Category: Reviews

Shy Boys – s/t

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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

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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

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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]

You Blew It! – Keep Doing What You’re Doing

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ybiRating: ★★½☆☆

The Emo movement of the early nineties spurred a number of bands that you either loved or hated to jam to, like The Get Up Kids, or Sunny Day Real Estate. You Blew It! offers their own take on Emo, but does this revival band from Orlando, consisting of three“cat-loving, taco-eating dudes” give a nice new take on a past genre, or are they digging up a sound that should remain buried by a decade? The answer lies largely in if you enjoyed the waves of Emo sound the first time they came around, as Keep Doing What You’re Doing riffs off this.

If you weren’t already acquainted with this band from their debut release, Grow Up, Dude, don’t worry, as the instant you press play on opener “Match and Tinder,” you get a sense of what this band is all about. Shredding guitar is soon doubled up on itself with heavily cymbal-laden percussion joining the mix for a hot minute until Tanner Jones’ intentionally strained screaming vocals burst in, kicking the door down. It’s a lot for a first track, and may scare some off, but for those who stick around, this trio has some softer numbers, and some equally as jarring tunes remaining on the album.

One song that strikes a happy medium between these two alternatives is “Strong Island,” which is third up to bat. The hyper-active percussion and hard guitar riffs are still there, but Jones isn’t quite straining his voice so much, though it still retains its strength and guttural power. The affect that these softer vocals have on the sound is that the lyrics are suddenly accessible, and herein lies the other half of this bands revival of Emo—the deeply self reflective writing. The choral tag of this third track bleeds out: “I’m still finding pieces of me that I could live without.” Such emotional and sometimes self-deprecating lyrics are commonplace for You Blew It!

This thirty-four minute brief album serves as a nice little slice of violence. What I mean when I say that, is that the rough edges and thrashing guitar juxtapose with the emotional lyrics to provide a fresh, crisp taste on a genre that flourished not so long ago.

Painted Palms – Forever

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foreverRating: ★★★☆☆

When you’re given the personal stamp of approval from Kevin Barnes that becomes a pretty big deal, but it’s how one lives up to those expectations that really cements a group’s legacy.  Throughout the duration of Forever, you can hear what Barnes saw in Painted Palms; the record is brimming with melodies and hooks, making for a strong debut.

“Too High” opens up Forever, with this pulsating electronic beat before the playful vocals jump into the fold.  It’s a track that rests during the verses, then bursts forth exuberantly during the chorus.  It’s a pretty tried and true formula, and one that surely will find toes tapping and heads bobbing.  But, the record doesn’t jump too far off this beaten path for the first few tracks, though some of the pacing is alternated around the formula.  However, “Forever” definitely ups the ante from the moment you press play.  It’s got this weird vibe to it, relating to the realm between Of Montreal and early MGMT; you know you all love that.

For my ears, “Soft Hammer” is where I see Painted Palms excelling.  The track features one of the clearest vocal performances on the album, but it’s the structural building of the song that’s really compelling.  There’s more of a folk approach to begin the tune, yet it builds this increased tension for a time by piling an electronic instrumental wash atop it all, then reverting to where it all begin.  By controlling the melody throughout, and holding onto it until the end, I realized just how much of a grasp the duo has on perfecting harmonies; this is evidenced through the entirety of the effort.

While I felt like some of the songs suffered by the production, at least in regards to the sound of the vocals, there’s definitely more than a number of hits that are going to be pleasing for the ears. You can take some of the previously mentioned tracks or you could just jump in at “Spinning Signs,” which employs a pulsating bounce that drives the track home for the listener.  Or download “Empty Gun” and you’ll be rewarded again with gratuitous hooks and sugary melodies that have made the band such a staple in the Interwebs.

My experience with Forever ended up being varied.  There’s definitely a bunch of tracks I’ll be playing over and over again for some time, but there were also some disposable songs that might have molded my opinion of the album early on during my listening.  One thing’s for sure though, Painted Palms aren’t going anywhere, and this record is the perfect place to start making a name all on their own.

Moonface – Julia With Blue Jeans On

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MOONFACE-JULIARating: ★★★½☆

Spencer Krug, known for his other group efforts, Sunset Rubdown and Wolf Parade among the many, also does solo work on his own under the moniker, Moonface. For a few years now, Krug has used this project for home-recorded experimentation, somehow creating even more tunes that don’t fit into any of his other works. On Julia With Blue Jeans On, Krug is stripped and simple, consisting of piano and vocals, and he lets his songwriting do the talking in this facet of his musical talent.

Opening the album is dark and sinister, “Barbarian,” if you are no stranger to Krug’s brilliant writing, then you’ll find yourself right at home in this slightly self deprecating opener. The piano is even, at first, and juxtaposes nicely with Krug’s deepset yelp of a voice that offers you the deepest of confessions. Though cryptic, the vocalist sings about being not only a “barbarian, but sometimes a lamb upon your altar,” bringing together these two contradicting ideas in the same line of the song. This song starts the record with a swirling wind of darkness with breaks of meandering piano that keep it from getting too dark too quickly, though I doubt that would be an entirely bad thing for Moonface.

Soon you’ll find that Julia With Blue Jeans On is simultaneously delicate and violent work: one moment in a song you’ll think you have found a reserved Krug, and the next he is banging away at the piano in angst. Take title track for example—sixth in the lineup, it hits you a little more than halfway through the whole album. Soft piano and half falsetto’ed vocals lead you through the number, slowly breaking to a whispered repeat of “Julia as beautiful and simple as the sun.” Though the track doesn’t end here and Krug brings things back in with almost manic sounding pressure on the keys, twisting to a sinister note, with the vocals rising to meet the intensity of the piano. The result is beautiful and tragic—possibly my favorite moment of the album.

In the end, you must take Julia With Blue Jeans On with a bit of a grain of salt. By that I don’t mean to discredit Mr. Krug in the slightest, by this mean to say that this album is very much just a man and his piano. There is nothing wrong with this, on the contrary it is enjoyable and emotive, but it’s only at certain moments that it means a lot more—the culmination of songwriter and his instrument combine to create something special and magical.

Boy & Bear – Harlequin Dream

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boy-and-bear-harlequin-dreamRating: ★★★½☆

Harlequin Dream is the second LP from Australian folk-rock band Boy & Bear.  Like their 2011 debut, Moonfire, this is a great sounding, very well produced record with several memorable tunes.

Boy & Bear work within the same reverb-soaked modern folk-rock style of bands like Fleet Foxes and Band of Horses.  Vocally, it’s hard not to hear a major Fleet Foxes influence here.  Still, Boy & Bear have found their own sound, and their tunes are generally more driven and upbeat than their contemporaries.

Harlequin Dream feels more pop and less folk-influenced than Moonfire.  The first five songs are all fairly bright, high-energy tunes.  The album slows down for the first time and takes a slightly reflective turn with “A Moment’s Grace”, before picking back up with the folk-sounding “End of the Line”, which has enough banjo in it to feel like a Mumford and Sons piece.  The next song, “Back Down the Black”, feels very out of place here, maybe because its subject is so much more serious than anything else on the album.  The last two songs are my personal favorites, especially the mellow, meditative “Arrow”.

The vocals throughout Harlequin Dream are quite strong.  There are some really well done, smooth harmonies as well as some impressive displays of range.  The title track in particular is incredibly hard to sing along to, although it’s catchy enough to make you want to try and fail (I did).

Lyrically this feels like a fairly straightforward rock record, with many of the songs covering such inexhaustible subjects as desire and loss.  The mood stays lighthearted throughout the album, but there’s still room for some complex lyrical structures in songs like “Real Estate.”

I like how Harlequin Dream expands upon the Boy & Bear’s already solid sound.  I definitely think that this band is only going to get more popular, and I don’t really have any criticisms of this album other than the fact that the ridiculous cover makes my eyes hurt.

Bubblegum Lemonade – Some Like It Pop

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bubblesRating: ★★★★½

Some records come into your life without fanfare or expectations; they exist simply as a statement by an artist. Whether or not the band, Bubblegum Lemonade in this case, has received acclaim or accolades isn’t important, but what matters is the strength of said statement.  In the case of Some Like It Pop, I don’t care what anyone has to say, this album is brilliant from start to finish.

“This is the New Normal” winds its way carefully into the opening moments, with a bit of strings and a tinkering bit of bells.  Before you know it, you’re swept away in this gorgeous sensation of warm pop.  The melody stands out instantly, but the mood of the song is greatly affecting; Laz adds a nice “ba ba ba baaa” to the mix to really emphasize a musician at the top of his game. And hits just keep coming.  “It’s Got to Be Summer” again opens with a bit of  playful tinkering, but at the 18th second of the track, you won’t find a musical sensation more compelling. What’s striking to me about Some Like It Pop is the attention to detail at every turn.  Where the group went for straight indiepop on their last outing, this one is filled with touches and brushstrokes of genius songwriting that ultimately reward the listener, like when this tune trails off in its closing moments.

And things don’t always go as one would expect from Bubblegum Lemonade.  On “Don’t Hurry Baby,” there’s a lush arrangement, leaving you with this dreamy balladry that will leave a lasting impression.  There’s even a chugging guitar riff beneath the mix that adds a bit of rock n’ roll propulsion to the affair.  And it moves into the album’s standout, “Dead Poets Make Me Smile.”  The title of the song alone wins, but dammit if the song doesn’t win on every single level, rolling along with the back beat of the drums and the jangling guitar.   Other songs like “First Rule of Book Club” have this wry sense of humor, but they also seem to be timeless pieces of music; it’s not draped in nostalgia or boasting some new direction, it’s simply perfect.

The closing statement from Some Like It Pop, “Mr Dreaming’s Bland House,”  is the album’s longest tune, and also a final statement that serves as the perfect summation for the record.  Melodies swirl throughout. Drums are spot on with their emphatic punch, though never over-intrusive.  And the vocals have this perfect wash of fuzzy coating, including a nice dose of backing vocals.  It all fits together so well, that you almost immediately start the record over.  It’s understated in the perfect way, making the entirety so much more endearing.  You’re not going to find a better pop album out there; they just don’t exist, so follow my lead to the blissful land left to us all by Bubblegum Lemonade.

[audio:https://austintownhall.com/wp-content/uploads/2013/07/01-Have-You-Seen-Faith.mp3]

Download: Bubblegum Lemonade – Have You Seen Faith [MP3]

 

 

Cut Copy – Free Your Mind

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fymRating: ★★★½☆

Whenever a band that has been around for longer than ten years puts out a new album, there is always the question of what they will do to keep things fresh but maintain the style that brought you to love them. However, this hasn’t seemed to really troubled Cut Copy’s Dan Whitford, as his synth dance based samplings keep on attracting more and more fans. This time around, the band has taken the hypnotic approach to their tunes, which compliments their sound quite nicely.

If you couldn’t tell from the brightly colored album artwork, or even the title of the record, the first taste of this fourth LP, “Intro,” should clue you in to where this band is going. Consisting of some highly altered, deep set and robotic vocals telling you briefly to do as the album’s title suggests, and “Free Your Mind,” serving as the beginning of the hypnosis. On the following title track, the Australian group opens up things for real with their driving dance beat and layered synthesizer patterns. As per Cut Copy’s style, the sound starts off with some base sounds: high-hat sounding percussion and Whitford’s nasal-toned voice, stand out immediately. Then, they build on themselves, adding piano, bongo-sounding percussion, other female vocals chiming in with some “oh, yea’s.” Overall, you get this jungle-esque groove that builds to a choral crescendo, which should have fans happy, as it’s a pretty typical sound for this group.

This cult-ish movement for the group doesn’t stop here, but continues through the album. Of course, if you buy into the hypnotics of the record, it feels great; each song keeps your body moving, but if you don’t completely fall under the spell first presented, it takes a little while for you to get into Free Your Mind; the heavy presence of not so subliminal messaging is a bit overwhelming at points, but there are still some great tracks on the record. Immediate standouts include “In Memory Capsule,” that shows off a slower side, albeit still dance-able, tune that asks “can you feel it/once in a lifetime?” raising the theme of going through the motions of emotions versus actually feeling something. Another hotspot on the record is “Meet Me in the House of Love,” in which driving waves of never-ceasing synth drones and a high intensity beat is asking you to shake it.

Really, this album makes me want to get up and dance in whatever state or location I’m in. It’s quite difficult to not bob your head to these synth dance pop tracks, so if that’s what they meant by ‘Free Your Mind,’ then by all means they’ve succeeded.

Illls – Hideout from the Feeders

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ILLLS-Hideout-From-The-Feeders--e1379501851839Rating: ★★★½☆

Occasionally you gravitate towards an album without much awareness, but something grabs you.  It squeezes you tight, holding you closely for the duration of your listening experience, and beyond (if it’s good).  This is precisely the case with my whole excursion into the world of Illls and their recent release, Hideout from the Feeders.

If I tried to explain this entire LP to you, I’d probably fail miserably, but there’s something incredibly important about the overall feel of the record.  It’s claustrophobic, in an endearing sense; the whole album has this filter on the vocals, as if you’re listening through glass or it’s being blasted from the speakers at the bottom of your swimming pool.  The first track that really hit this point home was “Colleen,” which is the third tune.  It’s present earlier, but the sound of the vocals stood out the most here due to the stark contrast to the pop sensation present in delivery of the vocals.  They hold onto to this smooth quality, working against the grainy darkness of the mood; it’s a striking effect, and one that succeeds time and time again on Hideout from the Feeders. 

Illls follow up that third track with what might just be one of my favorite tunes of the year, “Coma.”  The angular guitars are played through a kaleidoscope of dark post punk heritage, stepping in line with the deep tonal quality of the vocals.  Then you’ll hear a higher vocal break into the dense surroundings of the tune, accented by a wash of keyboards.  I keep coming back to this song again and again, so you’ll do well not to miss out on a few repeated listens throughout your day.  I love how there’s this overwhelming accessibility lurking beneath the surface; you’ll hear it again if you skip ahead to “In Gray.” This song takes on a more sprawling manner, similar to what you’d get if you spun a band like Blank Dogs through a whirlpool of blissful 80s underground pop. Capturing both dark and light, in both texture and mood, isn’t an easy feat, so those in search of such a dynamic will find solace in these types of tunes.

One thing that does tend to hurt Hideout from the Feeders, is that it’s not really able to step away from the structure of the style. While it’s successful on so many levels, the confines of the songs, and album, make it difficult to really stretch into a more dynamic sound…at least on this effort.  But, if I were you I’d put that aside immediately, as the record is pretty rewarding.  It’s clearly got doses of all things current, but I really appreciate how it’s able to stand out from the rest of what’s going on with such a refreshing approach.  You’ll do well not to skip out on Illls.

[audio:https://austintownhall.com/wp-content/uploads/2013/10/04-Coma.mp3]
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