Category: Reviews

The Love Language – Ruby Red

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The-Love-LanguageRating: ★★★★☆

It’s that time again in Austin: the weather is unbearably hot, and the days seem to last forever as the sun sets late, and the kids, out for the summer, frolic in public pools and sprinklers while you count the days until the oven breeze turns to just a warm breeze. Yes, that’s right, the dog days of summer are upon us. But never fear, The Love Language has just the release to give you a new lease on summer; Ruby Red is just about as refreshing as a cool plunge into Barton Springs.

On this third studio release, The Love Language, headed up by Stuart McLamb, have put together an album filled with straight up rockin’ jams that will have you coming back again and again. First up is one of these infectious tunes, “Calm Down,” which begins with a groovy bass line and a frenzied drum beat. A few seconds into the song, you get McLamb coming in with his echo-y vocals and the words “don’t look back now…” right before they launch full speed ahead into the song. It seems like a fresh start for the group and an invitation for you to come right along with them and forget the past in a blur of garage rock mixed with a hint of lo-fi coming through; the dual vocals on the chorus give it that lo-fi flare, grounded in the jangly, all out explosive instrumental ending. And that’s just the first song.

Continuing on this positive start, up third seems to be the song that has made it’s way into my favorite slot: “Hi Life.” It’s one of those numbers that just seems to shine and glitter, with its layers of instruments, horns included. These layers help each song stick out from the next: every track battling for more depth of said layers than the track before it. Right in the middle of things, you get a number like “For Izzy,” that slows down the roaring pace, but McLamb keeps you right there with him with his vocals that may not float atop the mix, but whose far away quality makes you hang on to his every word, while the slow, waltz-esque beat dances next to him. This number especially reminds me a bit of The Walkmen, which is never a bad thing.

Overall, Ruby Red seems to be a step in a more garage, and more colorful direction for The Love Language. On their last album they seemed to stick to a milder path, but Ruby Red is pure rock n roll. Have a listen and enjoy the rest of summer. Perhaps this is even an album to carry you right on through the rest of the year.

Friendly Savages – O, Joshua

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Friendly Savages – Her Locket On A Chain 540910_436885409723088_195700355_nRating: ★★★☆☆

Austin’s Friendly Savages have been blossoming for some time, crafting folk music that spins humor and heartfelt lyrics into memorable songs for their swelling fan base.  With the release of O, Joshua, the band has made a statement that they’re going to be around for some time to come, filling 16 songs with care and purpose.

O, Joshua is filled with little orchestral snippets, meant to bridge the gap between statements and songs.  But, the first grand statement that visiting the listener’s ear comes via “Counted Lost.”  It’s a tune circling the idea that humans from time to time tend to wander, drifting from purpose or established norms.  Musically, it’s built around a loose piano and strummed guitar, but the tune picks up more speed near the end with the vocals coming across with a little more of a rasp, and a hurried musical approach. Such things remove a bit of the polish from the record, which surely provides for exuberant moments during the live setting.

Personally, I think the places that Friendly Savages excel revolve around their ability to come in on a whisper, then spring forward into a louder spectrum.  Such a moment occurs in “Trouble with Home,” as the songs opens very quietly, allowing the tension to build slowly before the group unites to create a full-room sound.  The excited finish to the track displays a band willing to push the boundaries of the folk genre. It also helps that the tune leads into my favorite song from the O, Joshua, “The Hold of the Lord on My Sparrow.”  It’s one of the softest tune, but it’s also, pardon the cliche, one of the prettiest tracks you’ll find featured in this collection of songs.  It moves slowly, with the strings working in unison to warm your heart.

But, despite all the beautiful moments built into this listen, there are some areas where I think the group could move forward; I think they try to reach this realm on “Natchez Trace.”  The song, as per usual, begins gently, but during the chorus it takes a harder edge, employing drums to add a needed emphasis to the formula of Friendly Savages.  This isn’t to say that I don’t appreciate the pristine folk produced by the band, I just prefer a grittier element thrown in from time to time to allow for some musical diversity to break though.  Those moments come few and far between, but that’s just a personal gripe.

In the end, O, Joshua is a perfect statement by a band just starting to grow their brand. They’ve got the folk element down, and you’d be hard pressed to find other group’s crafting such an accessible version of the genre.  That being said, Friendly Savages have room to grow, meaning that this is just a first step to what I hope is a prosperous road for the Austin band.

[audio:https://austintownhall.com/wp-content/uploads/2013/07/03-Her-Locket-On-A-Chain.mp3]

Gambles – Far From Your Arms

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Gambles-Far From Your Arms-EP-COVER-highresRating: ★★★★☆

For the last year or so, the name of Matthew Siskin, and his Gambles project, has been on many a writer’s lips, or pens, or keyboards.  After spending several days holed up with his short Far From Your Arms EP, it’s clear to me that all his accolades and interest are warranted.  His EP is intimately moving, touching every corner of my oft darkened soul, awakening the spirit and faith in music/art once again.

“Trust” begins with a slow strumming, with Siskin’s voice wavering just atop.  At points, he seems to struggle, though not in a manner that turns people away.  Rather, I’ve been drawn closer into his sound, listening for every slight crack or every tarnished note, all reverberating a purity in songwriting that I’ve missed a lot lately.  While the pacing of the strumming provides a sensation of solemnity, he picks things up slightly moving forward.

His strumming of his acoustic takes a heavier-handed turn on “Safe Side,” though he alternates between that punchier strumming technique to quieted careful note picking.  But, when it’s loud, the sound is emphatic, yet his vocals turn intimate when he brings things to a hush.  He’s speaking to someone, or a character he knows, switching from a personal perspective to more of an omniscient thinker.  The closing whistle is an added touch of beauty.

Skipping ahead to the EP’s title track you’ll find what I consider one of the best two songs written this year.  “Far From Your Arms” is the perfect bit of modern folk music, both in its sonic approach and its emotional pull. As Matthew’s voice rises, ever so slightly, one can picture himself listening carefully in a smoke-filled pint-size room, holding your breath as every note is played.  Perhaps the song’s about a journey home, or the distance that divides us all, but regardless, it encapsulates everything I’ve ever dreamed of hearing. I imagine this song will play in my head and heart for some time.

What amazes me about listening to Far From Your Arms is how much I feel the impact and weight of the songs within.  Admittedly, I consume a lot of music, and it takes a lot for something to really really hit home.  But, in five short songs, Gambles has achieved that feat, with both the poetry in his lyrical content and the emotional pull of every chord.  This is a must listen for anyone.

[audio:https://austintownhall.com/wp-content/uploads/2013/07/04-Far-From-Your-Arms.mp3]

 

Part Time – PDA

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MEX130-Cover-500Rating: ★★★★☆

San Francisco’s Part Time already have one album under their belt, but it’s their newest record, PDA that really shows the group’s acceleration into the upper tier of small-time indie bands.  This collection of songs is filled with dreamy touches and swinging guitar lines that allow for musical escapism of the best sort, letting you drift into the caverns of your mind.

Opening numbers “I Want to Go” and “How Do I Move On” set the emotive quality of PDA, bringing in guitar lines that, while angular, maintain an essence of escapism, encouraging you to let yourself go as those chords seem to drift into the distance.  The haunting warmth of David Speck’s vocals on these tracks further push you into a state of mind that leaves you relaxed; these aren’t forced sounds, rather they unfold slowly as dream pop should.

Of course, Part Time isn’t here merely to lull you to sleep with their melodies.  They also push you towards that slow 80s body sway, especially on a song like “Living in the USA.”  For my two cents, this track wouldn’t be out-of-place in a lot of nostalgic dance collections, though it maintains a softer touch, perhaps perfect for a closing dance scene in a John Hughes flick.  Similarly, “Sonando de Ti,” uses the group’s synth-orchestrated backbone to kick things off into a sultry groove.  It never hurts, for this listener at least, to have lyrics thrown my way in Spanish.  But, while the group’s nod to the past is definitely fresh in sound, the group fares far better when they employ more prominent guitar work.

“I Belong to You” is the track from PDA that resonates the most.  The vocal delivery is lackadaisical, yet still has an element of smoothness to it that makes things endearing.  All the while the guitar chords provide a crisp cut throughout, increasing my willingness to float away in my mind with this number.  Also, the guitar chords make way for a wash of synths on and off, which serve a nice accent, but don’t dominate the track as they do in other spaces on the record.  Attention to detail goes a long way to making this one of the tracks that stands out in the ears of the listener.

While the opening moments hint at a collection full of dream pop hits, Part Time clearly has other place they’re willing to journey off into, such as “Funny Moods” with its bouncy rhythm.  This actually serves the whole of PDA well, as you don’t get stuck treading in one place, one sound.  You’ll find yourself getting carried away, yet you’ll be pulled into the songs as you explore the intimate details lurking here and there.  It all leaves you with a diverse listening experience that both excites you and allows for escapism…the perfect blend for a solid album.

[soundcloud url=”http://api.soundcloud.com/tracks/96457335″ params=”color=ff6600&auto_play=false&show_artwork=false” width=” 100%” height=”166″ iframe=”true” /]

Spectrals – Sob Story

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sobstory620Rating: ★★★☆☆

All signs from Spectrals were definitely leading up to this.  Bad Penny and the various EPs from Louis Jones hinted at his influences, but with Sob Story he executes everything perfectly, leaving listeners with classic pop sounds that are fitting for any time of day or year.

There’s a bit of guitar tinkering to open up Sob Story, but the warmth of Jones eventually makes its way through your speakers.  Ringing guitars and a stomping beat provide an energetic touch to Louis’ vocals, which seems to have a bit of a Southern drawl to it.  It builds the listener towards the immediate hit, “Heartbeat Behind. Chugging guitars offer a glimpse at traditional pub rock, yet the chorus pulls back with a softer side of things, rather than ramping up the speed for the expected release of tension.  This tune demonstrates the balance and care put forth in the songwriting, never going too far into one musical realm without venturing into another.

While the majority of the numbers on the latest Spectrals release are short and to the point, we do find Jones experimenting with more expansive songs.  “Sob Story” is his first go at this on the record, sprawling and slide-guitaring all the way beyond the five-minute mark. Vocally, there’s a bit of fragility, leaving Louis exposed.  He doesn’t shy away, however, weaving his words around the twang of the guitar by stretching out syllables in an endearing fashion. The 3 minute mark reveals just how special his writing has become, musically.  But, while this song exceeds expectations, the bread and butter on Sob Story comes from the more compact tunes.

Personally, I like the swagger of a song like “Blue Whatever.”  Guitars ring out in this song, while Jones executes the lyrical delivery perfectly, bringing a smoothness to the track that helps it maintain its balance; the lightest touch of backup vocals doesn’t hurt either.  And, in the best fashion, Spectrals deliver a stomping number with “Keep Your Magic” that shows just how much territory the outfit can cover, while still treading water in the pools of classic pop.  The attitude is the same with the following track, “Gentle,” although the heritage of the American West resonates again with bits of slide guitar thrown in for accent marks.

Throughout the whole of Sob Story you can see that Louis Jones has a story to tell. That story seems far away from his home in Leeds, instead opting for the landscape of American pop songwriting.  He sprinkles bits and pieces throughout, yet he holds it all together fairly well, leaving you with a Spectrals album that sounds varied, yet very much in one place; you’ll have fun letting your ears live in that space.

 

Vacation – Candy Waves

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vacationcandywavescoverRating: ★★★☆☆

Don Giovanni Records has had a good go of things lately, especially with the work of Screaming Females on their roster.  But, new boys Vacation aim to make their own mark with Candy Waves.  It provides listeners with sharp guitar lines and catchy hooks, while managing to sound appropriately unpolished.

Feedback opens the doors to Candy Waves with “Pyro Hippies” opening moments before the furiously quick drumming assaults your ears.  Here you’ll find the guitar chords knifing their way through the song, and the vocals border on angst, yet still retain a bit of melody.  Yet moments later, the bubbly bass work on “Make a Mess” is what grabs you by the ears and pulls you within the depths of the record.  This tune has less detail oriented guitar work, but the rhythm section surely offers enough to get your toes tapping and your body jumping about.  I want to attach myself to the vocals on this tune, yet they’re just a bit too far below the mix.

For my two cents, the band excels when they offer their pop affinity in their music.  “SFA” jumps right into your meat and potatoes punk rock, though spun through a sludgy blender.  The vocals offer a glimpse at anthemic moments, while the apparent allegiance to Vacation‘s metal influence is also visible.  It opens the way for the hook-laden “Candy Waves,” which might be the record’s standout tune.  Again, I think the lyrics could break through if they had just a hint more clarity in the mastering, but you can tell that this is a tune built for fans to join in during live performances.  You don’t think the band can share pop sensibility with their metal/punk pedigree? Just start listening at 1.36.  They make it three brilliant songs in a row with “Everyone Loves the Sun,” again establishing a gritty beach party feel.  This song excels due to the fact that every instrument, including voice, seems to be pulling in an opposite direction, while still maintaining a healthy balance that unites the tune.

Concluding Candy Waves is another of the record’s standouts, “Horny Politicians.”  Yes, the killer rhythm section comes through again to give a good push on the final tune, but I think it’s the vocal that allows this number to rise above the rest.  There’s clarity throughout the entirety of the song; this allows listeners to really partake in the joy of the song.  It’s the perfect closing moment, allowing us to glimpse Vacation at their very best, and perhaps a possible look into their future.  And in the end, the record ends with a bang, but you’ll go right back to the beginning to play it all over again.  You’ll get the feeling we all had when bands like Wavves felt dangerous, and you’ll be thankful bands like this are still doing it right.

[audio:https://austintownhall.com/wp-content/uploads/2013/06/11-Horny-Politicians.mp3]

 

The Mantles – Long Enough To Leave

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mantlesRating: ★★★½☆

San Francisco and the Bay Area has been long time famous for their psychedelic pop and rock music, so it’s no surprise that The Mantles hail from the West Coast, and this area specifically. In 2009 they released their self-titled debut, which made for a running start for the band, and put their name out for fans to gather behind. That first album won people over with its tighter approach to jangly rock music, and Long Enough to Leave is set to do the same.

First up to start the jangly jams is “Marbled Birds,” which features some prominent precision riffs and gentle, far away percussion. The song itself feels very laid back and easy, but the lyrics, given to you swiftly by vocalist Michael Olivares, paint a picture a bit more complex than you’d imagine for a garage rock band like The Mantles. This imagery, evoked early on, hooks you on what this group is putting out, and lets you know from the start that this is not going to be one of those throwaway albums that you burn through a few times and then sits on your shelf. Though the album isn’t exactly filled with exceptionally long tracks and you do move from track to track fairly quickly, each number turns out to be more detailed in lyrics than you’d expect, and more tightened up within the loops of electric guitar buzzing in the background.

My one and only qualm with Long Enough to Leave is that some stretches of the album tend of blur together. Sometimes, the distant percussion leaves too much to the vocals and guitars to carry the music and lends itself to a lack of variety to separate out the songs. Alas, this is thankfully not the case for the whole album, as the band spices the music up with standout tracks at beginning, middle and end. One of these exceptional numbers, and contender for best song of the album is middle of the road; track five, “Raspberry Thighs.” Something about this song, perhaps the softer vocals from Olivares, or the more tender guitar parts gives it this beautifully nostalgic feel to it, though it isn’t any slower or radically different than the other numbers; the differences are subtle, yet effective in changing the pace of perception.

At the end of Long Enough to Leave, you finish strong with the penultimate track being yet another highlight in “More That I Pay.”  This time it’s fast and high energy for the group—short and sweet leading into the slower burning last track to round things out. The album is all in an all interesting and encourages repeated listens, which is sometimes not the case for jangly garage rock. Have a listen or two.

Surfer Blood – Pythons

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sb

Rating: ★★★½☆

Back in 2010, these Floridians busted their way into the music scene with their garage rock with their debut album Astrocoast, which received widespread praise for its catchy singles and interesting riffs. Following that, the band released an EP, Tarot Classics, last year, which rekindled interest among fans and reminded them that Surfer Blood has more music yet to come. Enter Pythons.

At a length of ten songs, you can tell from first glance that Surfer Blood want to stick with what they know works as far as albums go, as this sophomore effort is the same length as their debut. However, in terms of song length, none of the tracks on this album seem to last all that long, and the longest track ends up not even hitting the 4 and a half minute mark. These songs are briefer, snappier, and stray away from the nautical theme that the band seemed to be inclined to on the last record. In its place remains the same garage rock built around heavily buzzing guitar parts, with some tweaks here and there to spice things up. Although one wouldn’t think this is true from listening to “Demon Days,” which retains the same reverb coated vocals of John Paul Pitts and overall sound of the group.

Not to worry, there are changes to come that prove to be different in all the right ways for Surfer Blood. Third up on “Weird Shapes,” you get this metal feeling riff that opens the song, which continues through the song. Along with this comes a bit of screaming in the chorus from John Paul Pitts, but the quick paced and extra rhyming lyrics add back to the playfulness of the song and keeps it from becoming too much metal for this band. Later on the album, comes “Say Yes To Me,” which is fast paced and amped up, which works for Surfer Blood’s sound. The vocals seem to be clearer with slightly less reverb and more attention to the ability of Pitts. Last up is “Prom Song,” which is a slower number that relies on the ever-steady percussion to carry it a little slower. Overall, something about this track, possibly the guitar riff itself, reminds me of early Weezer, and the slowness gets burned away towards the end of the song so that the album can finish on a high note, with guitars a blazin’ and a power chord to end things right.

Before you know it, you’ve burned through the whole album, which is 34 minutes and feels like 20. However, like most albums that are short and sweet, the sweetness on Pythons is perhaps too short-lived and not designed with the intent of listening longevity. I worry that with these shorter numbers comes a shorter life for Pythons in my listening catalogue, but this is a fear not yet realized, as I continue to press play again and again.

Lemuria – The Distance Is So Big

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Lemuria-The-Distance-Is-So-BigRating: ★★★½☆

Lately the musical landscape has been peddling bands who’ve grown up on the alternative rock of the 90s.  Some of those sounds are great, while others sound outdated, but I think Lemuria have landed in a spot that nods to the past while looking forward.  Their new record, The Distance Is So Big, recalls great moments from Dear You-era Jawbreaker, yet includes a heavy dosage of male/female vocal interplay, catching your ear’s attention with every spin.

The first real song on the album beings with an ambling guitar, and really takes off when Sheena enters the scene.  Her entrance seems innocent at first, and then the group blasts off into a heavier spectrum, accented by a gang vocal shouting.  It hints at the excellence to come in just a few moments when “Clay Baby” begins to play.  Everything about this song is absolutely perfect, from the lyrics to the vocal delivery of Alex Kerns to the sound of the guitar.  Sure, there’s definitely a throwback feeling here, but it’s executed so perfectly that I’ll continue to play it for quite some time.

During my first few listens to The Distance Is So Big, I definitely gravitated towards the singing of Kerns as opposed to that of Sheena, but the more I play this album, the more I realize the record wouldn’t be complete if it was just one singer.  For instance, on “Paint the Youth, Sheena takes the show, winning you over with her bass lines and her casually sultry voice, but the appearance of Kerns off and on really ties the song together as a whole.  If they weren’t able to operate in the same realm, then perhaps the formula wouldn’t allow for the success of the release, which is wholly not the case.

Personally, I keep gravitating to the tracks that seem to have a louder force from the get-go, such as “Dream Eater,” which takes about 15 seconds before it lets you rock your way through the entire track.  Or you can look at “Public Opinion Bath,’ using discordant guitar sounds from the start to wear out your eardrums.  Yet, even with my tendency to rock, I like the fact that Lemuria also knows when to let a song sprawl to glory, as they do in “Oahu, Hawaii.”  If you’re looking for my opinion, this is the sure-fire hit that can’t be avoided, with the guitar building tension from the moment you press play.  As the tones get heavier, you expect an imminent explosion, yet the band never fully unleashes that sound.  Instead they rely on the female/male interplay to insert a nice hook during the chorus; it’s loud and it’s quiet and you’ve got a catchiness factor that all leads to a standout.

My first run through The Distance Is So Big was really all that I needed to catch on to this album.  There were songs that stood out like “Clay Baby,” “Ruby” and “Oahu, Hawaii” almost immediately, which is enough songs to keep me going back nowadays.  So I traveled back with this record, in more than one sense, and I found other gems and other qualities that showed Lemuria reveling in the past while pushing their sound forward.  Be grateful.

[audio:https://austintownhall.com/wp-content/uploads/2013/05/07-Oahu-Hawaii.mp3]

Download: Lemuria – Oahu, Hawaii [MP3]

Coma Cinema – Posthumous Release

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comacinemaRating: ★★★★½

There comes a time in every music nerd’s life (hopefully more often than once) where you find a record that completely fulfills you, that brings you back time and time again to listen carefully; for me, that record is Posthumous Release.  Coma Cinema is the project of Mathew Cothran, and I’ll do my best to give justice to this incredible album, though I’m not sure if even words can suffice.

“VHS White Trash” opens up the entire affair, and it’s here where I first notice a resemblance to the old Elf Power, back when they were weird.  But, that being said, the simple accompaniment, the female backing vocals and simply strummed guitar don’t sound weird, other than the lyrical content.  Percussion enters midway through, as do some horn touches, making this the perfect opening number; I know I pressed play again and again just to make sure it was as perfect as I thought.  My ears also heard a bit of Elliott Smith in Posthumous Release, especially when I listened to “Virgin Veins.”  The sound of the guitar sounds eerily similar, as does the whispering quality of Cothran’s voice. There’s a fragility to his songwriting and his delivery, as if he’s bearing his soul before you; it’s a sincerity I’ve longed for for quite some time.  You’ll find that same sentiment in “Partners in Crime;” it stood out to me in this manner from the exhale of breath that opens the track, not to mention the slightest crackle in the voice.

While it may seem that Coma Cinema has a down-trodden attitude, Mat realizes that he’s also got a knack for combining his melodies with peppier bits tossed in sporadically throughout his latest effort. “She Keeps It Alive” has a fuzzed out guitar chug to it that provides more momentum than most of the songs you’ll find here, though it’s not quite a full on rock moment.  Still, you don’t have to turn things up loud in order to seduce me with your pop sensibility.  In “Satan Made a Mansion” I’ve met my match for my adoration of quirky lyrics and catchy melodies.  Build around a piano or keyboard, the song has a bounce, and the melody in the vocals does everything it can to make this the best song of the year (it is in my opinion). I like the cascading guitar solo near the end of the tune, but I’m not ever going to forget the lyric of “fuck me in the graveyard.”

You see, Posthumous Release might very well go unnoticed upon hitting the stores, and I’ll declare that a great tragedy.  This is one of those records that, while not perfect, has the precise amount of emotion and songwriting that makes you want to share it with all your friends.  You’ll want to make mixtapes with just this album; you’ll want to make sure everyone you meet knows all about Coma Cinema.  I hope that it’s a huge success, though at the same time, I won’t cry if I’m one of a handful of people who enjoys it.  I’ll continue to play this album until the day I die, and I’ll always have that sentiment…few records have had such an effect on me.

[audio:https://austintownhall.com/wp-content/uploads/2013/06/05-A05-Satan-Made-A-Mansion.mp3]

Download: Coma Cinema – Satan Made A Mansion [MP3]

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