have eaten up every piece of news I can find on the man and his band. Out of nowhere news hit me that In The Red Records would be releasing a compilation of all his old singles from various 7″s. I don’t have the money to bid for such things on eBay, so I opted for the more economical solution, buying this here compilation.

The compilation is seventeen new–well, new to me–songs, but you need to examine the tracklist first. The listing includes four different versions of songs that made their way onto Bloodvisions. The songs that might sound familiar to you are “Bloodvisions,” “Oh Its Such a Shame,”Turning Blue,” and “It’s So Easy.” You will also find that the song “Haunting You” from this very compilation sounds really familiar. In fact, if you changed the name to “Nightmares,” you would already have this song. So, you have 12 new songs, but this is all accompanied by a DVD featuring 4 live shows, which are all worth the your viewing.

Do these singles compare to the greatness of the full length? I think that depends on what exactly you are looking at when you listen to this album. Is this your first Jay Reatard experience? If so, then you might find this unique blend of lo-fi garage rock with perfect melodies simply refreshing. It’s hard not to find something to like with this band.

However, if you have previous Jay Reatard experience, you might find this collection of songs kind of a miss. The production quality is the first thing that I noticed that was different. It just didn’t pack the same punch that Bloodvisions brought you. The vocals sometimes appear more muddled than usual. Then you come to the older versions of the songs on Bloodvisions and the only one that really surpasses or equals the newer version is “Haunting You,” which was changed to “Nightmares.”

There are some interesting new twists, such as the keyboard infused “Another Person,” which brings in the bouncy melodies that typically adorn a Jay Reatard song. Also, the bluesy “Hammer I Miss You” is also an interesting touch.

All in all, this is a worthy collection for either listener, Jay Reatard newcomer or diehard. As the newcomer, you get a proper introduction to the rock stylings of Jay Reatard, which we all know is necessary when few bands are making solid rock music nowadays. For the diehard, you get to look into the past of one of your favorites. This album is really a stepping stone for any and all listeners.

The Notwist – The Devil, You + Me

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Rating: ★★★★☆

The album opener sets the tone for this album. “Good Lies,” kicks off this record with an introduction to the group’s guitar-work. It’s quite a change from their near-perfect Neon Golden. This song bounces along, being pushed by the guitars, but it doesn’t quite have the pace of songs like “Pilot,” off their previous album. Where you hope for a dramatic shift, it just goes along, then adds a little bit of the electronic beats, which is where the band receives a lot of their accolades.

Another solid number that opens a new vein for The Notwist is “Gloomy Planet.” The soothing voice of Markus Acher is layered beneath a strumming acoustic guitar, while the minimal beats dance their way to the background. The subject matter of the song seems a bit gloomier than prior efforts, but I think that title of the album really sets that mood from the minute you purchase this album.

There are definitely some redundant parts on this album, such as “Alphabet,” but I think it is really hard to pull of this dynamic sound without treading over the same round again and again. On top of that, you add the lack of range for Acher, and at times the album kind of just blends in with itself, which I think is going to be the biggest complaint from any listener. That, and there are a few moments where they push the electronic buttons a little too loud and too far, which got a little grating on my ears, as short-lived as it was.

Given some weaknesses, there are some supreme moments on this album. For me, as a listener, “On Planet Off,” is reminiscent of some of the Industrial nineties music that I just adored, only a great deal more ambient than all that. Not to mention, you don’t find a lot of songs better than “Devil, YOu + Me” these days. Then you comes along a song like “Boneless” near the end of the album to pick the pace back up and put a little bit of a bounce back in your step.

You add the faults and the good moments in this record, and you find a rarity in today’s music world. You find an album that you can listen to from start to finish; each track requires careful attention, and with that attention, each song continues to open up new doors for you. It may not be the album that blows your hair back, but it is an album that fails to let you down, which is a lot to say for a band that was surrounded in hype and anticipation.

Here’s a track off the new album called “Good Lies”:

[audio:https://austintownhall.com/wp-content/uploads/2008/06/notwist-good-lies.mp3]

Download: goodlies.mp3

Jeremy Jay – A Place Where We Could Go

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Rating: ★★★★☆

Every once in a blue moon you happen to heed the advice of a good friend, and thus was the good fortune I had with coming across this brilliant piece of work by Jeremy Jay. This album caught me by surprise, but I am so glad that I came unto it for this is exactly the sort of album I have been searching for these past few weeks.

Now, Jeremy Jay comes across to many people as some sort of Jonathan Richman, and I can see that in the way that Jay seems to speak his lyrics rather than sing them, but his voice is a bit off from Richman’s. I tend to think of Robert Forster of the Go-Betweens –then again, I can see some of those Morrissey comparisons. I guess that’s it, you can try as you might, but Jeremy Jay has a voice all his own.

I really enjoy the song craft in these songs. Apparently, this chap is a fan of 50’s music a la Buddy Holly or Richie Valens, and this is very clear in the instrumentation. A song such as “The Living Dolls” completely encompasses this vibe, taking you back to your very own personal sock-hop. He doesn’t stop here, always staying in the vein of classic pop-song structures.

The only fault, for me as a listener, is that the music is clearly wonderful, yet it is really down low in the mix. Clearly, the focus is on Jay’s voice and lyrics, but that doesn’t mean you can turn up those guitars for the sake of the listener. Well, that is personal taste I suppose.

For the duration of this album, Jeremy focuses predominantly on the topic of love, but he approaches the subject from various different angles. Each of his songs, to me, comes across as a carefully crafted love poem–but not the kind that comes across as dishonest. I particularly enjoy the fact that there is an essence of the magical or natural world in the lyrics, which wins points in my book.

There are some faults here, such as the album falls short of 30 minutes, but for a debut full-length, its hard to come across much better than this. I have a feeling that by the end of the year this will sneak its way into my top ten–in fact, I’m reserving it a spot right now!

[audio:https://austintownhall.com/wp-content/uploads/2008/06/02-heavenly-creatures.mp3]

Download: heavenlycreatures.mp3

Reggie and the Full Effect – Last Stop Crappy Town

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Rating: ½☆☆☆☆

I bought this record at the store the other day because for some reason I sincerely hold fond memories of this band.  The first few records were great, and then the band slowly lost its appeal.  Congratulations Nathan! You’re an adult.

Listening to this record all day today, and last night, it was hard to remember exactly what it was about this band that I really enjoyed.  I went back to the old records from my younger days–when I was 20.  There was the answer–the remnants of pop-punk and emo. Don’t smirk! You liked this stuff too!

Anyways, in the beginning, James Dewees–keyboardist for now defunct The Get Up Kids–he blended comedy along with really solid melodies. He tossed me a few solid keyboard solos, and even through samples of hilarious clips into the album.  They were seamless, and honestly, I thought they were special–still hold a spot in my heart.

Of course, there was some remnants of hardcore on the old albums, clearly remaining from Dewees days in Coalesce. It was just a small enough dose to go well with the feel of the record.  Now, that is all that remains.

There are few moments on this record that are redeemable.  The incessant screaming is so 99′ and I just don’t have the patience for it.  And, the lyrics I could decipher were simple, though I never considered Dewees to be much of a songwriter.

For me, this was his last gasp–his “last stop” if you will.  For me, this was my last stop.  This album reminded me of where I have been, and who I have become–frankly, I’m an adult.  This record brought that to a head.  Thanks Reggie, for that you get half a star.

Cryptacize – Dig That Treasure

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Rating: ★★½☆☆

On the sixth track of Crytpacize‘s debut album they sing “every note is an unfinished song,” and clearly they take this to heart, but far too much for my liking.  This song comes off just as the lyrics, leaving the feeling that they have collected a plethora of unfinished songs.

From the get go, I really was interested in this album.  Asthmatic Kitty puts out a lot of really good records, and recently, Sufjan Stevens put out his support for the band.  A lot of promise.  Then you add the perfectly beautiful vocals of singer Nedell Torrisi, and, well, the promise of this album continued.

That was about as far as the promise got for me, although I have to admit, that something curious inside me lingers to keep listening to this album–that I can’t explain.  Maybe I have to be in the middle of a different season, rather than this Texas heat.

Where did the promise go?  Probably the same place as the percussion on the majority of these songs!  It evaporated! I mean even the Five Civilized Tribes used predominantly percussive instruments. This album lacks them, severely, which makes it hard for the album to progress in any direction, instead it leaves it to meander through twelve uneven tracks.

Sadder still is that these guys have the ability to write some really special moments, such as in the song “Heaven is Human,” where I begged the guitar to break loose throughout the song, but they held it back. They showed you a guitar, a few solid lines, and then they took them away just as quickly.  This band does have a lot of potential, it is just not there yet.

Then again, Sufjan Stevens likes them, so maybe I’ve got it all wrong.  Perhaps I just don’t understand this genre of music, where musicianship takes precedent over songcraft–you can have the best musicians in the world, creative even, but if you can’t write a song, it doesn’t mean a thing.

I think you should go and see for yourself.  The band plays at the Mohawk this Saturday with Devon Williams.  You can find yourself some tickets at this convenient Interweb sales-site.

My Morning Jacket – Evil Urges

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Rating: ★★½☆☆

When describing “Evil Urges,” the title track from Louisville-based My Morning Jacket’s new album, frontman/chief songwriter/spaceboots-wearin’ fearless leader Jim James talked about how the band would just “go off into space” when writing new parts to the song. The five-minute plus tune evokes soulful R&B grooves to Kentucky fried-dual guitar freakouts and back to it’s central refrain as it is relaunched into orbit. “Evil urges baby, they’re just part of the human way. It ain’t evil baby, if ya ain’t hurting anybody,” James sings in high-falsetto. And he couldn’t have made it more obvious himself because My Morning Jacket not only are throwing fans a musical curveball, but have some inner demons to conquer themselves on their latest offering.

As a faithful MMJ fan, I was fully aware writing a review of “Evil Urges,” their first album since 2005’s life-altering, astonishing marvel “Z,” was NOT going to be easy. However, it wasn’t as difficult writing this blurb as it was hearing this record in it’s entirety. “Urges” is a frustrating listen from the opening drum-wraps to the album’s final four seconds of nonsense. Missing are MMJ’s trademark reverb-soaked vocals, “motivated” guitar jams, and most depressingly, songcrafting.

The one thing I will forever adore about this band is how they create inspired songs laced with an honesty behind their Southern-tinged seven-to-eight minute rockers. Inspiration is certainly M.I.A. on this record.

“Evil Urges” zig-zags like a staggering “Glass Joe” in Mike Tyson’s Punch-Out, shifting from funky R&B grooves (title track) to James Taylor man-crushin’ (“Sec Walkin'”) to arena-sized riff-rockin (“Aluminum Park”) to WTF!? (“Highly Suspicious”) The song is so painful that by the time you’ve endured Olmec from Nickelodeon’s “Legends of the Hidden Temple” chanting “Highly Suspicious of You” for the 27th time, it makes you yearn for the cheesy, but appropriate sounds of Rockwell’s “Somebody’s Watchin’ Me.” Hell, if “Highly Suspicious” was released in 1984, MMJ would’ve given Berry Gordy Jr.’s prodigee a run for his top 40 blood money. Now if they could just get Jermaine Jackson to guest vocal on the chorus instead of a giant animatronic talking piece of foam.

After the undeniably disastrous first half of “Urges,” we’re introduced to a little ditty called “Two Halves.” It’s a nice 60’s-style doo-wop rock tune that reminds us this band can do anything they damn-well please and it works in all it’s Roy Orbison-worshiping glory.

“Librarian” has to be one of the best narratives James’ has ever penned. “Sweetest little bookworm, hidden underneath is the sexiest librarian…take off those glasses and let down your hair for me.” Obsessed much, I know, but the way this tune floats around amidst it’s dusty stack of books and pitch-black summer skies, it’s difficult not to be enthralled by the mood of James’ storytelling. Plus, it’s about damn time someone wrote a great song about a sexy librarian. Gentlemen, we’ve all been there, don’t deny it.

The album concludes with the haunting one-two punch of “Smokin’ from Shootin'” and “Touch Me I’m Going to Scream Part 2.” “Shootin” is an excellent builder from Bo Koster’s quiet key-tappin’to guitarist/MVP Carl Broehmel’s heavy-plucking as James brings his A-game to a deafening climax that would make Charles Bronson proud. The song wanders into “Touch Me…,” an eight-minute disco “jambulance” where drummer Patrick Hallahan’s beating eerily reminds me of the B-52’s “Summer of Love.” It’s space-rock-prog-disco-psychedelia at it’s finest…woah.

“This feeling is wonderful…don’t you ever turn it off,” James exclaims as his gang caps off a confusing conclusion to a record that is more intrigued with sounding eclectic than creating the memorable MMJ moments we’re so fond of. If it weren’t for “Urges'” hard to swallow first half, this album would be destined for healthy repeated listens instead of turning the “wonderful feeling” off.

Don’t forget that the band will be showing off one of the best live acts around later this summer at Stubbs. The show isn’t sold out yet so hurry up and buy some tickets. And be sure to check out our (fake) interview with Jim James.

[audio:https://austintownhall.com/wp-content/uploads/2008/06/mmj_evil_urges.mp3]

Download: evilurges.mp3

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