Category: Reviews

She Sir – Go Guitars

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LIFE105_Cover480Rating: ★★★★☆

While they’ve been working at crafting their owned dreamy indiepop for some time, the boys in She Sir have largely gone unnoticed.  But, good things come to those who wait, with the group putting together their most confident record to date, Go Guitars (Shelflife Records). There’s not a bad song on the record, and listeners will surely find several of the tracks more than memorable.

“Portese” sets the tone early, with a guitar that has angular intentions ringing immediately in the foreground, while a dreamier chord cascades in the distance.  Russell’s Karloff has this whispering gentleness to it that creates the emotional pull for the listener; his performance on this track is purposefully understated, giving you more of a feel from the song’s craftsmanship.  Then you’re off into the beautiful world of “Kissing Can Wait,” a track where the vocals are surely the winner in the tune; they playfully move in line with the progression of the bass and drums, molding the song into an upbeat number that leaves your spirit lifted.

Other songs offer more of a dream-pop style on Go Guitars, such as the album’s first single, “Condesendidents.” Karloff’s voice has this soft quality that seemingly rests in the background of the track.  Personally, I like how the group breaks out into a relaxed pop jam near the end of the track (about 1.5 minutes); it’s a special moment on the record that illustrates She Sir have decided to go in whatever direction they see fit. And, you can’t cruise through the record without taking on “Snakedom;” this is the best song that’s not on Captured Tracks.  There’s a lively beat going on in the background, while the guitars work against each other to create a swirl of blissful pop.

Honestly, those were the things I expected from the band.  What I didn’t expect were songs like “Bitter Bazaar.”  It starts innocently enough with a lightly strummed guitar line, but the steady vocal opening prepares you for the song’s driving intentions.  It sets the scene for a track that appears reserved, though your short wait will see the band pushing the pace and spinning bright guitars twirling around your ears.  This is by far one of my tracks the band has left us with, so be sure to give it your undivided attention.

While some bands might get caught up in adding too much to their music, the one thing that stands out in Go Guitars is that the band isn’t trying to do too much, musically.  They know what they’re doing, and they’re going to offer listeners the perfect version of that sound.  She Sir will leave you with a listen that merely asks for you take it all in and let the warmth of the indiepop deliciousness take care of the rest; your listen will be better off for it.

 

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.

New Bums – Voices In a Rented Room

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new bumsRating: ★★★☆☆

Sitting in my room by the lamp light seems like a fitting way to listen to the new release from New Bums, though this room is paid for.  Going from song to song, Voices In a Rented Room is an album that truly fits best when you’re wrapped up in your own solitude, letting the tracks wash over you.  But, with that in mind, it’s also one of the things that might wear on the listener.

“Black Bough” is one of the best slow jams I’ve heard in a really long time; it deserves to make it onto any playlist you create. I love the way the vocals were recorded, seemingly entering your ears on the cusp of the wind. There’s a heavy-heart that arrives too via the solemn strumming of the guitar; it helps establish the forlorn characteristics that accompany the track throughout.  Moving forward into “Pigeon Town” you find more of the ornate guitar play that is associated with Ben Chasny and his earlier work with Six Organs of Admittance. But, while both these songs are carefully structured, including the string touches on the latter tune, it’s easy to see yourself getting stuck in the same listening space; there’s not a lot of movement sonically in Voices In a Rented Room.

For an audience new to the writing of these two, I think there’s several songs that you’ll find special.  I can’t tell if it’s the recording itself, but I love the sincerity that’s present in a track like “Mother’s Favorite Hated Son.” If you listen closely, you’ll hear a bit of a buzz coming through your speaker as the deeper notes are struck; it reminds me of listening to a record I’ve listened to far too many times, worn out by the needle. That same slight buzz is present on “It’s the Way,” but the vocals are definitely what attracted me to this number.  I love how the higher pitch in the vocal is matched by a slight string touch; it’s ever so gentle, but it adds the perfect listening sensation.

Therein lays both the strengths and weaknesses of going through this release from New Bums.  Every song seems to have purpose, and with that comes a great attention to each little detail, each shift in pitch.  Those artists’ brushstrokes give each track a redeemable quality, but it does make it hard for a passerby to fully grasp what is beneath the surface.  It’s not something you can rest with in the background, but a piece you have to immerse yourself into, maximizing your relationship between the emotional pull and the band’s intentions. If you’re willing to dig deep, you’ll find a great bit of happiness in hearing Voices In a Rented Room.

[audio:https://austintownhall.com/wp-content/uploads/2014/02/01_Black_Bough.mp3]

Download: New Bums – Black Bough [MP3]

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.

Angel Olsen – Burn Your Fire for No Witness

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angelolsenRating: ★★★★☆

One of the things that I’m always fearful of when listening to a musician working under their own name is that the music will have a tendency to get stuck in one space; it can make for a boring listen, despite your initial interest.  Luckily, that’s not how the story of Burn Your Fire for No Witness unfolds; Angel Olsen and her band have constructed a record that holds enough diversity to keep you guessing at every track.

“Unfucktheworld” had me immediately.  There’s an intimacy of the strummed guitar that’s striking, but even more appealing is how the recording still holds a bit of the buzz and crackle; it creates a sense of sincerity that one hopes for from a singer-songwriter.  But, she doesn’t stay there for too long, moving quickly into her best rock version with “Forgiven/Forgotten.”  It’s a sound that purifies the space between Vivian Girls and Screaming Females, and it serves Burn Your Fire for No Witness well by adding some movement within the album’s first moments.

For my two cents, if you’re asking, I appreciate the songs where Angel Olsen has her voice hiding just below the main mix.  “Dance Slow Decades” is one such song, allowing for the listener to attend to every minor detail for the first minute or so, just before the vocal explodes with a hollow drum beat emphasizing the emotional touch.  It’s a stark contrast to the following track “Enemy,” which creeps me out in an odd manner; it seems like Olsen is sitting next to me singing into my ear.  Although there’s still that quiver in her voice that comes with personal expression, I prefer to keep a bit more distance, playing the role of musical voyeur.

Still, the best part of the record is the diversity that goes into every track, even into the length of the songs.  As times, Angel has this sultry troubadour quality like in her performance on “High and Wild,” but she can still manage to have this pristine vocal quality on display; she does this remarkably well in the album closer, “Windows.”  These things seem like minor details, but they make the album something that exists beyond the confines of a single track, begging you to sit with it for the entirety of your listen…this is a rare feat nowadays.

When you’re finished listening to Angel Olsen‘s new album, you’re going to find that you’ll have to go back and listen again.  It’s an album that holds no great single, but rather unfolds as an undeniably wonderful listen from start to finish.  It’s easy to find an artist losing themselves and their listeners in one place while crafting a record, but that’s the opposite of what you’ll find while listening to Burn Your Fire for No Witness. 

[audio:https://austintownhall.com/wp-content/uploads/2014/02/02-Forgiven_Forgotten.mp3]

Download: Angel Olsen – Forgiven/Forgotten [MP3]

 

 

Delay Trees – Readymade

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delay-trees-readymadeRating: ★★★★☆

When listening to the new effort from Delay Trees, their second effort for Soliti Music, the Finnish band are prepared to take you on a carefully constructed journey through their musical world. It’s often a cold and sterile world, but it offers an undercurrent of melody that eventually finds its way into your listening heart.

Readymade begins with an introductory piece of instrumentation, carefully placed as the opening moment to your journey with the band. From here, you fall into the realm of “Fireworks,” which utilize a circling guitar line that creates an ominous tune.  While the mood crosses into a bleak arena, the natural warmth that’s left by the melody will find listeners stirring in their seats, drawn into the emotional nature of the track.  These Finnish boys will soon move into a post-rock world of angular guitar chords and a brooding bass line with “Steady.”  Here, the work of the group seems less focused on the development of the vocals, instead allowing the listener to be immersed in the land created by Delay Trees.

But, while the group does seem to have the map planned out for your listening experience, they also have a few tracks that really rise above the rest of the record.  “Sister” is a calming track, sitting near the front end of the album; its pacing is rather slow, yet the vocal delivery is what you’ve got to focus on here.  It draws you in close, coming across as a faint whisper in the stark environment crafted by the group; I’m particularly fond of the way the pitch rises ever so carefully.  Then, of course, there’s the lead single, “Perfect Heartache.” You’ll find that the guitar parts really win out on this number, ringing at the beginning, then being fleshed out into softened distortion. There’s even a bit of swing created around the 2.30 minute mark, with “oohs” and a twanging guitar bit.  You’d be remiss to skip out on this song. Following it up with “Howl” provides a nice emotional switch too.  This track really has a brighter vocal quality that indicates the wide array of touches the band have put forth in crafting the record.

I loved the work of Delay Trees with their record, Doze, but I feel like this album is leaps and bounds above the former.  Each song offers the listener something, and each one has its own identity, yet they’re all tightly wound together to create a cohesive listen.  A writer could write about each track, and a listener could rave about each individual song.  All these things lead to a rewarding sit down that will encourage fans to come back to Readymade again and again.

[audio:https://austintownhall.com/wp-content/uploads/2013/11/06-Perfect-Heartache.mp3]

Download: Delay Trees – Perfect Heartache [MP3]

Temples – Sun Structures

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temlesRating: ★★★★☆

The opening moments of Sun Structures will set the definitive tone for Temples, immediately making a nod to the storied past of psychedelic music. But, while that genre has gradually grown stale, this record still illustrates that there are a few gems left to be eked out of the staple sound.

When I put on “Shelter Song,” my ears recoiled a bit; that guitar sound needs to be retired for a bit.  But, as the song unfolds there’s some great harmonized pop moments unleashed on the listener.  It’s done in a casual fashion too, illustrating the reserved cool that permeates through every inch of Sun Structures.  And it doesn’t take too long for the record to move into one of its many hits, “Sun Structures.”  This song, like the album, takes its time to build you up; my favorite thing about these collection of songs is that they come to you slow and relaxed, as if the band expected you to really indulge in the listening experience.

And while I’ve clearly lumped Temples into a corner, there are songs that demonstrate that the band have one foot in the past and one stepping into a new realm.  The one-two punch of “Keep in the Dark” and “Mesmerise” provide some energetic spins on the genre.  The former opens with a light-hearted stomp that includes a bit of fuzzed out riffs near the end; there’s also this explosive beauty that bursts forth through the lyrics.  The latter track is all pop.  It’s tucked nicely in a warm cocoon of psychedelic vibes, but it’s the perfect place for such a track, giving you a bit of palate cleanser to allow you to digest the rest of this listen.

What has amazed me most about listening to Sun Structures is that despite the length of the songs, they never wear you down.  Even on a song like “Sand Dance,” there’s so much to offer aside from what you’re initially being offered.  On this tune you’ll find a very classic psych sound, but then there’s this spaced out jam that unfolds to close out the track.  The band is not just interested in finite sounds defining what they’re doing; it’s quite refreshing.  And, the closing number, “Fragment’s Light,” is an airy closing touch, which again allows you to reflect on everything you’ve heard before.

My advice to you when listening to Sun Structures is to set aside some time to devote to listening to it as a whole.  I understand that in today’s world we often don’t have the time, but if you rush your listen, as I might have done on the first few plays, you’ll miss out on a very cohesive release that seems to be arranged perfectly.  It’s easy to lump Temples in with the masses of psych bands riding the waves of a tired trend, but if anything, this release shows there’s far more laying in wait, if you’ll only take a little time.

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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