Category: Reviews

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.

 

Shy Boys – s/t

Leave a comment

shy-boys.2Rating: ★★★½☆

A lot of the press leading up to the first release from Shy Boys  centered around the band’s home of Kansas City and their lack of mastery on their instruments.  Perhaps that’s a good place to start, but isn’t it just the music that ultimately matters?  If so, then the Shy Boys are off to a great start.  Imperfections do exist on this self-titled effort, but they make the most of those moments, turning those inadequacies into gems.

“Is This Who You Are” kicks the album off in the right way, using a deep-toned guitar line to really build the emotion for the listener, but then things fall quiet for the vocals to make their introduction; they’re perhaps a bit too soft building to the chorus, but that chorus is supremely rewarding.  Shy Boys then slide into their ode to the Beach Boys with “Keep Me On My Toes.”  The harmonizing here is something quite special, almost perfect, but then the song abruptly ends; I could have used a few more minutes.

When going back through the whole album, I find myself gravitating to songs like “Bully Fight” and “And I Am Nervous.”  The tones of the guitar is right up the alley of my personal tastes. Not to mention both tracks alternate between the soft/loud dynamic, with really warm melodies; these are the kind of moments in your listening experience that will reveal themselves to be ultimately rewarding, even if you notice a few moments that seem off-key.

Of course, you can’t take a listen to Shy Boys seriously unless you dive head first into the hi-hat propelled gem that is “Postcard.”  It’s the apex of the record, which unfortunately means that the latter half of the record drags just a slight bit. The songs definitely have a draw in the way they’re constructed around the melody, but they’re definitely a look into the softer side of the group.  Listening through, I don’t mind these tracks at all, and in fact, really enjoy “Trim” as a closer, but there’s definitely a noticeable change in the closing energy.

Despite whatever faults lurk in the hidden folds of this self-titled release, it’s clear that Shy Boys do have a knack for songwriting.  That should make this the jumping off point for what we all hope will be a nice career, as these tunes are just too good to simply ignore.  I have a sneaking suspicion that this one’s going to keep creeping into my own play lists as we go through the year, and if longevity works for me, I hope it works for them too.

[audio:https://austintownhall.com/wp-content/uploads/2014/01/4-Bully-Fight.mp3]

Download: Shy Boys – Bully Fight [MP3]

Warpaint – s/t

Leave a comment

warpaintRating: ★★★☆☆

In 2010 these four ladies snaked their way into the limelight with their sound that somehow seemed to ooze just the right amount of softness and raw power. The result of this well-balanced combo was a killer debut album in The Fool, and left fans in high anticipation as to what would follow. Which leads us to the real question: can this sophomore effort carry over the dynamic that L.A’s Warpaint established without becoming tired?

Through a two minute “Intro” track, the band declares themselves once more as the psychedelic, musically swirling group that you remember them to be. There’s an exciting air in the Introduction, not only reminding you of the musical elements that first pulled you into Warpaint, but also the lack of the delicate vocals builds the anticipation for the rest of the album. After the two minutes of musical opening, these ladies kick in with “Keep It Healthy,” that revolves, for a hot second, around the mumbling guitar riff, but only until the group vocals chime in their almost militaristic chant. This track is interesting in its constancy—whereas tracks from previous releases seemed to meander a bit, with the vocals trading off between the ladies, this song has one direction and it stays there.

This direction is one you want the group to follow, and lead single “Love Is To Die” does just this, beginning with ethereal “oohs,” ambient noise and a bubbling bass line that seems to be a shade darker than anything you might find on their previous album. The psychedelic-light rock music has turned impossibly skin crawlingly more chilling, becoming the nightmare to the last records’ dreamy nature. On “Disco/Very,” the vocals have been textured with a buzzing effect and this sound imagery evokes voodoo vibe, as if the women of Warpaint are casting spells with their song. The lyrics reflect this sinister sound as well: “Don’t you battle/ We’ll kill you/ We’ll rip you up and tear you in two.”

My biggest complaint about this record is that the middle tracks, for the most part, blend together and lack the catching effect that the tracks at the beginning and end posses. There’s too many tracks that you could simply live without, though they may be a nice soundscape for your daily tasks.

In the case of this sophomore release, the album artwork is a perfect indication to what lays inside. The greenish yellow hues surround layered images that create a shadowed, vague singular image, reflective of the buzzy and eerily murky sound. If The Fool seemed dark and lurking, then Warpaint only retreats further into the shadows, which works for the group in some instances, and becomes a little monotonous in others.

Abram Shook – Sun Marquee

Leave a comment

Abram-Shook-Cover-ArtRating: ★★★★☆

Abram Shook has toiled around the streets of Austin for some time trying to find the right band to fit his unique vision of where his songwriting could go.  But, after various line-up changes to his former group, Great Nostalgic, it seems Abram made the right decision to try things out all on his own.  His album Sun Marquee carries his vision further than we expected, leaving listeners with a warm experience that you’ll find ultimately rewarding.

Those of you getting your first introduction should immediately take notice of Abram’s unique voice when you play “Recovery.”  It’s got a bit of a drawl to it, coated here in an effortless cool that evokes the best of warm climes. He uses the strength of his voice as a central focus in his songs, and he builds the tracks from there.  The following tune, “In Mind,” has incredible layering with varying guitar parts working in unison, though each occupying their own space and time.  It reminds me of the best moments of old Here We Go Magic tunes, though there’s more of a dreamy quality to the numbers on Sun Marquee.

But while much of the record is devoted to songs that carefully unfold as minutes pass, there’s a few tunes that have some immediacy to them that’s gratifying upon the moment you press play.  Take the smooth stomp and swagger of “Distance,” which features a melodious chorus that allows Abram Shook to display his knack for catching the ears of even the most casual of passersby. Or you could take the bright ringing of the guitar that starts “Lifeguard” before the rest of the track begins to unfold into a blissful world of purposeful pop music. It even pulls in this great bit during the chorus that illustrates a bit of playfulness, not to mention Shook’s musical range/influences.

Ultimately, you want an album to be about an experience, about a journey you take as a listener, from start to finish.  I couldn’t think of a better way to wrap things up for this listen than with “Black Submarine,” taking all the convincing aspects of the record to this point and compiling them into one strong tune.  Whether it’s the guitar interplay or the wash of layers or even the distinctive vocals, you’ll find that it’s a perfectly emphatic finishing stroke by a talented artist.

People always reference stepping out of the darkness and into the light, and it seems that Abram Shook‘s own journey to solo artist serves as   his own coming party.  Sun Marquee shows him stronger and more creative than we’ve heard him to date, providing listeners with an album they can revel in for more than just a few rotations on the turntable.

[audio:https://austintownhall.com/wp-content/uploads/2013/12/03-Distance.mp3

Download: Abram Shook – Distance [MP3]

1 … 16 17 18 19 20 … 101