Category: Reviews

Azure Blue – Beyond The Dreams There’s Infinite Doubt

Leave a comment

AZURE BLUERating: ★★★☆☆

 Azure Blue is the solo project of already successful Tobias Isaksson, who is hailed internationally for his work with Swedish bands, Irene and Laurel Music. Also a popular DJ in Sweden, Isaksson has made his name well known all over Scandinavia, which is probably why you’re asking yourself who exactly is this guy and why he matters to you, since his fame hasn’t really made it to the States yet. The answer is simple: Beyond The Dreams There’s Infinite Doubt is a new wave record that deserves some attention.

Though some of you may have heard some Azure Blue through the debut album, Rule of Thirds, for most this is probably your first encounter with its new wave, electronic style. “Time is On Our Side” opens up the journey through the dreamy electro pop on a bold note, with the line, “I only wanted something real,” that seems to embark upon a story of a romantic nature; the declaration so earnest and sincere it begs you to connect to it. Meanwhile the music is a constantly swirling mix of battling synthesizers and soft percussion that you would expect of something that belongs in the new wave genre. At just under five minutes in length, this opening track gives you a basic idea of what this album has in store for you, but Azure Blue is only just beginning.

Immediately after this opening warm up track, the energy level gets turned up on “The Road I Know,” and from there they refuse to look back. The synthesizers are now more than droning waves of sound, but active parts of the mix, evoking the melody of the song right alongside Isaksson and some higher pitched vocals that pair nicely with his deep-set voice. Together, they create a lovely choral, dreamlike, arc to the song. Their vocals are smothered in reverb, which culminates with the chalky percussion so that the meandering synth riffs really stick out to give the song some harder edges. It ends slowly, with each layered element gradually fading away from the mix, and creating a solid song with a beginning, middle and end; six minutes flies by without you ever feeling slightly bored.

Like a dream in which certain instances particularly stand out to you, some of the songs on Beyond The Dreams There’s Infinite Doubt also allow for a little bit of attention-wandering. You have numbers that emerge from the dreamy trance of synthesizers and electronic beats like “Sunset,” as well as the aforementioned “The Road I Know,” but others slightly fail to bring something exciting to the album or the new wave/synth based electronic genre. It’s up to you to decide if that’s a positive or negative attribute for Azure Blue to have.

Mind Spiders – Inhumanistic

Leave a comment

mindspidersRating: ★★★½☆

Inhumanistic is the third LP by Mark Ryan’s Mind Spiders, and it’s the one that I think sounds the most like what you would expect from the former Marked Men leader.  It’s still punk rock, with a tinge of power-pop tossed in for good measure, and it includes a dark bent on both the world and music.

After a brief prelude track, Mind Spiders blast off doing what they do best on “Inside You, utilizing driving guitars and speedy drumming to build towards the release of tension, which always comes with a bit of pop enthusiasm.  Then you’re thrust into “Suicide,” which, despite its lyrical content, is probably one of my favorite tracks on the record.  The chugging guitars are accompanied by a synthesizer, and although there’s a dark tint, it serves the song well, allowing for the inherent hook in the chorus to shine perfectly.

What I didn’t expect from Inhumanistic was a gem like “City Stuff.” It’s a track that surely was formed on an acoustic guitar, leaving a wonderfully hidden melody.  But, instead of going with the easy acoustic ballad, the melody’s been replaced by synth work, using the guitar only to enhance to song where necessary.  It goes right back into the rock n roll with “Electric Things,” though at this point in the record things start to become formulaic for the group.  Now, this doesn’t mean that I don’t enjoy it; I like every track on here individually, but as a whole piece, there’s only two instances when things don’t go as expected.  I mentioned one above, and the other comes in the sonically haunting “I Want You.” Again, this is a song that’s relaxed in essence, though the accents try their best to make more out of it.  And it all leads up to the record’s pinnacle single.

As long as I’ve been following Mind Spiders, I’ve loved their ability to edgy riffs with catchy hooks, and no track to date has done such an exceptional job as “Make Make Make Make.”  This song is a fast paced jam from the get-go, with the chorus providing the ultimate emotional release.  This track was built for maximum crowd participation in the live setting, and even at home, you’ll have a hard time not screaming “make make make make” as you’re mopping the kitchen floors.

In the end, Inhumanistic is another solid release from Mind Spiders, but there were a few things that changed the easy 4.5 stars to 3.5.  After three records, you notice some shifts in the band’s overall sound, but this record seems to be really predictable in some areas.  Those areas that aren’t are incredible, and appreciated, but I’m wondering if I’m ultimately going to get worn down songs that seem too similar.  For now, the answer is no; I love the songs here, just looking for a little more variety.  Perhaps next go round.

[audio:https://austintownhall.com/wp-content/uploads/2013/09/MakeMakeMakeMake.mp3]

Download: Mind Spiders – Make Make Make Make [MP3]

The Blow – The Blow

Leave a comment

The-BlowRating: ★★★☆☆

Listening to The Blow has always been a mild obsession, but I’m pretty sure every girl I dated since 2007 ended up with “Parentheses” on some mix tape of mine.  But, after spinning a good deal of time with The Blow, it’s good to see that Khaela Maricich hasn’t dropped off much since the departure of Yacht.  In fact, my book has her better off, as this record’s bursting with fun.

The work on previous efforts from The Blow is still prevalent, as this seems mostly like a continued experiment for Khaela’s voice, with the beats coming in second place.  “Make It Up” holds tight to that formula, with Maricich operating on various pitches throughout the track.  It picks up in the back end, uniting vocal samples atop vocal sample. But, in writing about a record by the project, it’s always difficult to work through by just talking about the beats that back up the vocal.  However, I think the range in the vocals are what ultimately make the record more than enjoyable.

On a track like “A Kiss,” you get the whole spectrum of the offering.  It opens with a semi-sultry croon from our frontwoman, paced playfully in the foreground.  It sucks you in immediately, and moments later, there’s a slight rise in the pitch, while the beats stutter.  From there, it floats off into a loftier vocal realm that adds a new level to the track.  It’s all complimented by the backing vocals soothingly approaching from the background.  These are the sorts of songs where The Blow really excel, showing that despite a very simple approach, there’s still some dynamism in the process.

For me, part of my whole experience also circled around the search for the standout track, and for the most part, I think that’s where this record might have a step above its predecessors.  Each track on here is purposeful, and none of the above should be discarded during your listening experience. That being said, I’ve really been drawn to “Hey” during my last several spins.  It starts with heavier pulsating beat, carefully building tension before the song slowly rises to its musical climax.  You can feel it in the vocals, as a lighter keyboard begins to accent the driving rhythm; I especially like how the song holds out longer than expected, then unleashes the hook.  It’s definitely a song that’s piqued my interest.

All in all The Blow have another great little listen on their hands.  They’ve never been knocking down the doors of creativity, but they’ve always given the audience something that’s ultimately rewarding/endearing.  It’s becoming increasingly harder to look away from the group, especially when things are as focused and enjoyable as The Blow.

[audio:https://austintownhall.com/wp-content/uploads/2013/09/07-Hey.mp3]

 

Gambles – Trust

Leave a comment

gamRating: ★★★★½

Admittedly, I’m a music consumer on a massive scale.  It means that I get to enjoy tons of great bands, but on the downside, it takes a lot to emotionally move me.  In 2013, I’ve had that happen once with Majical Cloudz; it’s happening again as I spend repeated listens to the debut album from Gambles, Trust.

From the instant that “Angel” came through my speakers, the sincerity in the work of Matthew Siskin, aka Gambles, was extremely clear to me.  There’s a slight echo in the way his vocals have been recorded, as if your best friend had you recorded his rooftop ramblings.  However, these aren’t ramblings; these are well penned lyrics of life, love and all the things in between.  I guess it’s no surprise that the following track is titled “Rooftops,” though the strumming of acoustic guitar on this track is much more intimate and softer than the opening tune.  An entire verse seems to be sung via whistling, aligning Siskin with troubadours of our hearts from days of old; it’s striking how such a simple touch can seem so personal.

The incredibly moving moments from Trust continue into the third track with “So I Cry Out.”  It was this song that really made me fall in love with what’s being created within the confines of this album.  As that music consumer, some moments of creation have become predictable to me.  So much so that I can typically figure out where a lyric or note will start and end.  This is not so here, as Matthew holds on to notes for his own sake, often elongating syllables for the emotional effect; this slight personal affectation has allowed him to stand out among many of his peers, if not all of them.

But don’t think that this debut album by Gambles is short on solid listening after the powerful opening tracks.  It’d be easy to write and fawn over everything on the record, but I’ve taken to loving “Penny for a Grave” the last few days.  The humming is a nice alternative to the traditional whistle, but the lyrical substance is really great.  My personal favorite line from the track: “is it the smell of your old bones/calling me home again.”  Even more personal to me is the fact that you can’t simply decipher the lyrics, they’re shrouded in metaphors that I dare not attempt to uncover.  But, that’s what makes it personal, that’s what makes it special; I can ascribe my own meaning to these tracks.  “265” is another such tune that I’ve taken a liking to, as well.  There’s a rise and fall to the song, in both the vocals and the musical accompaniment.  Siskin does well too with his guitar playing, alternating between soft strum and heavy-handed stroke, and always with purpose.

It’s difficult to see past the bullshit sometimes, and even more difficult when you’re only working with your guitar and voice.  But, somehow, somewhere, Matthew Siskin has created a gift for listeners.  You can rush to rip off the wrapping or you can choose to go slow, but one thing can be assured: you’ll never ever regret the day you picked up the first full-length from Gambles.  May Trust be our first introduction to a long and remarkably affecting career.

 

Crystal Stilts – Nature Noir

Leave a comment

crystal-stilts-lpRating: ★★★☆☆

Having loyally followed Crystal Stilts since their inception, listening to Nature Noir has been sort of a personal issue over the last few weeks.  At times, I’m completely in love, seeing some of the group’s best work come to fruition, yet other times, I get stuck in the muddier down-trodden sounds, inevitably giving the album a rest.  Is it good? Yes. Is it great? Eh. Decide for yourself.

Each time I go through the first few tracks I’m not sure which side of the road I’ll end up on.  “Spirit in Front of Me” has some great moments, with Brad Hargett’s deeply down-trodden vocals winning me over, but there’s this snaking horn that weaves in and out of the tune. And there’s “Star Crawl,” which features this great guitar sound, but there’s no real pace to the song; it sort of staggers in place, even with its nod to psych breakdowns.  And then Nature Noir really begins to take off, for me anyways.

“Future Folklore” definitely takes cues from the world’s obsession with psychedelia, though they spin it in their own light, adding a pounding rhythm that really propels the song.  Hargett has the perfect voice for this sort of tune, coated in this smoky sensation that lays the band alongside various contemporaries.  It’s nestled right up to my favorite tune from the group to date, “Sticks and Stones.”  You’ll find a kinder, gentler voice here, playing perfectly in step with this great guitar line that wouldn’t be out-of-place on a number of indiepop releases.  If there were 9 more songs just like this, I’d easily proclaim this as my favorite LP of the year.

And there are definitely tunes that have a new feeling to them, though it’s definitely rooted in the sound Crystal Stilts have come to create.  On “Worlds Gone Weird” I feel like they’re channeling Calvin Johnson whilst adhering to their own aesthetic.  It’s songs like this with Brad’s vocals clearer than they’ve been that definitely make the latter part of Nature Noir worthy of repeated listens.  I mean, if you can listen to “Nature Noir” and not find pure enjoyment out of the desert guitar sound juxtaposed with Hargett’s vocals then you’re a better listener than I.  Ultimately, it all comes to a close with “Phases Forever,” and despite the overbearing atmospheric hum atop the song, I’ve grown to quite enjoy the tune.  There’s an acoustic guitar at work, accompanied by the occasional string arrangement (which is part of that hum!) that really highlights the band’s growth.  I feel like this is the perfect statement to wrap up the entirety of this album.

As I reflect upon the countless spins I’ve given Nature Noir, I begin to appreciate more of it than I initially thought.  Sure, the first few tracks are probably my least favorite on the latest Crystal Stilts release, but I can’t hide from the fact that you’ll hear some incredible pieces within the confines of this record.  I wouldn’t blame a soul if they loved this record, but I’ll have to settle for just liking it.

Delorean – Apar

Leave a comment

deRating: ★★★☆☆

I’m sure I’m not alone when I say that the first thing that comes to mind when I hear the word ‘Delorean’ is Back to The Future. So my gut feeling, when I learned that there was a band with the same name as the raddest time machine ever, was that this band must encapsulate some sort of nostalgia for the eighties that goes along with that image. Over the years, they have grown closer and closer to this image, creating tunes that’ll make you dance as well as take you back in time a bit.

Apar is no exception to this continuing trend, as it is chalk full of tracks to help you dance your way through life, complete with catchy choruses and hooks. The first real stand out number comes after the first track on “Destitute Time.” From the start you have the feminine vocals wailing in the background, sounding off something special coming in the form of new wave esque guitar hooks that sink their teeth into you from the get-go. You can totally understand how this group opened their own nightclub; this track just begs you to shake it. As far as comparisons go, you get a bit of a Cut Copy vibe in the seemingly flat male vocals that serve to propel the song forward. The guitars cycle onwards, each wave over the chorus becoming that final layer of sound to stabilize the overall mix and make for it to be a great song.

Though there isn’t much variance from the 80’s new wave mixed with some electronic components stylistically, there is a change from male lead vocals to the female lead vocals of Caroline Polachek from Chairlift on “Unhold,” which provides for the most interesting song on the record. Initially it sounds like a track you would hear off a jangly pop record, but then the vocals are drastically modified and auto-tuned for an odd effect. Half of me really likes this track, and is completely on board with the direction this group takes on this number, but the other half of me has its reservations about it. At points the vocals promote the excitement of the hard pounding drum beats, but at other instances I find myself wishing they were a little less auto-tuned and modified.

Overall, Apar is one of those albums that is excellent to put on while you want to have a dance party with your friends or when you want to clean the house. Track after track Delorean will have you moving and grooving to their sounds, and it’s up to you to find your favorite track to jam to.

Arp – More

Leave a comment

arpRating: ★★★★☆

One of the great things about reviewing music is discovering an act that’s been around, but that you hadn’t given much attention to in the past few years.  For me, Arp is that group; I’ve devoured More, the latest release, and hunted down the rest of his catalogue.  From the opening track to the closing moments, it’s just remarkably moving, and if, like me, you ignore it, you’ll be doing yourself a huge disservice.

“High-Heeled Clouds” opens More with one of the best opening tracks I’ve heard this year.  A gently playful piano line works with the bass to open, before Alexis G enters with his vocals.  While one would seem to bounce at the musical mannerisms, there’s this perfect restraint that encourages solitary swaying.  But, it’s the slightest details within the track that really push the song into the realm of “stand-out;” there’s this sunny guitar solo that works its way in, fading into an atmospheric end.  But, while the opening moments slowly move forward, the following track of “Judy Nylon” creates the perfect counterpoint.  There’s a fuzzy guitar, and a heavier pounding on the piano, leaving you with loftier emotions, yet still in the spirit of the opening tune.

Suddenly, Arp leaves you in the mood for more ethereal pop moments with the warmth of “A Tiger in the Hall at Versailles.”  This tune’s more of a spiritual track, using the vocal as an extra instrument.  While you might not find yourself as attached to this song, it serves the album, overall perfectly, offering insight into the songwriting process.  It’s similar, in approach, to “Gravity,” which includes string arrangements for emphasis. The layering of each moment in these tunes gives you clues as to the way future songs are constructed, such as “Light + Sound.”  There you’ll find a similar formula, but what interested me are the faint horns flourishes or light keyboard notes that elevate a traditional pop-writing formula.

Of course, some of the other tracks are momentary throw-aways, thus why I can’t quite toss the perfect score towards More. I don’t mean one should toss these songs aside, as the little snippets of noise and samples provide detail to the storytelling of the record as a whole, but I was thirsting for more great pop moments.  I get it; I know why they’re there, but it shortens the album, leaving me hungry for more of Alexis’ word play and craftsmanship.  That being said, it’s part of the beautiful journey of this release.

Having barely been acquainted with Arp up to this point, I couldn’t help but fall in love, as if this was the first release.  The careful artistry of every track, even the snippets, overwhelmed me, washing me with emotions that are rare in a consumable musical age.  I can assure each and every person that reads this that you’ll find few records this year that are as rewarding and magnificent as I found More.

[soundcloud url=”http://api.soundcloud.com/tracks/102406274″ params=”color=ff6600&auto_play=false&show_artwork=false” width=” 100%” height=”166″ iframe=”true” /]

Arctic Monkeys – AM

Leave a comment

AMRating: ★★★★☆

When a bunch of young chaps from Sheffield formed a band back in 2002, I doubt they had any idea they would be headlining Glastonbury, let alone headlining Glastonbury… twice. But ten years later, here they are, on their fifth LP release, still taking the indie world by storm and gaining more and more of a following after every release. AM, as aforementioned their fifth studio release, and gives a bit of a nod to their growth into a headlining super power. With this growth, do these no-longer-chaps from Sheffield still have something left in them to keep the hype going around them?

The single, and opening track “Do I Wanna Know?” certainly gives a roaring answer to this question. Stomping drumbeats set the tone, followed closely by some extremely buzzy guitar lines that come off as dark and sinister. Alex Turner’s enticing and subtly sensual vocals coat everything in a sort of heat that reminds me of the edgy coyness of Humbug. Turner spits lyrics out quickly, each line catchier than the next in his bad-boy persona, urging you to empathize with him and perhaps slick your hair back a bit when you sing along to the front man’s part in the call and response chorus. This song sets the tone for the rest of the album: cheeky, but not to the point in which evokes disgust. Turner and company make tunes that embody the very essence of cool.

But what makes AM relatable and not intangibly too cool is the subject matter: heartache. If you were to just listen to the instrumental portion of this record, you would enjoy it because it’s catchy and interesting, but as for emotionally available, it is a bit harder than you would expect from the Arctic Monkeys. The guitars are a bit edgier and noisier for the most part, with riffs tending to the hard rock genre. Take the song “I Want it All,” for example—extra heavy on guitar and light on everything else save for vocals. Musically, it sounds like a very dominant and confident tune, but then there’s Turner confessing: “Ain’t it just like you to kiss me and then hit the road?” There is this steady confidence exuded through the heartache that Turner spins songs about. Even on the slower numbers that don’t possess the gritty guitar, such as closer “I Wanna Be Yours” that embodies an R&B song more than anything, you still have unapologetic longing to be in love.

Though I wouldn’t consider myself a diehard fan of this group, I simply can’t deny that this is a great record, complete with a variety of genres touched upon here. Yes, Turner’s edgy lyrics remain constant, wrapped around the theme of love/infatuation—perhaps not enough in return from a particular subject—but it never comes across as repetitive or banal. AM is something you can take bits from and sympathize with as well as just enjoy on a musical level.

Jacuzzi Boys – Jacuzzi Boys

Leave a comment

JacuzziBoys_LP2Rating: ★★★½☆

I feel like I’ve been waiting for some time to hear the new LP from Miami’s Jacuzzi Boys.  But, while it’s only been a short two years since their last release, the boys have been touring hard and writing the great songs that fall into this self-titled release on Hardly Art.  It’s full of infectious pop tunes and harmonies that appear to be a foray into a more pop-centric realm.

“Be My Prism” opens the record with this really warm pop feeling; it’s an emotion that serves the song and the album well.  I think the guitar might be a little understated here, though, leaving the melody as the big focus.  But, that seems to be the early approach on Jacuzzi Boys, as they move into “Black Gloves” with the same mentality.  The guitars are a little more pronounced, but there’s still a huge focus on the harmonies the group has created.  Personally, I think this is one of my favorite tracks on the LP.  By this point, the band’s settled into a groove that they ride for the duration, using the guitars to accent their beach pop.

Right after the lead single, “Double Vision” comes another great song that I’ve been partial to as I’ve spent time with this LP.  “Dust” is this drifting pop tune that seems as if it was thrown together haphazardly (I mean that in a good way).  It’s so casual and unassuming, but the ringing guitar effect and the vocals do wonders for my ears. It’s not a tune I expected, which is perhaps why I find it so incredible…all the way to the fuzzed guitar riff near the end.  It’s a song that fits well with “Heavy Horse,” a song that Jacuzzi Boys offer you later in the listen.  The latter tune even includes extra bits of percussion to bring the warmth of the melody further into the fold. There’s hints of swagger in the guitar, but you can easily see yourself enjoying a nice Miami beach sunset and a cold beer while this tune echoes in the distance.

While you can still feel the edge of the band that was apparent in Glazin, this release has a totally different appeal.  This effort seems more geared to a relaxed listen, rather than a beer fueled beach party.  The songs are gentler, leaving a calmer pop feeling to soothe you, rather than one that’s built on propulsive hooks.  For me, I think that it might not be as immediately charming, though the more listens you put into it, the more you’re ultimately rewarded.  If you weren’t completely sold on Jacuzzi Boys, then I think this release is going to change your mind, making you their new biggest fan.

Terry Malts – Nobody Realizes This Is Nowhere

Leave a comment

terryRating: ★★★★½

The last time out Terry Malts ruled my world with Killing Time, so I was curious to see where they could go from that point.  Would Nobody Realizes This Is Nowhere top the previous effort? Would it fall off?  Well, after spending the last few weeks listening to the record on repeat, I’ve come to the conclusion that it’s much the same, in a good way, though I feel like there’s a heavier punch this go round.

“Disconnect” begins the album off in much the same way that Killing Time left off, blasting off with guitar explosive guitar riffs and darkly tinged melody in the vocals.  It’s not breakneck speed until it pounds out near the 1.19 mark, yet it reverts into this interesting melody that works alongside, including a light backing vocal. And with such a post-pop hit, it’s interesting how the band moves right into the furiously punk “Life’s a Dream.”  Envision circle pits with smiles, and then the track ends.

It’s hard to find out standout moments on Nobody Realizes This is Nowhere, as the group are so consistent in their songwriting that it’s hard to pick out a favorite. Can I take them all?  Of course, “I Was Not There” should be on everyone’s year-end list.  The crunchy distorted guitar operates in such a forceful manner that it completely works against the seemingly spoken-word lyrical delivery.  That being said, Terry Malts always manage to unite such things, which is why I can’t help but tap my feet and bounce around the room when this song is on full blast.  It fits perfectly in the mix, going into the poppier “No Tomorrow.”  While the pounding drums stand out on this tune, I really like the way the vocals are delivered on this song.  The notes are held long longer than usual, and they make way for this electric soloing guitar that pointedly knifes its way through the track.

One of the differences that I have noticed here is that Terry Malts seem to have gone to the darker corner of punk on this release.  Their last record sounded like a beautifully modern Ramones LP, but this time songs like “Walking Without You” and “So Serious” take on the heavier area, at least in regards to how the music comes across.  They’re not nearly as pummeling in speed, though you’ll hear a noisier element to these tunes.  Luckily, even with that approach, they don’t lose their pop sensibility.  One spin of “So Serious” and you’ll see exactly what I mean.  Heavy meets pop and it equals perfect tune.

It’s possible that I’m predisposed to love this album, seeing how much I enjoyed their first release, but I can say, assuredly, that this isn’t some fanboy letter.  Nobody Realizes This Is Nowhere takes on the noise in a different manner than its predecessor, though still wraps you up in melodious hooks that invade your soul.  With such an array of great songs, it’s hard not to enjoy this record, so be sure to pick it up as soon as you can.

 

1 … 21 22 23 24 25 … 102
Social Media Auto Publish Powered By : XYZScripts.com