Category: Reviews

Crooks on Tape – Fingerprints

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Crooks-On-Tape-Fingerprint-450x450Rating: ★★★☆☆

Fingerprints is the debut album from Crooks on Tape, a psych-pop group out of Dayton, Ohio.  While they are a fairly new band, two of their three members played together previously for over a decade in indie rock outfit Enon.  Fingerprints contains twelve songs collected from hundreds of hours of improvisational recordings.  The results are intriguing, if a bit unfocused.  

Individually, the songs on Fingerprints are fairly repetitive.  There are catchy, nearly danceable tunes such as “Duper”, songs built on mind-scrambling vocal loops such as those on “Tito’s Riser”, and a couple of more mellow tracks in “Summer’s End” and “Barging In”.  Taken together, they form a lighthearted, very sample heavy pop record that should reward multiple listens.

Texture, on this record, is established more through effects than song structure.  Everything, including the vocals, has a slightly muddied, dreamy tone.  The drums are kept light throughout, letting the bass and synthesizers come through the strongest.  While there are a few very alternative, 90s sounding guitar parts, Crooks on Tape spend most of their time here working through bubbling and/or pulsing synths.

One of my slight hang-ups about this band is that the vocals and lyrics often feel like an after-thought.  On most of these songs the vocals are somewhat muffled and low in the mix, and I found it very difficult to make out any of the lyrics on a first listen.  The vocalist has a nice range, and a higher register somewhat reminiscent of James Mercer’s falsetto, but there’s just something missing.  For the most part, these songs don’t have strong melodies, and the vocals never really feel important to the structure of the songs.  There’s also something of a sense of discontinuity about the record, owing to the constantly varying effects on the bass and different synth tones from song to song.

My favorite parts of the album are when the band turns up the delay and establishes a mellower, more contemplative atmosphere as they do with “Summer’s End”, which also feels like their strongest bit of songwriting.  Here, the vocals are a bit higher in the mix, and the tension of some of their faster songs is absent.  Altogether, Fingerprints is a solid, inviting debut from a new voice in the psych-pop landscape.    

Nobunny – Secret Songs

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nobynnRating: ★★★½☆

For over a decade Nobunny has been doing his own thing, abiding by his own rules and endearing himself to fans all the while.  Secret Songs is his third LP, and while it’s a bit all over the place, it encapsulates exactly what you’d expect from our favorite garage animal rocker.  And shining through it all? Great songs.

Every time I listen to Secret Songs I envision myself rocking out at a show with Nobunny.  “Bye Bye Roxie” seems like a perfect way to kick off the evening, with a bouncing rhythm and heavy-handed guitar playing; it all clears the way for our main man to rock his vocals, wagging his sweat drenched ears in your face. He even slows it down a bit with a twangy guitar stomp on “True Vulture,” before offering one of the standout tracks, “Pretty Girl.”  For me, it’s all about the anthemic nature of the chorus.  I envision you and I bouncing around joyously, beer spraying all across the room as Nobunny enters the foray to make entice us to suck the marrow out of life.

While I’m sure I’ve often lumped our anti-hero into the garage rock category (see above), I can also appreciate his penchant for trying out other genres, while still sounding every bit himself.  “Lizard Lies” is the best power-pop track that the Exploding Hearts never wrote; it’s bratty, catchy and polished enough to play while you give your dad a ride to work.  The longhairs will definitely be shaking their locks at the venues as this song blares out of their local PAs. Then there’s “Do the Stooge,” which is a sort of freak-out jam, which gives us all time to head to the bar, though we’ll do so with a little bit of swagger. You’ll need that momentarily breather before you get into the most classic track, “My Blank Space.”  It’s frantic pace and held syllables are precisely the sort of song that made Nobunny endearing to us all from the start.

And the our night is wrapped up in a poppy little number: “Lovin Lovin You.”  It reminds me of the sort of guitar playing/punk shuffle I grew accustomed to when I went through my Dead Milkmen phase.  It’s a ditty, but there’s something dirty about it…it’s a pop song your parents would be okay with, but every bit of it belongs to you.  And the album, or your night at the club, is over before you know it.  You danced with your friends, you rocked with Nobunny, and those Secret Songs now belong to you.  As always, it’s a secret best shared with those you trust, those with good taste.  There’s nothing quite like it.

 

Love Inks – Generation Club

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loveinksRating: ★★★☆☆

Love Inks are an Austin born trio consisting of husband and wife, Kevin Dehan and Sherry LeBlanc, as well as recently added guitarist Derek Brown. After going on tour through Europe they were inspired to create this lo-fi electro-pop record, Generation Club. Filled with sultry female vocals, wandering guitar patterns, and endless waves of synth centered around omnipresent drum machine beats, it’s a dreamy mix of tunes that you can spend an evening getting lost in.

The first track on the record is “Solar Diary,” and it takes you into the realm that Love Inks has created for you. The sleepy synthesizers wake up slowly in the opening second, and those drum machine beats kick in, giving the distinct simple sound that will carry on throughout the entire album. The uber feminine and yet simultaneously robotic vocals of Sherry LeBlanc question the realness of something, asking you to “only believe [her].”  The vocals seem to fit perfectly along with the blends of synth; the chorus arcing with the strumming of a few simple guitar sounds. The song is interesting at first listen, as you are enraptured by the dreamy landscape of sound, but there are a few moments in which the instrumentation feels bleak and lacking, allowing for a feeling of brief boredom.

Such a song is a good indicator of the rest of the album; it’s easy to be satisfied with the simplicity of the sound at points, and then left wanting a bit more at others. An example of total satisfaction comes on immediate hit, “Outta Sight,” that is fast from the start. A throbbing bass line that won’t quit and lush guitar to accompany said bass really complement LeBlanc’s vocals and this increase in instrumentation throughout the entire song take it to the next level, which is why it sticks out as a track above the rest. There are other tunes that embody the second half of the statement I made in regards to being left a little empty handed. Later in the album it is easier to notice, such as on track “I’m Gone,” in which the drum machine is a little grating and there doesn’t seem to be much novelty to the track in regards to those which have preceded.

Generation Club is a little over thirty minutes in total length, which means that you have really no excuse not to give it a spin. I found a few tracks to add to my listening catalogue, and hopefully you will too.

The Head and the Heart – Let’s Be Still

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Heat-and-the-Heart-Lets-Be-Still-1024x1024Rating: ★★½☆☆

If you haven’t heard Seattle band, The Head and the Heart, I’d be pretty surprised, as they are one of those groups that has undergone a Mumford and Sons leap from small timers to radio-played ‘indie folk band,’ consumed by the general public. Though they made said jump, their 2010 self-titled debut did not garner the popularity nor the recognition that the singles did, which allowed for the band to fall a little off the map since that release. Let’s Be Still offers the opportunity for this group to prove themselves to their fans and the general public that they are more than a one trick pony. Will they take that opportunity?

They start out on a positive note, with two back-to-back numbers that seem to show some growth from the band. “Homecoming Heroes,” starts out with the bouncy piano and violin work that the band made their signature. Raspy male vocals guide you along through some easy rhymes, while backing vocals smooth the background over with some ‘oohs.’ It’s a fun number, starting things out with an instrumental break at the end that is quite enjoyable. Second track, “Another Story,” is reminiscent of a simpler Cave Singers song, with slightly rambling lead vocals, which works well for this band—it gives a dose of chaos and unpredictability that you wouldn’t expect from them, proving to be the best track on the record.

Though, on the whole, the album falls into the same chasm that their debut did, just without those superstar crowd pleasers. The songs on Let’s Be Still aren’t all bad, but they do combine to make for a bit of a boring album. Those spunky numbers that spiced up their initial release just aren’t there, or if they are, they aren’t as bright and passionate; pun intended, the heart seems a missing from this album. Track after track it seems like all the numbers blur together in one massive, slow tempo, folksy pile. The smaller nuances that drew in audiences are lost when there is little differentiation from song to song. Even the brightest of numbers from the album, such as “Friends,” seem a little flat. They’ve lengthened the album, but thirteen mildly interesting tracks don’t make for an effort I see myself coming back to listen to regularly, or even at all.

Perhaps you’ll think differently, but this is not the strong sophomore effort that I wish for bands of this nature, and it seems as though The Head and the Heart have missed their chance to win me over. The enticement was there from their singles, but I couldn’t take that bait to really bite into their first album; Let’s Be Still doesn’t offer me much of a worm.

La Luz – It’s Alive

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LaLuz_LP1smRating: ★★★☆☆

Seattle’s La Luz began making waves around the Internet with the release of their Damp Face EP, but they’ve kept the best hits from that release and added new tunes to round out their first full-length, It’s Alive.  The surf guitar tendencies make the group relevant in today’s musical landscape, though you can see that their classic sound would probably fit well in the days of old, which is why it’s such a joy to spend some time with this release.

“Sure as Spring” opens up with a rolling beach drum beat, which is cast quickly aside for a beat that gives a bit more of a punch to the track.  It’s the first witness of La Luz‘s surf sound, but the vocals really are what allow the group to create a special sound.  My ears hear bits of doo-wop and Motown lurking in the way the girl’s combine harmonies atop one another, though I’m aware this was definitely a fad in the era of paisley.  From the start, it becomes clear that the music being crafted is differentiated from the masses by these vocals.

While those harmonies hold a special place in my heart, the more time I spend with It’s Alive, the more I begin to appreciate the drawn out vocals that are present in songs like “What Good Am I.”  Not only is this one of the tracks that stands away from the surf sound, but the vocal performance is really endearing.  It’s got a smooth delivery, though there are hints of smokiness laying within the confines that references sultry lounge-singers.  Similarly, “Call Me in the Day,” which is one of the remainders from the Damp Face EP offers further insight into the group’s usage of vocal interplay. The lead grasps onto the softer delivery previously mentioned, while the supporting vocals offer a swagger that can only be assisted by a set of superb back-up singers.  It provides more of a soulful feel to the sound being created by these ladies, and one that continues to push the envelope of what some might say is simply surf-rock.

Still, with the prevalent vocals, don’t think I’ve overlooked the blending of psych/surf sounds throughout the record.  The album’s title track,”It’s Alive” is the perfect place to look, utilizing a darkened vocal atop the band’s surfing tendencies.  It’s the song that perhaps epitomizes the group’s sound the most, though my personal highlights might lay elsewhere.  Another nod to surf comes via the classic sounding “Sunstroke.” It encapsulates the sound perfectly, offering up a short instrumental that quickly laps at your feet much like you’d expect the waves to do as you stand upon the shore.

For a debut record, It’s Alive has a lot to offer listeners.  I’ve really been gravitating towards the vocals on my last six or seven spins of the LP, which is perhaps where the group could make some adjustments going forward.  La Luz have nailed the surf-rock sound, and combined it with classic girl-group harmonies, though one can hope for a touch more diversity.  There are hints of such moves throughout, which is more than enough to show that this is a group that’s destined to prove they’re more than a one-trick pony.

[audio:https://austintownhall.com/wp-content/uploads/2013/02/LaLuz_CallMeInTheDay.mp3]

Download: La Luz – Call Me In The Day [MP3]

It’s Alive is available now from Hardly Art.

 

Cults – Static

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cultsRating: ★★★½☆

It’s been two years since New York buzz band, Cults, released their self titled debut album, which was catchy as all get out, but proved to be a little juvenile upon repeated listening. Now they’re back with sophomore release, Static, that interestingly features eerily similar album artwork as before. Still depicting a male and female mid jam, but this time in a pixilated form, the artwork, as well as the title, signifies no real departure from their original sound. That being said, Static comes off as a bit of a reexamination of their first record; they revise where they went wrong two years ago to make a record not only with a greater listening longevity, but one that is more enticing in its subtleties.

Though Cults prove this to be true after a bit of a slow start. The first track, “I Know,” is a hazy, ultimately skip-worthy track that may have been better left off the record, though it serves perhaps as a semi-introduction to the groups’ approach to music this go-round. Second up is an enticing number that incorporates the old and new sound. “I Can Hardly Make You Mine,” touts the familiar sugary vocals of Madelin Follin articulating simple lyrics, along with some xylophone-esque tinkering in the background. However, the vocals and tinkling xylophonic sounds are no longer gimmicks of this bands sound, but attributes that add texture to the overall mix. There are more layers and better ones at that, and such attention to detail makes each song seem more thought out and planned.

But the real superstar of this album is single, “High Road,” which is fourth up on the track list. Begging you to put this song on repeat and just drive around, slow and steady urban jungle beats welcome you, and swelling synth sounds make you stick around for the catchy chorus. Follin’s vocals on this number together with the smooth and cool instrumentation remind me of a Frankie Rose tune.  After this number the songs seem fairly interesting and good, but this single definitely sticks out as a sure highlight that you will want to revisit over and over again. Honorable mentions for other stand out tracks go to “Were Before” for a groovy bass line and hair raising vocals, as well as “So Far” for its gritty guitar.

At the end of the day, this record may not be what a diehard fan of Cults’ original record really wants; Static is a touch more mature in its sound. However, to me, and perhaps newcomers to Cults, this serves as ultimately a positive change for the group. So if you weren’t a huge fan before, maybe it’s time to give Cults a second chance: they’re still fun and youthful, but Static is a ‘young adult’ record, while Cults was a ‘preteen’ record.

The Black Watch – The End of When

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theblackwatch-coverRating: ★★★★☆

No matter the line-up or the slight changes in sound, one thing you can always be sure of is that The Black Watch are possibly the most consistent act to ever release music in the underground scene.  The band’s latest effort, The End of When, is just another fine example of a group that puts great songwriting at the forefront, leaving you with 11 tracks that will please any music fan.

Like most things, there’s really two sides to the opening track, “Don’t Feel the Same.”  It’s bubbling bass line works in step with the delivery of the vocals, providing listeners with an emotional attachment that’s built for singing along.  But, the guitar lines are filled with discordant noise that seem to work against the inner design of the track.  Somehow, its cohesive and enthralling, sucking you into the record from the get-go. And as you move along, the softer side of the band emerges on the following tune, “Meg.”  I don’t know whether it’s the presence of former Chills guitarist Steven Schayer or the band is just this good, but the guitars alone make every second of this song stand out among the band’s peers.  The gentle quality of the vocals just serves as a reminder that people don’t make pop music like they once did; my only complaint is that it’s the second shortest song on the record.

After spending the last three days with this record playing every chance I get, it’s getting harder and harder to find a bad track within the confines of what The Black Watch have created.  The interplay between guitar and bass on “Oh Oh” is only a precursor to the vocal interplay that comes into the foray later in the song, all leaving you with another gem that you’ll beg to share with your friends. Perhaps you’ll find yourself attracted to the dreamier quality of the vocals on display in “Sum.” The way “again” is drawn out just hits me perfectly every time, as the guitar swirls around each syllable. And then maybe you’re one of those with a soft spot for quiet ballads such as “Unlistening.” It may seem like an outlier in the grand scheme of The End of When, but it’s every bit a song in the vein of the group’s accomplishments, layering loops and strummed strings to encourage the voice.

When you’re finished with the record, you’ll likely come to the same conclusion about this album as I have.  There’s nothing better than a release by The Black Watch.  Their formula, though it’s changed slightly, has always been pretty simple: write incredible songs.  They’ll offer you noise, then follow it up with tune featuring horn enrichment, then turn things back by ringing power-pop guitar work. Sometimes they’ll do it all within one track.  They’re brilliant, and The End of When is just a further reminder that there are only two consistently great bands in the world: The Wedding Present and The Black Watch.

[audio:https://austintownhall.com/wp-content/uploads/2013/08/1-02-Meg.mp3]

Download: The Black Watch – Meg [MP3]

The End of When is available now from Pop Culture Press Records.

 

Crystal Antlers – Nothing Is Real

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crystalRating: ★★★★½

For two albums, Crystal Antlers have successfully combined their love of noise and hooks to create some pretty fascinating music.  But, that being said, I don’t think anything fully prepared us for Nothing Is Real.  It’s sonically exploratory, yet catchy in every way, showing a band that finally has found the perfect balance between captured raw energy and pop sensibility.

“Pray” slowly drops us into the midst of Nothing Is Real, teasing us momentarily before we’re rushed off with a frantic pace into the realm that we’ve come to know so well from these guys.  There’s a harsh quality to the vocal delivery, yet just beneath that growl, you can hear this pop presence.  It’s made even more clear by the howling “oooh” that lurks in the mix.  For me, the focus on making the negative space into meaningful music is what makes this listen to perfect.  And, as you bounce along in the opening moments of “Rattlesnake” the whole of the record begins to take shape. A slow spoken vocal takes control, before you’re pushed into the erratic shout of “rattlesnake.”  In returning to that softer space you can see just how far the group has come; they’ve built this song just for you.

For most of the record, they stick to the same formula, though I haven’t heard Crystal Antlers execute it as well as they have here.  Even so, there are still some beautiful surprises that I didn’t expect.  “We All Gotta Die” is a sprawling ballad, coming in at just under 6 minutes long.  I fully expected the song to erupt with bombast as the song neared the end, and while there’s definitely a louder sound drawn out, it’s nowhere near the explosion I thought I’d get.  It’s nice to know that bands you adore can still change things up on you from time to time.

Just don’t think that the dudes have gone entirely soft on you; you only need to listen to “Persephone” as proof.  It takes a mere seconds for the distortion to introduce you to the group’s heralded wall of noise, though with their special restraint.  This jam illustrates to me the group’s best dynamic, walking a fine line between insanity and pop stardom.  Just imagine the Fresh and Onlys in a mosh pit. “Better Things” also offers a glimpse at the captivating live aspect of the group, featuring an explosive percussive sound working in unison with these sharp guitar chords and shouted vocals.  I don’t know how they’ve captured this energy, but one can immerse themselves within the confines of a sweaty pit while listening to this track; please be safe.

As a fan of Crystal Antlers, I’ve been waiting for this day.  They’ve always captivated me with their live energy and raw power, yet it hasn’t always translated perfectly to tape.  Nothing Is Real, however, does just that.  It fits the explosive power of a group at the top of their game into a concise album that’s still brimming with accessibility despite its dangerous undertones.  This is an album to be reckoned with for some time to come.

[audio:https://austintownhall.com/wp-content/uploads/2013/10/03-Licorice-Pizza.mp3]

Download: Crystal Antlers – Licorice Pizza [MP3]

Dot Dash – Half-Remembered Dream

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DotDashCoverArtRating: ★★★★☆

This day and age, bands tend to get caught up in fighting for, or against, the status quo of musical movements within the indie scene.  But, some bands just decide to go on their own, writing songs that are full of heart and self-expression; Dot Dash is one such band.  Their third full-length, Half-Remembered Dream, is an ascendency into pop perfection, making nods to the pass, while crafting songs that stand on their own in today’s landscape.

“Here’s to the Ghosts of the Past” opens the affair with a strong riffing guitar; it’s occasionally bisected by a noisier down-stroke on the guitar, creating a sound that’s built for fans of guitar pop.  The warmth of the vocals hold you close to the song, drawing you into what might otherwise be a noisy piece of pop.  That gentleness remains throughout most of Half-Remembered Dream, and it’s made more noticeable on the following track, “Hands of Time.” While the opener had guitars as the hero, the voice takes precedence on this tune; it’s close to a ballad, at least as close as you’ll get from this DC outfit.  There’s a change in pitch just after the 1 minute mark that’s a really nice touch too.

Personally, I enjoy the fact that Dot Dash always seems to be messing with.  On “Do Re Mi” they craft this brooding intro, hinting at a darkness that I wasn’t expecting, so I start to immerse myself in that mood.  But, they abruptly start, choosing to blast off into this heavy-handed piece of powerful guitar pop, starring this sparkling guitar line.  You’ll find varying melodies within this track too, which is one of the reason’s I’ve always appreciated the band; they’re not some one-trick pony.

I think one of the sad things about the music world is that truly great songs get dismissed due to label association or hype, but if you do anything today, try to take a listen to “Shopworn Excuse.”  For me, this is the band at their absolute best.  There’s this certain gleaming polish to the guitar sound, and the vocals take on a completely different tone than I’ve encountered from the group to date.  It’s almost a homage to twee, but done via adaptation from Dot Dash.  It’s followed up a few songs later by my second favorite track, the album’s closing moment: “The Sound in Shells.”  I love the shimmering guitar sound that cascades through the speakers, fighting against the reserved pop sensibility expressed in the vocals.

Odds are, unless you’ve been following the hip cognoscenti such as The Big Takeover, or perhaps even ourselves, you might not have heard of Dot Dash yet.  That’s okay, but this band is begging for your ears.  They’ve got polished guitar pop that maintains a sharp edge, all the while juxtaposing it with the incredible melodies that are naturally created by the vocals.  You’ll do well for yourself today if you go spend some time with Half-Remembered Dream.

[audio:https://austintownhall.com/wp-content/uploads/2013/08/Dot-Dash-Half-Remembered-Dream-01-Heres-to-The-Ghosts-of-The-Past.mp3]

Download: Dot Dash – (Here’s to) The Ghosts of The Past [MP3]

Of Montreal – Lousy With Sylvianbriar

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lousy-with-sylvianbriarRating: ★★★★½

I’ve been a fan of Of Montreal for quite some time, but I’ll admit that my fandom has been relegated to the bench as the group has indulged in a more electronically enhanced sound.  But, from the moment I put on Lousy with Sylvianbriar, I was transported back to the earlier days of the band, leaving me with one of the best pieces of music the band has released in some time.

“Fugitive Air” kicks off things on Lousy with Sylvianbriar, almost immediately setting a new tone.  There’s a meandering guitar line that holds onto elements of slide work, whilst Kevin Barnes erupts in a fashion that only he can.  Standing out to me, here, is the fact that the orchestration still includes those classical elements like tinkering piano and group harmonies.  Personally, I think a great touch is when the track opts to slow down around the 2:00 mark; it’s a nice change of pace. While the first piece offers an alternative-world interpretation of psych-pop, the smoothed out ballad of “Obsidian Currents” that follows makes the opening minutes quite remarkable. It all begins with Barnes taking the lead, crooning over a simple bass line and drum track. The song’s success, however, revolves around the evolution of the track, which builds up with a strummed acoustic piece that finishes with group harmonies.  This is the Of Montreal that I love so dearly.

Perhaps one of the best things about this album is that it combines Kevin’s inclination to change time signatures and tempos mid-track, which he’s done forever, but is much more pronounced on tracks like “Belle Glade Missionaries.” The group offers up a swinging bit of crafty pop, allowing listeners to bob their heads, albeit momentarily.  At 2:22, roughly, the track takes on this very light mood, with strings ornately dancing around Barnes, waiting for him to blast out with a quick vocal delivery; the pace of the movement is dizzying, but endearing nonetheless. These are the gifts that the band has always possessed, but I suppose I connect more when there’s actual instruments spinning me on my head.

I know that I’m supposed to love and adore “She Ain’t Speakin Now,” and I do, but it’s the tracks that lead up to it that really encouraged my affirmation of faith in Of Montreal.  That track’s chorus is just ridiculously delicious, and comes in as one of my favorite moments in music this year.  But, you should all go listen to “Colossus.”  The storytelling within this song illustrates precisely why Mr. Barnes has always been one of the most interesting lyricists.  I love the nakedness and solemnity of the tune.  And, to follow it up with the playful “Triumph of Disintegration” is a smart choice.  Using a shaker to accent the angular knifing of the guitar wins every time in my heart; is it a possible ode to Northern soul?

Honestly, I’ve had a hard time looking through this album for a track that I could discard, or even dismiss for the cynics purpose; it’s just not possible.  Using less of an electronic touch on Lousy with Sylvianbriar has allowed Barnes and company to create these great bits of pop music that just can’t be ignored. Sure, he includes snippets within snippets of songs, but they seem so much more meaningful with a full band backing things up during the recordings. I know there are a few of you out there looking for this sort of return to glory from Of Montreal, and this record’s just that. It’s a motherfucker; I mean that in the best way possible.

 

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