Category: Reviews

Dum Dum Girls – Too True

Leave a comment

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.

Juan Wauters – NAP: North American Poetry

Leave a comment

juanwautersRating: ★★★☆☆

Juan Wauters is best known for his work with the Beets, but he’s stepping out now to make a name for himself.  His first full-length, North American Poetry, builds on his songwriting, but still bears the mark of his previous work.  There’s some hits and some misses, but those hits are definitely worth your undivided attention.

If you’re just now encountering Juan Wauters, I’d advise you to skip “Let Me Hip You to Something.”  It’s not a bad song by any means, but the vocal performance might not be the best introduction; you should come back to it later once you have a finer understanding of Wauters. The next two tracks, however, are must listen destinations.  I love the chugging power of “Sanity or Not,” which might bear a resemblance to a lot of modern garage-pop tracks, though the guitar playing provides an emotion that evokes a sense of traveling.  Then “Lost In Soup” offers a slower version of Juan’s goals, using interesting lyrics to keep things playful, while driving home a strong melody listeners will find endearing.

I think one of the great things about listening to North American Poetry is that the majority of the songs are fairly short, so you get a fresh spin with each song; it makes the songwriting last longer, as  it can get stuck in one place, stylistically speaking. “Woke Up Feeling Like Something” again has that familiar Wauters’ guitar chug on the tune is familiar, presented in earlier tunes on the record, but the “oohs” and the careful way he delivers each note are just right for this number. Then there’s “All Tall Man Will Fall,” which feels more like a poetry experiment fitting with the album’s title.  This is one of the distinctive touches of Juan’s music; he keeps things playful lyrically, using various syllabic inflections to impact the message.

The last few tracks do get the extra benefit of including the voice of Carmelle.  Her performance on “Breathing” alone makes the song rise above some of the previous tracks; differentiation can always add so much to a record’s collective spirit. Similarly, “How Do They All Do” uses Carmelle, though there’s a slower pace to this number.  Personally, I think the album would have been more successful as a whole if these two tracks were spaced out, rather than stuck right next to each other at the end.  Her voice is vital, however, fitting in seamlessly with the songs Juan presented her.

In the end, I find that I enjoy most of the tracks on North American Poetry.  I love the lyrical playfulness, as well as the heart of the songs themselves, but that being said, at times the album gets stuck in one place.  Had the appearance of Carmelle been scattered, it might have added just the right touch to make Juan Wauters solo debut a great listen, rather than just a good listen.

[audio:https://austintownhall.com/wp-content/uploads/2014/01/04-Escucho-Mucho.mp3]

 

Quilt – Held In Splendor

Leave a comment

quiltRating: ★★★★☆

While the masses revisit the soul of the sixties, the sounds eventually blend together, leaving you with more of a rehash effort than a remaining, but on Quilt‘s new album, Held In Splendor, they make those nods, but they incorporate a more expansive palate, creating a more diverse sound that’s wholly their own.

You’ll start your journey with “Arctic Shark,” which comes across as a sexualized stomp with Anna Rochinski taking the vocal lead.  You can imagine her swaying in front of a field of friends as the sound of sitar enters the picture, but it’s her flowing melody that really takes the focus.  Interestingly, the band are just incorporating bits and pieces of their influences, rather than over-indulging.  You’ll hear that unfold even more as Held In Splendor moves forward with “Saturday Bride;” the harmonizing alone makes the song worth your time, but it’s the restraint shown in the psychedelia that allows you to see that they’re not willing to allow their own personalities get carried away in reminiscing.

I think one of the most successful pieces of the Quilt‘s composition is that they keep songs short and sweet, with the majority of the tracks living beneath the 3 minute mark.  Songs like “The Hollow” are short and to the point, yet they’re actually filled with multiple musical movements within. This track begins as a bit of a casual poet’s ballad with intricate guitar playing being enforced by string arrangements, yet the pace is adjusted as the drums push the song forward just a bit.  These mini-movements are what allow the group to keep their music impactful, without wearing you thin with too many historical references.

Personally, I think my favorite tracks are those with a traditional balladry to them, such as “Eye of the Pearl” and “Talking Trains.” The former is a steady number with a great vocal performance, emphasized by a nice backing vocal that’s draped directly atop the main vocal.  And while the latter is a ballad, the guitar has a darker tone, which is more fitting for Rochinski’s vocal performance.  Both songs represent the fact that simplicity often requires more skill in order to make the songs standout, and in the case of these two songs, it’s true.

While the genre of psychedelia and paisley-influenced jams allows many of us to revisit our favorite musical era, the realm of that genre can often get tired and wearisome, treading over itself far more often than going in new directions.  That being said, Held In Splendor doesn’t get bogged down in nostalgia, instead using it as a launching off point for Quilt‘s dynamic songwriting process. It’s a listen draped in history, but pushing us forward towards a new future…you’ll like where you end up.

Doug Tuttle – s/t

Leave a comment

dougtuttleRating: ★★★½☆

What does one do when the project they’ve devote their time to dissolves?  For Doug Tuttle, there was only one option: forge ahead.  His self-titled effort is his first effort since MMOSS broke-up, but in all honesty, it’s ultimately more rewarding than his previous work; he seems to have found his own way while writing these songs.

“With Us Soon” takes listeners back a few decades with a sun-coated psychedelia, accented by an instrumental buzz that works its way in and out of the track.  But, most importantly, the underlying current is one of a pop-centric songwriter; this attitude will unfold further as your listen continues. While the following tune “Forget the Days” does wear some of the influences of Doug Tuttle‘s past, including the throbbing bass work, it’s the way his voice drifts carefully over every inch of the song, lightly bouncing along and giving a warmth to the listener’s ear.

Tuttle doesn’t shy away from his past too often, with most songs including the dreaded psych nod, but even when the song indulges a great deal, there’s clearly something working beneath.  “Turn This Love” is filled with a noodling guitar that perhaps goes on solo for too long, but the chorus alone warrant many repeated listens.  It’s a dreamy vocal that you’d easily find haunting any music head’s secret play list.  Of course, those indulgences do go too far on occasion, like in the following track, “Where Your Plant Love Is…Where It Grows.”  What can I say? I’m a vocals guy, and it just doesn’t do it for me here.

For my tastes, Doug Tuttle does succeed when he lets his inner songwriter shine, making things simpler and more focused.  My favorite track is “I Will Leave,” which comes near the end of the effort.  There’s a simple sincerity to the track, with just a hint of California jangle seeping into the guitar.  The vocal is steady, showing just what a voice Doug’s got, and possibly hinting at the future. There are hints at his songwriting prowess throughout, especially with a song like “Better Day” wrapping things up, so the record really ends on a high-note, closing with a wonderful 1-2 punch.

I imagine it’s hard to leave your past behind, and it’s clear that Doug Tuttle just isn’t there, and maybe he doesn’t need to leave it all behind.  He takes all the bits and pieces of his previous work while weaving a narrative of his own.  It’s a self-titled record that’s strong from start to finish, and far more than just a record wearing psychedelic influences.  You’ll love the melodies and the craftsmanship, and you might find that Doug Tuttle is the only thing you need right now.

Hospitality – Trouble

Leave a comment

hospRating: ★★★★☆

When Hospitality first appeared on the music scene two years ago, I raved about their debut album, which was full of whimsical and fun sounding poppy numbers. Now they’re returning with a sophomore release that feels like a take in a whole new direction. Gone is the odd and strange photograph from the album artwork, and in its place is a darker black and white picture with black stripes over it, which is parallel to the newfound gravity that Amber Papini and company have brought musically to the table with Trouble.

“Nightingale” gives out a dose of heaviness that you would haven’t imagined coming across on their first release; powerful guitar rivals in dominance with the vocals, each pushing at each other in a pure rock style. What you get is this lovely juxtaposition of the lightness of Papini’s vocals with the heaviness of the guitar at instances, and in others you still can see the simple whimsy of the band you fell in love with. From this first track, Hospitality shows that they have been doing some growing, but haven’t lost who they were from the start. The next track, “Going Out,” continues this trend of maturity and gravity, but in a funkier rendition. With its smooth percussion and subtle dance beat, Papini really seems to be in her element here, and I imagine it would be an excellent song to witness in a live setting.

A few tracks in, you may be asking yourself, just where is that quaint little Brooklyn three piece that I remembered liking so much? Well they are still there, and so is the fun, it’s just been redirected in the form of darkness, which I believe works exceedingly well for this group. “Rockets and Jets,” a sultry, synth based number, will have you bobbing your head and perhaps even busting a move with the best of them. My personal favorite track comes a bit later on, with “Last Words,” a sprawling further trip into the synth dance trail, which is infectious and subtle; Papini’s vocals are mixed with some male vocals as well to give a new element of duality you haven’t yet met with this group. They merge this dark track with the aptly titled “Sunship,” that will have you yearning for that lovely feeling of cool spring breezes and warm sunshine.

As I mentioned with their last album, what Hospitality does remarkably well is the variation in song length and style. They seem to have locked down just exactly when to be brief and when to let a track linger on, which provides for a lack of dull moment on Trouble. What’s better than no dull moments is an album filled with standout tracks, which is what you’ll find here. Have a listen.

Growl – No Years EP

Leave a comment

growlRating: ★★★★☆

Austin, Texas has a lot of things going on musically…it’s got psych, garage, indie pop, but it’s been lacking a great guitar rock band.  Well, Growl aims to change that by releasing the really powerful and melodic No Years EP.

“Afra & Me” immediately kicks things off with some dueling distorted guitars working against each other.  But, when they join to bring the vocals into the mix, they’ve got an incredible force that really makes a lasting impression on the listener.  Think Surfer Blood if they made a more mathematic rock tune; these dudes are better. Then things get slowed down just a touch for “Yacanlu,” which is a song that really relies upon the vocals to propel the song; it’s good to let the focus shift from musicianship to vocal prowess, and in that area, Growl excel.

“Buffalo” is one of the tracks that really stands out to me on my run through of the record.  In the beginning the guitar noodling in an angular manner really lets you sink your teeth into the track, then the vocals and their drawn out soaring syllables provide you with that moment you’re always looking for in a good rock track: singable moments.  It’s definitely a youthful vibe.

The latter half of the No Years EP is still devoted to the guitar, though the lighter-fare.  “Going Blind” has incredible hooks built in to surround the listener with a feeling of joy.  There’s a stomping sensation inserted with “Review,” which is a fitting return to the band’s more riotous sounds; it’s filled with crashing cymbal work and ringing guitars that are built to break down your eardrums. Then it all ends with the well-constructed long-burner, “Rosie.”  It begins rather casually, with a softer side showing through (and the vocals remind me of Very Emergency-era Promise Ring), but they blast off with the chorus, really breaking things open.

We thought when Growl released their Gallery EP that they were off to a really good start, but they’ve made an EP that begs for you to listen to anywhere you please, just as long as you aim to have a little fun.  Get the No Years EP, turn it up loud, and remember what it’s like to rock out.  Good to know Austin has a voice for great guitar rock.

[audio:https://austintownhall.com/wp-content/uploads/2014/01/1-Afra-Me.mp3]

Gem Club – In Roses

Leave a comment

In Roses CoverRating: ★★★☆☆

Rarely do musicians nowadays set out to make grandiose pieces of art. Some hide behind the guise that they’re breaking new ground or that they’ve been waxing nostalgic, but they often skip out on attempting at the loftier side of crafting beautiful pieces of art.  That being said, Gem Club have done just that with their sophomore release, In Roses; it’s an ornate and carefully constructed piece of majesty.

The Massachusetts act opt to open up with “Nowhere,” an instrumental piece that effectively build the mood by draping atmospheric textures atop one another.  It sets the stage perfectly for the listener’s entrance into “First Weeks,” which opens immediately with a softened piano line.  Soon, Christopher Barnes answers the call to the stage, entering with his lofty voice, accented by the careful string accompaniment the group has employed since their inception.  It’s a somber tune, fit for gazing out your window on a cold wintry day; I especially like the fuzzier moments in the recording as the song walks away towards its close.

In Roses often lives on the softer side of chamber-pop, so that might worry some who don’t have the time to sit and listen to the details of the world.  But, in songs like “Michael” there are these moments where Barnes’ voice collides with cello and woodwind accents to glorious effect.  Similarly, on “Hypericum,” there’s a percussive heartbeat haunting the background as dark tones are carefully pounded upon the piano.  These are surely artistic details that many people choose to overlook, which sadly makes music like this harder for people to create.  What’s the point when your greatest addition to the musical lexicon goes unnoticed?

Sure, it’s difficult to absorb in today’s quick paced lifestyle, but creative efforts like this one from Gem Club are ultimately what make music so rewarding.  Movements sweep into new movements within the same track, and voices unite in harmony; these things remain impactful hours after the music has stopped playing.  Just take a listen to a song like “Soft Season,” and ask yourself why there are so few artists creating these incredibly lofty pop constructionist tracks.  This is one of several songs within this album that have chased through my mind, even after several listens.

Admittedly, In Roses is not the sort of record I can come back to time and time again; it’s far too unique in that manner.  It requires special attention to its every detail and touch; it begs for the listener to devote endless hours to playing it over and over again.  Most would call it an arduous task, but if you’re willing to give yourself over to Gem Club, then they will push you towards places, emotionally speaking, that you might not visit enough; you’ll be eternally thankful to the band for giving you such a rare opportunity…and piece of art.

[audio:https://austintownhall.com/wp-content/uploads/2013/10/Gem-Club-Polly.mp3]

Download: Gem Club – Polly [MP3]

Jess Williamson – Native State

Leave a comment

jesswilliamsoncoverRating: ★★★★☆

It’s been a pretty great few months for Austinite Jess Williamson, with press clamoring to hear her latest album, Native State in its entirety.  Listening through, the hubbub is definitely justified, as a great deal of musicianship is accomplished in a short span of seven songs.  Those that devote time to the record will be rewarded with an album both thoughtful and well-crafted, giving you a listen that you’ll come back to again and again.

The longest song on Native State, “Blood Song,” opens things up, seemingly developed in the Western frontier of Texas plains.  The tone of the guitar seems distant, in an enduring sense, forcing the listener to focus closely on the soft release of Williamson.  As slide guitars echo in the distance, there’s a rising tension that seems to build, increasing the emotional investment of the listener. It’s a song that leaves you drifting, mentally, carried away on the winds of Jess’ songwriting.  And, things only begin to get better as we move into “Native State,” which takes on a more traditional folk aspiration centered around a banjo. For me, the vocals are what steal the show on this track, as there’s a faint hint of a quiver; I’m a sucker for the fragility of a good songwriter.

While many of the songs Jess Williamson presents here seem offer up a look at the artist, naked and honest, there’s a few tracks that really are perfectly fitting for providing the sound scape to a road trip or a photography showing.  “Spin the Wheel” is one such song, starting off with little to no pace from the beginning.  As the songs moves forward, there’s faint cymbal touches, string arrangements, all adding depth to the track.  Yet, going forward, guitars enter the picture, cymbals create a wash of percussive waves and Jess uses her voice to propel you towards the ending.  Whether the intention was to provide an image of movement or the passage of time, the varying moments of music within, definitely provide you with that wistful feeling.

As strongly as the effort opens, it closes in just as strong a fashion, if not more so.  There’s more of a light-hearted spirit in tracks like “You Can Have Heaven on Earth” and “Seventh Song,” which definitely seem to contrast the ominous spirit of the opening numbers. For me, this serves perfectly to fit the mood I’ve associated with my listening experience.  Sure, the poetry is well-written and personal, but my emotional attachment seems to place a sense of moving on or pushing forward as you go from track 1 to 7.  Ending on a positive note is never a bad thing.

Clearly this is going to be a wonderful year for Jess Williamson.  The accolades and interest in her music seems quite justified after spending a great deal of time with Native State.  Lyrically, it offers a great deal.  Musically, you won’t be disappointed.  Do yourself a favor and immerse yourself in this listen and see where you end up…odds are you’ll be grateful you did.

[audio:https://austintownhall.com/wp-content/uploads/2013/12/01-Blood-Song.mp3]

The Clouds Are Ghosts – Fractures

Leave a comment

fracturesRating: ★★★½☆

You’ve probably never heard of local band, The Clouds Are Ghosts. Though, while you were blissfully unaware, they formed back in 2008 and released a self-titled debut in 2009. After rearrangements in band members and some time to get new material together, this band is back to release a sophomore record, Fractures, the sound of which will have you wondering just what have you been doing that was so important as to miss out on this band.

The very first track of this record, “54,” is enough to pose that question, alone. An infectious number, it grows from humble beginnings to a full on cinematic explosion of an ending. This “electronic pop” band, as they’ve dubbed themselves, open with clear piano riffs and the crisp vocals of Jason Morris, covering the bouncy piano and the simmering percussion with a nice top coat of pop gloss. As the song progresses, the group moves faster and grows in their sound, adding elements and Morris’ vocals pushes things forward; the build is catching, forcing you to pay attention to the music. It ends with some screaming guitar added to the mix in a final rise of sound and intensity that should have you jamming along.

As far as genre goes, it’s a little hard to pin The Clouds Are Ghosts in one defining sound group, as the songs go various places on this record. You have songs like “Angelface,” a slow mover that still has all the elements of a power pop ballad; delicate guitar and piano compliment Morris’ voice being stretched to its limits. A great addition to this song is the clacking percussion, putting the final little touch that pushes the song from simple to elegant. On the other hand, you have songs like “Tinkle,” in which I’m reminded a bit of Death Cab For Cutie, with an electronic twist. The synth that begins to run through the album gives it a cohesive transfer from the simmering pop grower that it started with through to its turn to electro slow jams. This works, for the most part, but I am left with a little longing for more tracks like “54,” toward the end of the record to spice things up from the leaning-towards-repetitive pattern they form.

Though this doesn’t detract altogether too much from The Clouds Are Ghosts sophomore release, and it definitely shouldn’t prevent you from listening to this record. I believe you’ll find something to enjoy on Fractures, and a new band to add to your collection of Austin Gems.

The New Mendicants – Into the Lime

Leave a comment

Into The Lime Front CoverRating: ★★★☆☆

What happens when two incredible songwriters unite to form a “super group” for all ages.  We’ve seen past instances where it definitely hasn’t worked, but others have created mildly pleasing results.  The New Mendicants, made up of Norman Blake and Joe Pernice definitely find themselves on the latter half of that train with Into the Lime.  It’s a great listen, though one that isn’t necessarily going to wow; it’s more of a personal experience for fans of both men.

From the moment you hear the strummed guitar and the angelic voice of Pernice on “Sarasota” you get the feeling that Into the Lime is going to be a rather somber affair.  The mood revolves around the music, primarily, in my ears; it’s gentle and never explosive, though the warmth of Joe’s vocals never hurts a song.  But, they do step it up a notch by plugging in for “A Very Sorry Christmas,” which was the album’s only single.  But, even here, the guitars that could ring out are quieted in the distance, barely making their presence felt.  These tunes, like many of the others, are a sharp contrast to “Shouting Match,” the only song that really kicks things into gear. Perhaps the percussion pushes things along, but I’d like to think that the rocker in both Blake and Pernice shined perfectly at the moment of recording; it’s one of my favorite tracks, if only for the fact that it changes the pace.

It’s strange, however, as my last few listens found me gravitating towards tunes that sound like neither of these musicians left their mark on the track, thus creating something new.  “By the Time it Gets Dark” sounds like a traditional ballad that you’d find in Blake’s homeland, accented perfectly by Pernice backing him up, whilst a light piano twinkles.  It’s a new form, letting the work of both men shine through, but not treading on the same old ground they’ve already walked.  The same could be said for the album’s closer, “Lifelike Hair.”  It’s a fuzzy rocker, though with a more psych-influenced fuzz than the power-pop sort you’d expect Norman to throw in.  There’s definitely a new style for both here, and while I enjoy the song, it does leave a bad taste in my mouth, as it seems out-of-place on this release from The New Mendicants.  Up until now, everything sounded succinct and expected, yet this tune just seems from out of left-field.  Didn’t work for me.

While I enjoy a great deal of the songs that piece together Into the Lime, I’m not going to put them down as the greatest songs the two men involved have ever written.  There good at what they do, and together, they make an enjoyable listen, but there’s some disjointed moments that don’t fit, affecting the whole collection of songs together.  That being said, I’d encourage you to take your own trip with The New Mendicants, as each listener will surely locate their own personal gem within.

 

1 … 16 17 18 19 20 … 101
Social Media Auto Publish Powered By : XYZScripts.com