Category: Reviews

Warm Soda – Someone For You

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tumblr_mii422dWF51qeazcjo1_1361334027_coverRating: ★★★★½

Out of the ashes of Bare Wires comes Warm Soda, but this time around things are going to be glistening with pure pop.  It’s not like this wasn’t lurking around the corner, but with Someone For You the band has created something that will inevitable find itself stuck in your head, and heart.

Let’s get the bad thing about this record out of the way, if you can even really find a fault here.  Okay, it does sound a little bit the same through and through, but I’m not biting that that’s entirely awful.  After all, when you find so many songs filled with hooks and anthemic choruses you’re going to be happy they didn’t try to diversify their sound too much, choosing to rock it the way they do best.

“Violent Blue” kicks off the album with one of the heavier tracks present on Someone For You, using a quick pace and steady drumming to propel the track.  But, the chorus of “violent blue” hints at the more pop-centric leanings of the group, preparing you for a fun filled ride of hits.  Basically, that starts as soon as you hit tune #2, “Someone For You.”  While the cymbal work and drumming hint at a more garage filled sound, the soft quality of the vocals working against the chiming guitars definitely makes you feel good.  I especially like the way vocals blow you away with the drawn out “you” at the 1:47 minute mark. It’s just a teaser though, making way for the crunchy goodness of “Jeanie Loves Pop.”  If you need a standout track to pass along to your friends in mixtape format, then you have to include this song.  There’s a rawness to the guitar playing, yet the chorus is as anthemic as you can get, begging you to shout it out at the top of your lungs.

I think one of the best attributes of Warm Soda is the ability for the drums/guitars to work against the brighter quality of the vocals.  For the most part, the drums are pretty steady and pushed up in the mix, like in “Waiting For Your Call.”  Here, the guitars and the cymbal work build this incredible tension that you expect the band to unleash, but the twist of the knife comes via the melodic chorus relief.  Is the track heavy? Is it a pop tune? Neither, it’s just a rad tune. The same can be said for “Busy Lizzy” with its knife’s-edge guitar work and quick blasting drum work, all centered around a cool vocal that’s slightly coated.  Just wait for the boys to bang out the ending with pure pop class.

Honestly, I know a lot of people that think the Exploding Hearts sound could never be done again.  It came at the perfect time in indie rock, but now is the time for Warm Soda.  They combine elements of garage rock and power-pop to perfection; there’s not a band out there doing things as well as these lads.  Someone For You is filled with hit after hit, and you can’t ignore a single song for fear of missing greatness.  The best thing you can do? Buy this LP right now!

[audio:https://austintownhall.com/wp-content/uploads/2013/02/06-Waiting-For-Your-Call.mp3]

Download: Warm Soda – Waiting For Your Call [MP3]

 

Wavves – Afraid of Heights

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Wavves-Afraid-Of-Heights-600x600Rating: ★★★☆☆

Nathan Williams, better known as Wavves, may have crossed your radar at some point, be it through the media realm of the indie music world, or through his music; either way, Wavves is one of the most buzzed about bands. Back in 2010 he released a full length album, which seemed to take the buzz to a whole new level and his relationship with Best Coast’s Bethany Cosentino made for his place as the title within his 2010 release: King of the Beach. Now that it’s been a few years and the buzz has died down some, will Nathan Williams come back swinging from the fade?

The answer isn’t so straightforward, as this is decent album, but the honeymoon stage for fans may be long gone. Afraid of Heights begins with some tinkering instrumental, feeding the anticipation of audiences. The first track, “Sail to the Sun” bursts into life quickly, though, the guitar wailing along with Williams’ vocals, as he kicks straight into it. Fast paced and laden with lyrics classical to the California punk lifestyle that Wavves has always explores. It’s a short and sweet track, but reminds audiences that this guy knows how to rock.

Pushing onwards, you’ll find that it’s not all full speed ahead on Afraid of Heights. The second song, “Demon to Lean on” evokes a sound that reminds me of a grungier, wilder, Weezer, which isn’t a bad thing. Tempo slowed, you can focus on the details that Williams has to offer, which include small nuances within the verses. Other strong moments on this album include, “Dog,” which gives listeners a break from blasting guitars and offers a catchy chorus to sing along. Later on, “Cop,” continues this milder, less garage-rock style, with mini-builds inside of it to explode into choruses, but as on “Dog” there aren’t those waves of dominating electric guitar. Some fans may detest this, but Wavves may be gaining some new fans.

What works against Wavves on Afraid of Heights is time—the album just feels long. With songs that are so repetitive and similar to each other, it seems like a few could have been cut from the track list that would have simplified the album and made for a snappier overall sound. Williams’ music gets a bit sluggish toward the end, and so did my interest, which may be the biggest problem for listeners on here.

Regardless of length, there are some excellent garage rock tunes on this album, which should feed the buzz just enough for Wavves.

Dick Diver – Calendar Days

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DICK-DIVER-CALENDAR-DAYS-575x575Rating: ★★★½☆

When you look at the history of modern music, it seems that the second album is always where bands make it or break it.  You can either slide into oblivion with a mediocre effort, or you can establish yourself as a mainstay with a certified hit.  Listening to Calendar Days, I think that Dick Diver is going the latter route, branching out from their already solid established sound into broader territory that’s supremely rewarding.

While their first album was filled with twinkling guitar pop, “Blue & That” opens the album with a different agenda.  There’s not even a guitar on this track; you’ll find a synthesized drum track and horns.  It’s a statement track, especially when considering it’s song placement.  Dick Diver is growing up, and with that, their sound aims to progress as well.  Still, the bright guitar pop isn’t gone completely, as you’ll notice in the following track, “Alice.”  For me, the guitar sound reigns supreme on this number from the get go.  It creates a swinging element that will have you smiling while you tap your toes.

It’s difficult to follow-up a statement track and a gem with another hit, but that’s just what happens on Calendar Days when the group hits their stride with the album’s title track.  Steph Hughes takes center stage here, bringing in a more innocent vocal to the realm.  Guitars twang and drums push the pace forward; I particularly like when the whole gang joins in to accompany Steph’s vocals.  It all leads you up to what I think is the definitive track from Dick Diver, “Water Damage.”  There’s a dueling guitar sound, stemming from some slide guitar and the group’s typical jangling bright guitar work.  You throw that in with a trading back and forth between male and female vocal parts, and it’d be hard for anyone not to fall for this number.  And, if you’re reading along, that’s 4 for 4; quite a feat.

There’s something about this album that allows you to really get lost in the music.  “Two Year Lease” is one of the tunes that I’ve found myself gravitating towards as I’ve listened more and more.  It’s probably the least musical track on the record, but I actually like that approach, as the trading vocal parts are really worthy of letting your heart (and ears) drift.  But in just a few tracks, you’ll get one of the more upbeat tunes from the record by way of “Bondi 98.” It’s got a guitar that rings brightly and the vocal delivery adds a purity to the guitar pop the band have created this go round.  It’s a casual jam, but in that casual cool sort of way that we’ve all come to find endearing.  These are just a few more of the great songs that fill up this entire record.

Sure, some might say that Calendar Days is a touch to unfocused, but I think that would be an unfair assertion.  Yes, the band are trying some new things out, and some new styles, but in doing so, they’re successful, which leaves the door wide open for future songwriting.  It’s clear after spending days with this album that Dick Diver can write great songs, so only time will tell just how far they will go.  One thing’s for sure, no matter what formula they choose to pursue (or all of the above), it’s going to be a joyous listen.

 

 

Wax Idols – Discipline & Desire

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wax-idols-discipline-and-desireRating: ★★★★☆

If you’re looking for a repeat of Wax Idols last record, No Future, then you should probably take a second to reflect before you press play.  There are hints, though slight, of the band of old, but Hether Fortune and her band mates have come to give you something entirely new with Discipline & Desire; it’s refreshing to see a group push themselves, no matter what the risks.

“Stare Back” immediately puts you on your back foot, opening with discordant noise and a bubbling post-punk bass line.  Fortune soon enters with an echoing wail.  The repetition of “stare back” is met each time with an emphatic drum hit.  Swirling vocals come in and out of the foreground, but what’s most noticeable is the tracks exploration into a noisier punk realm.  But, just because Wax Idols have opted for a heavier-handed approach doesn’t mean there aren’t inherent pop hooks, which you’ll find immediately following the album’s opener on “Sound of a Void.”  Personally, I love the way the guitar parts work together, weaving a pristine pop hook between the distorted wall of guitar noise.  Also, the driving delivery of the vocals approached the anthemic attitude that was present on past efforts.  They keep that attitude up with “When It Happens” by using perfectly placed backing vocals, which balance Ms. Fortune’s guttural singing.  Three songs in and you can see that despite a darker approach, there’s still a knack for infectious tunes.

I think the biggest success of Discipline & Desire is the group’s ability to travel back and forth between approachable pop and discordant post-punk.  The perfect song for that hypothesis is “Ad Re Ian,” which really lives in both worlds.  The verses are possibly some of the most accessible and poppy moments Fortune has put together under the Wax Idols moniker, but the choruses represent the band knack for blasting off into dangerous punk jams.  Still, holding through it all is this faint dreamy vocal that supersedes every established notion; it’s probably one of my favorite moments on the record.

But, if I had to pick a favorite to claim as my own, I think I’m going to stick with “Elegua.”  It’s the closest thing to a ballad that lives on Discipline & Desire; I think if also demonstrates the vocal qualities of Hether, which people often overlook.  There’s a gentle quality to her delivery, almost a whisper at times, that fits perfectly with the haunting meandering of the guitar, constantly being accentuated by firing of snare hits.  About 2.5 minutes in, the song continues to forge its own path, pushing towards a swirling closing that  really encapsulates the idea that the Wax Idols have continued to push themselves in every aspect of their sound.

In my mind, it would have been really easy for Wax Idols to retrace their steps from No Future, which I consider a great record, although having spent weeks with this new effort, I’m glad they didn’t go that route.  Discipline & Desire definitely darkens the mood at time, but the group’s ability to explore their own sound has left us, the listeners, with so much to be grateful for.  It’s angry, sometimes ferocious even, but it also has a softer underbelly that will allow this album to sink deep into your heart.

[audio:https://austintownhall.com/wp-content/uploads/2013/03/03-When-It-Happens.mp3]

 

 

Colleen Green – Sock It to Me

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ColleenGreen_LP1Rating: ★★½☆☆

It seems like girl pop and grungy lo-fi are some of the hippest genres at this stage of the musical world, so Colleen Green really fits the bill. Sock It To Me combines both the grittiness of lo-fi records as well as the lyricism of typical teenage girly pop all in one neat and concise package of a 10 track, 34 minute record.

At first, it may not seem to be a record that really grabs you. On the first track “Only One,” everything is there to love, but the sound may come across as a bit intangible and far away due to the synthesized backing drums, the high pitched ultimate girl vocals of Green herself, and fairly monotonous gritty guitar. The song comes across as a younger band trying to pass itself off as older. However, after the first track is out of the way, you’ll find it easier to get to know and enjoy Sock It To Me, as “Time In the World” goes along with a more youthful, bouncy vibe that suits Colleen Green better. Most of the other tracks from here on out follow this trend, which works fairly well for Green.

The album moves right along, bouncing from gritty minimalist pop track to gritty minimalist pop track, one after the other. There are certain moments that shine above the simplicity, such as “Heavy Shit,” the shortest song on the whole album. It rages through its 2:14 time, with hyper active drum machine and furious guitar in tow. Though snappily short and sweet, it is a good direction for Green; the minimalist lyrics are matched by the duration and fast pace that screams youth. However, along with this youthful vibe, there really isn’t much to offer on here lyrically, other than stereotypically whiny teenage girl problems. Which evokes some of the same basic boyfriend imagery akin to that of Bethany Cosentino and early Best Coast. That’s not to say the songs aren’t catchy or fun to listen to, but if depth is what you are looking for, you’ve turned to the wrong album.

If you can get past this lack of depth and just focus on the simple and catchy guitar riffs, then you are set to love Sock It To Me, but like other albums of this playful nature, it certainly isn’t for everyone. Some people may never be able to connect to the music here, but others may find something fun to jam to.

The Cave Singers – Naomi

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CS482358-01A-BIGRating: ★★★½☆

While I love a good folksy record on the softer side, sometimes it is nice to have some variation in your audio repertoire, and Pete Quirks grungy vocals will sure do the trick. Step aside mellow folk bands, The Cave Singers have a new release to rock the delicate harmonies right out of you.

Though, Naomi isn’t really a record that falls into the easy categorization of a single genre, but rather one that falls into many. While its pandering guitar lines gently nudge you to believe it’s a folk record, the hillbilly vocals of Quirks push you towards the raw edge of rock. For example, the first track, “Canopy,” is one of those tracks that really just fits in with The Cave Singers classic sound of folk. A seemingly gentle, yet pervasively intriguing riff welcomes you to the album, but the rawness of the vocals gives an edgier touch to the folk tune. The riff continues through this opening number, feeling as though The Cave Singers are picking up right from where they left off on 2011’s No Witch. Towards the end of the song you get this great little break down that makes you yearn to see this song in the live setting.

“Have to Pretend,” the song immediately to follow, shows the rocking side of The Cave Singers. Pete Quirks spits his lyrics at you as if some moody and broody rock star front man who takes control of the stage rather than a bearded folk man plucking away at his guitar. Some gang vocal variation between sharp and soft “oohs,” keep things interesting as Quirks continues on his lyrical monologue. It’s a great track, and in my opinion one of the stronger tracks that The Cave Singers have on this album.

There are certainly other gems to be found on Naomi, especially later on with “Easy Way,” in which the percussion, which is never that prominent in the mix for this group begins to stand out through the utilization of cymbals in the chorus. It’s also pretty hard to miss “Evergreens,” a soft number in the middle of things that strips this group down to bass, guitar, and vocals—a nice step back from the constant movement this collection of songs seems to possess.

Though some long time fans may wish for a little more variety in sound on this album, if this happened to be your first exposure to The Cave Singers, it would not be a bad thing at all. This band keeps putting out albums that continue to hold true to their base sound and yet move away slightly in the ways that you want it to.

Brothers In Law – Hard Times for Dreamers

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2697516072-1Rating: ★★★★☆

Dreamy guitar pop is definitely one of my favorite genres, and it seems that its quickly reemerged as one of the world’s favorites too.  I’ve heard gems from Australia, the UK, Mexico, Japan and now, with Brothers In Law, Italy. The band’s latest album, Hard Time for Dreamers, fulfills the promise that was apparent on their early single, providing listeners with an uplifting pop record that’s breezy and enchanting.

There’s something familiar about the way album opener “Lost Control” begins, but as soon as those steadily bouncing drums kick in, I forget about that, and just let myself get lost.  Guitars swirl in the background and the vocals are uplifting in tone; it’s hard not to find yourself immediately falling for Hard Times for Dreamers, especially when the wayward guitar playing you carries you away towards the end of the track.  It fits nicely with the next tune, “Go Ahead,” which lives in a similar sonic realm, though there’s something about the vocals that gives it a different feel.  It’s just a brief moment, but they raise higher in pitch, leaving me with one of my favorite 2 seconds of pop this year. 

I definitely can see that there are times when the vocals might have too much coating on them, but it’s almost as if Brothers In Law intended to be that way.  It’s as if the voice has been built to add the depth of another instrument.  That being said, during “A Magic,” there is some clarity just after the two-minute mark when the song breaks down to a slower pace for a momentary relaxed movement.   But, that brief moment sets the scene for “Childhood,” where the voice takes the central role in spectacular fashion.  For the beginning, the whole song centers around the voice, surrounding it with warmth, as you would expect in some sort of cathedral recording.  Then, the drums begin to pound, the guitars are turned up, and they shuttle you away to the place where Hard Times for Dreamers lives: a bliss-filled state of relaxation.

If you’re in need for a certifiable hit, and let’s face it, most of us are, then you can probably find the answer to your search by going straight to “(Shadow II) Leave Me.”  Almost from the moment it starts the angular guitar cuts its way back and forth between the solid drumming section.  Honestly, I’m pretty sure this is the best song that Wild Nothing never wrote.  Yet I’ll admit that it’s not easy to find a standout on Hard Times for Dreamers, and that’s not because the record falls short in any way.  In fact, it’s so consistent that you could easily find yourself listening to every track over and over for many days to come.

Grave Babies – Crusher

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GraveBabies_LP1Rating: ★★★½☆

It seems like Grave Babies have been fighting back against the various all-inclusive genre tags that have been thrown their way, though you might not be able to tell that by listening to their latest effort, Crusher.  So before you venture into their world, put all your preconceived notions aside and just listen carefully.

Crusher‘s intent is apparent upon the first instrumental track, “I,” that begins your listening experience. It’s a wall of feedback and noise, looping in your ears with a distorted vocal creating an odd sense of calm before the band breaks into “Over and Under Ground.”  It’s a thunderous track, with pounding drums and anthemic vocals, though you’ll have to listen through the haze to realize this is a pretty simplistic pop song.  You speed it up, clean it up a tad, and you’ve got a nice little power-pop track hanging in there.  Such tendencies are the specialty of Grave Babies throughout their album, creatively blurring the lines between traditional pop and modern noise.  This is much the same approach they use a few songs later on “Skulls,” which has some sonic similarities to what Mike Sniper has been doing with Blank Dogs.  But, the difference here is in the pronounced crispness of the drums, which breaks through the onslaught of guitar noise coming through your speakers.

Personally, I’ll admit to the affecting moments when the band takes a softer approach.  However, the group doesn’t ever go near being too soft; I’m referring to their ability to pull back on the audial barrage of noise.  “Slaughter” trudges along beautifully, fueled by a darkly dancing guitar line.  While the vocals might seem a bit distant in the mix, it’s inevitable that you’ll see the pure harmony in their tone–this isn’t just a noisy record; it’s brimming with an inner beauty. It’s similar to “Death March,” which appears further on down Crusher’s track-list.  Everything moves at a slower pace on this tune, though you can clearly see how the band could go either way…they could speed it up and make it clean, or they could mess with you and just draw the song out slower. This is part of the enchanting part of Grave Babies; they have this unique ability to toy with every preconceived notion you’ve got in your head.  I love the way “Death March” unnoticeably moves into “Haunted, with both songs seeming to come from some kindred spirit.

Listening through the entire album might be grating on your ears, but this is the only way you can guarantee safe passage through the blurred lines that Grave Babies have presented you with on this release.  Is a song like “Hate Repeats” just a ballad disguised as some ghoulish piece of artistic noise rock? Well, you’ll have to make that out for yourselves…that’s the mystique and intrigue that you’ll get to live with as soon as you press play on Crusher.

[audio:https://austintownhall.com/wp-content/uploads/2012/11/GraveBabies_OverAndUnderGround.mp3]

Download: Grave Babies – Over And Under Ground [MP3]

Crusher is available now from Hardly Art.

Golden Grrrls – s/t

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gg frontRating: ★★★★☆

Sometimes things just feel right, and that’s precisely the feeling I get whenever I play the self-titled album from Golden Grrrls.  With warm weather hitting my city, I needed something that would be both energetic and creative, and this album fits neatly into that box.  Bring on the Spring, and bring on more spins of this record.

“New Pop” opens up the album for this Glaswegian trio, and there’s not a better way to start things off than by combining multi-part vocal (male and female) harmonies.  The distorted guitar, the cymbal play and the frenetic pace of the vocal delivery provides a perfect beginning for one of the brightest records of the year.  And it doesn’t stop when Golden Grrrls move into “Past Tense.”  There’s definitely a bit of a more folk feeling bubbling underneath this track, with less distortion being pushed to the front of the mix; it’s probably one of the tracks that wears the badge of Flying Nun Records influences. Ruari’s vocal appearance during the chorus might actually steal the show a bit, but the whole tune’s simply splendid.

Almost every track provides listeners with something to tap their toes to, even when they choose to go in a softer direction.  “Wrld Peace,” for instance, maintains the warm aesthetic of the multi-part harmonies, but the rolling movement of the drums on this song really stands out to me.  After going back over the record again, I realized that the drums standout on almost every track, at least in some regard, but there’s some many layers of sound going on in each track, that occasionally your attention drifts elsewhere…just be sure to give the drumming some props! Sometimes, all three members join in to offer counterattacking vocal parts, like on “Date It,” which might have been why I drifted away from the superb percussion.  You’ve got to have a careful ear to catch everything going on, which I think is one of the many successes within Golden Grrrls; the formula might appear simple at first, but the subtleties of the craftsmanship really is what allows for repeated listens.  You’ll find that same approach on almost every song.

But, that might be a drawback for some, as many of the songs can bleed together just a bit.  Still, it’s a slight blemish on an otherwise marvelous listen.  You’re not going to find a bad track on this record; it’s simply not possible.  There’s casual tracks of summery pop like “We’ve Got” or there are songs that grab you energetically from the get go such as “Take Your Time,” and they all give you a sense of inner joy.  For my two cents, the record is refreshing, taking a popular format, adding more harmonies and a little bit more focus.  It makes Golden Grrrls one of my favorite acts of the moment, and I’m sure it’ll be yours too.

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

Golden Grrrls is out now on Slumberland Records.

 

 

Shout Out Louds – Optica

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Shout-Out-Louds-Optica-e1354709617122Rating: ★★★★☆

Okay, so you thought that Shout Out Louds couldn’t get any cooler: they’re Swedish, they’ve been making records that make your body move for more than ten years now, they’re Swedish… the list goes on. But then, this band decides to put a new single out, but also on a record made out of ice, which is also really cool (pun intended). Coolness aside, this band is back with their fourth studio release, and after 2010’s Work, they have a lot follow up.

For longtime fans of Shout Out Louds, or really to anyone looking for dance-ready jams laden with endless guitar hooks, Optica will not disappoint. From the beginning, there is this anticipation that comes from the second you hit play on “Sugar,” and some extra fuzzy guitar floods your speakers. For a first track, it doesn’t really overwhelm, but it gives you a taste of what’s yet to come; it’s a nice little introductory track before Adam Olenius and company really hit their stride. The second song, and a previously released single “Illusions,” kicks things up to the next level, with its highly percussive and prominent drums adding some texture to the background, while the guitars cut through with the chief riff. Also cutting through the static and robotic base elements are some delicate female vocals that utter the songs tagline, and then harmonize with Olenius that might just make you stop your dancing to laud the band for creating something so filled with substance.

But this is just the second track of twelve! The band continues grooving onward, but changes up the pace on “Blue Ice,” the number they released via ice record for a contest. It’s a track reminiscent of their last album in the way that it feels a bit softer; there’s less angled guitars, Olenius’ vocals are mumbled instead of belted, etc. This variation works well for the band, and the album’s pacing—Shout Out Louds don’t get too hot too fast and they make you wait until the fourth song until they really bust out their killer track: “14th of July.” Multiple hooks and a catchy chorus will have you singing along in no time and I can see this track making its way onto many party mixes and year end lists.

Really, I could go track by track on Optica, enumerating praise for this band because fast, slow, upbeat, downbeat: they know what they’re doing. See for yourself and go buy this record. Now.

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