Category: Reviews

Girls Names – The New Life

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girlsnamesRating: ★★★★½

When a band makes a sonic change, sometimes you lose fans or confuse fans, but the slightest change here should be considered a leap, with Girls Names releasing what I believe is one of the best records that will come out in 2013.  The New Life maintains the group’s penchant for uniting jangling guitars with atmospheric psychedelia, but creates this brooding darkness that propels the group into a category all their own.

“Pittura Infamante” was one of the first singles leaked out, and almost immediately you could tell that the group had something building.  The bass line alone brings in a different level of darkness, with Cathal Cully hauntingly crooning atop the verses.  Yet, two things minimize the black effects: the guitars and the chorus.  Cully’s voice carefully sways from the moment he sings “across,” accentuated by some nice keyboard additives. From there The New Life moves even further into its ghastly presentation with “Drawing Lines.”  My ears can’t get over the vocal here, in a good way.  It sounds as if they’ve been recorded in some ancient cathedral, evoking the purest emotion from any listener.  Also, you’ll note that the first of the two tracks, excluding the introductory “Portrait,” are far greater in length than the work done on Dead to Me–their debut had not a song over 4 minutes, but here, you’re lucky to find the two that just barely fit under that mark.  It demonstrates a bit more creativity and budding craft as songwriters, all which benefit the record.

While Girls Names have created more sprawling adventures this time out, don’t let me convince you that it all has to be affected by doom and gloom.  The swirling guitars that eventually open “Occultation” surely display an added light to the record.  Of course, Cully enters again with that demonic croon while the distorted guitar reverberates in your speakers.  Sonically dark, yes. Emotionally light, check!  Towards the end, the song has its own negative space exploration before jumping right back into a spirited close.  But, just because the band can traipse off into their own sonic realms in spectacular fashion, that doesn’t mean you should ignore the shortest track on The New Life.  Neil’s drumming really pushes the pace here, and the brighter side of the group’s guitar playing really shines through.  Even when they do things in tighter fashion, they give you more than you bargained for.  Right now, I’m particularly in love with the chorus.

Hopefully I’ve given you some insight into what listening to The New Life will be like when you let that needle hit the record. However, those are just some personal highlights, and I think what each listener brings to the table will really play a huge role in how the record is perceived.  That being said, I couldn’t be happier for Girls Names–they’ve taken on their remarkable promise as a young band and taken things to an entirely different level.  Feel free to swoon over this record for the rest of 2013…and beyond.

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The New Life is available from Slumberland Records on 2/26.

Paperfangs – Past Perfect

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paperfangs_past_perfect_front_cover_digital-640x640Rating: ★★★½☆

I’ve spent the better part of the last two weeks playing Past Perfect over and over again; it’s an album that travels well regardless of where you go, be it your bedroom, your car, the gym, home office, whatever.  While there are definitely bright spots, the overall execution from Paperfangs demonstrates a well-rounded effort that any music aficionado can sink their teeth into.

My first few runs through the record, I definitely gravitated towards the 1-2 punch of the openers.  “In Age” takes a second to open up, but the calm electronic playfulness that ensues reminded me of a Finnish Arab Strap.  It’s not a track that hits you over the head with production, yet somehow it manages to hit home every time I press play.  But, “Bathe In Glory” is where I lost myself; the light keyboard wash, the deep vocals and the glancing guitar in the background fit perfectly into a nice bit of nostalgia…nostalgia done right.

As my time with Past Perfect unfolded, I began to give the group more credit for their production values.  For instance, take a song like “This Power,” which could be perceived as just another bedroom pop hit.  However, there’s little touches of horns and piano that really add depth to the track, and don’t miss the sampled vocals that lurk far far in the background of the tune.  It’s easy to overlook such little touches, but I think that’s what’s really allowed me to delve into the record repeatedly for so long.  It’s like an audial puzzle, begging for you to identify the various layers and textures the group put into the recording.

Another aspect of the band that many should take note of comes through in their music as well…the visual.  It’s always been the band’s focus to include such touches in the live production of their music, but several minor sound bites allow Paperfangs to include those notes in their music too. One moment that stands out is in the closer, “His Famous Last Painting,” where the samples open the song, but also reappear throughout the track momentarily.  I think it’s important for all to be aware of such things, as it will definitely lend itself to a more complete understanding of the group’s aesthetic, not to mention clues to how one should listen to the album.

At first, Past Perfect may appear as just a simple electronically enhanced pop record, but don’t sell the effort or yourself short.  Spend a few quieted hours listening to the songs that Paperfangs have created and the odds are that you’ll be constructing your very own visual landscapes where the tunes are fitting.  The more you allow yourself to uncover and dream with the album, the more emotional benefits you’ll get, allowing you to spin the record for hours on end.

[audio:https://austintownhall.com/wp-content/uploads/2013/01/2.-Bathe-In-Glory.mp3]

Download: Paperfangs – Bathe In Glory [MP3]

Past Perfect is available now from Soliti Music. 

Parenthetical Girls – Privilege

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214tRating: ★★★★½

It’s rare that one comes across an album that sounds entirely unique, especially in the realm of atypical pop records, but Parenthetical Girls seem to have accomplished such a feat.  There newest release, Privilege, sounds both familiar and yet entirely different from anything I’ve listened to in some time.  It’s brimming with experimentation, but honed in carefully creating a cohesive gem of a listen.

When “Evelyn McHale” first surfaced in an abridged version, it hit a lot harder than it’s counterpart, which appears on Privilege.  That being said, I think I’m quite partial to the extended version; the vocals have this swelling croon to them, and the strummed power of the guitar leaves you in a sense of audial bliss.  It’s immediately followed by “The Common Touch,” which begins with a vocal that resembles a less operatic Patrick Wolf.  What stands out to me is the musical accompaniment: there’s tinkering piano, accordion, strings and more!  The entrance of a female vocal near the midway point is an added touch of beauty.

One of the highlights from Parenthetical Girls has also been circling around for sometime, but you can’t escape the magnificence that is “The Pornographer.”  I’d gladly take the rising tones of the chorus ten times over, accompanied by a haunting male chorus in the background.  You’ll find the song treads its way patiently throughout, only erupting when necessary. Dammit! This song is so good.  Yet, despite such a stand out number, the bread and butter is the band’s ability to move in and out of various song structures.

You can skip around the entirety of this album, and you’ll be on trip that won’t let you down, no matter where you land.  For instance, start with the jittery “Note to Self,” that revolves around a catchy string strumming and pounding bit of percussion.  Then jump to the dark edges of bedroom electronic with “Careful Who You Dance With.”  It’s a solemn number built around synthesized beats, using the occasional sonic explosion.  Finally, end your path at the bittersweet “Weakness.” For me, the strings pulled at every emotion I could contain, creating a swelling that bubbled its way into a more playful direction as the song unfolded.  You’re not going to find three more different songs scattered about that tie together in such majesty.

Crafting quirky pop numbers might be what Parenthetical Girls have been doing all along, yet the central theme you’ll find is that none of that matters anymore.  Privilege leaves you with such an uplifted heart that you’ll find it difficult to put the album down; I’ve tried only to come back and press play all over again.  While some bands revel in pop delivery, others toil in obscure pop craftsmanship, but here you find it all blended together perfectly in one splendid listen.

[audio:https://austintownhall.com/wp-content/uploads/2011/03/thepornographer.mp3]

Download: Parenthetical Girls – The Pornographer [MP3]

Eat Skull – III

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eat-skull-IIIRating: ★★★★☆

I’m late to the party on this one, having only recognized Eat Skull by name, rather than by their previous efforts.  That being said, III seems like a good place to start for me, as it’s already made me a champion of the work the band are creating.  If, like me, you’re new to the band, then come along as I take you on my first journey with the band, which has already been an exceptional trip.

“Space Academy” immediately had me sold on III.  It’s got a fuzzy guitar riff that opens up the album, followed by some chanted vocals that dictate to us exactly “how it’s going to be.”  My ears recalled bits of a Brit-pop stomper, albeit an extremely louder/scuzzier version.  Even as the song trails off into an instrumental guitar dabbling, I still found myself enthralled. “Dead Horses” soon follows, and it doesn’t do anything to dissuade my adoration.  For one, the band references taxidermy, my favorite pastime, on multiple occasions, but it’s also got this rolling pop-centric guitar line that lives in the middle of the track, which oddly works in harmony with the discordant accompaniment.  I’m psyched to watch these “dead horses decompose with taxidermy eyes.”

Eat Skull do decide to turn things into a different direction on the third track, “How Do I Know When to Say Goodnight,” which seems like a blend of glitch-pop and their ramshackle folk influences.  There’s an other-worldly chanting going on in the background that at times can be a tad grating, but otherwise, the experimentation of the group opens your ears to some incredible pop moments. I think the group’s dallying between genres comes to fruition, however, on the most inconspicuous of songs. There’s a heavy coat of bass fuzz atop light guitar playing, yet the vocals have this certain clarity that isn’t present on all the other songs within III.  You’ve got to have patience on this number, and I appreciate that, leaving me with my own personal haunting. Another gem you’ll find lurking in the musical madness is “They Burned You.” This jam has its own ghoul, which comes in the way of a looped vocal circling through the foreground and the background.  For me, my appreciation comes from the strumming guitar work and the rising and falling of the vocals.  It starts off your final leg of the journey that will take you through the joyous “Amnesty Box” and the more exploratory pop of “Catch Em Before They Vanish.”

It’s easy to admit that Eat Skull might not be for everyone’s enjoyment.  There’s certain elements that I can see as being inaccessible, especially if you’re one to quickly push through your musical collection.  But, if you’ve got the patience for listening, then find yourself peeling back the layers of III; it’ll take you to places you might not go, musically speaking, for the rest of the year, making this a memorable listen time and time again.

[audio:https://austintownhall.com/wp-content/uploads/2013/02/01-Space-Academy.mp3]

 

 

Useless Eaters – Hypertension

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useless_eaters_coverRating: ★★½☆☆

According to his press cohorts, Seth Sutton is taking cues from Jay Reatard, at least in regards to the musical side of life.  Never sure of when our time is up, Seth aims to release as much music with Useless Eaters as is humanly possible.  On the newest record from the group, Hypertension, you can see the hurried force coming through; there are incredible gems, but some areas could definitely use a nice little polishing.

Hypertension opens with “A New Program,” which might not have been the best choice in the long run.  It’s a decent song, but it doesn’t quite have the punch to kick down the doors of your eardrums and suck you right into the record.  It’s a good thing “Moody Bitch” follows with it’s off-kilter vocals and whirling guitar/drum skirmishes.  This is where those that have caught Useless Eaters live expected things to start, though at this point, you still might be looking for a finished version.

The previously released “Addicted to the Blade” is where things begin to take form, with an angular guitar cutting its way through from the get-go.  There’s even some mild tension building guitar noodling in the middle of the track that really adds to the punch of this track; it’s clear why this tune was so successful as a 7″ single.  You put that together with “Black Night Ultraviolet,” which trickles in at the sixth spot, and you’ve got two great standouts.  On the latter number, I dig the relaxed feel to the delivery of the vocals, as well as the simplicity of the lyrics.  These are probably the two brightest moments throughout Hypertension, though that is just one man’s opinion.

If you buy the vinyl, you’re going to notice the different leaning of the B-Side; it contains a much more metallic/electronic approach to it.  Unfortunately, the vocals are often obscured, and again, you can’t help but wish for an improved quality in the recordings.  For instance, “Shapes of a Mannequin” could really be a huge success, but there’s this odd echo on the vocals that really creates an affecting audial distance.  And personally, I’d like to see the guitars sharpened just a hint, as I completely dig what’s being played.

In the end, Hypertension seems precisely as its definition would indicate: an extreme state of psychological stress, but that comes from a listeners standpoint, and not that of Useless Eaters.  I’m stressed and frustrated because I can hear great songs lurking throughout my repeated listens, but they just hide on the very edge of greatness, then shy away to a realm of mediocrity.  Sometimes it’s best not to rush through your ideas, letting them hang about a bit while you clean them up.  Hopefully the next effort improves on that aspect, and if so, it could be a solid hit.

[audio:https://austintownhall.com/wp-content/uploads/2012/06/Addicted-To-The-Blade.mp3]

Download: Useless Eaters – Addicted To The Blade [MP3]

The Little Ones – The Dawn Sang Along

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1360750994_coverRating: ★★½☆☆

Releasing their debut album back in 2008, The Little Ones have henceforth been known for their hyper-energized, guitar laden power pop. With members of this group coming from the band, “Sunday’s Best,” this group is comprised of several musicians giving their best go at making music that people can shake it to.

If I could say one thing about The Dawn Sang Along, it would be that it essentially defines a ‘fun’ record. When the first inklings of synthesized beat begins, you can already feel the anticipation building quickly before the song takes off. Such is the beginning of the album in “Argonauts,” which opens things up with all of The Little Ones’ explosive and energetic bouncy pop. The borderline falsetto vocals work to keep things extra light and airy, while mechanic drum beats and synthesizers give this band a sound that resembles a mixture of bands like Two Door Cinema Club and Cut Copy. “Argonauts,” though the first track on the album, manages to maintain its resonating catchiness all through the rest of the album, driving to return to it time and time again.

But, as I mentioned before, The Dawn San Along is pretty much the embodiment of a fun record, and so The Little Ones have a lot more to offer than just one song of sunshine. Indeed, the follow the first track with the equally catchy “Boy on Wheels,” which possesses the same hooky guitars that this group exemplified on their previous record. Some other stronger tracks off the album include “Shake Your Sign,” which incorporates some less static sounding drums, opening up the dimensions of sound. Also, late on the album is “Ain’t It Like You & Me,” which closes out things nicely with its building and echo-y vitality.

Though this record is sunshine and fun expressed in a summery sound, it may just be a little too sugary and bright for anyone but teenage girls. To their credit, they do try and slow things down and sober up a bit on numbers like  “AWOL,” but The Little Ones just can’t really shake off the sunshine. And to some, it may just be what is needed to shake off the winter blues, but for others, The Dawn Sang Along might come across like that person who is always smiling a bit too widely, too early in the morning.

Eels – Wonderful, Glorious

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eels-Wonderful-Glorious-628Rating: ★★★☆☆

It’s extremely hard for me to dismiss anything E puts down in the studio, even if I’m always a touch unsure of exactly where he’s going, musically. After his musical trilogy, Eels returns with his 10th studio album, Wonderful, Glorious.  The music by and large has a jittery, upbeat feel, though E’s lyrics remain forever self-deprecating and introspective.

Wonderful, Glorious immediately starts things off with an almost circus-pop appeal, using what sounds like a kazoo to break up the fuzzily affected track.  E reminds us that he’s been quiet for a bit, but that he aims to blow things up on “Bombs Away.”  It’s an interesting track, though it teeters on the verge of being a bit too long.  Honestly, by the time you get to the second track, “Kinda Fuzzy,” the album has already grown a bit weary.  The everything but the kitchen sink approach is just difficult to digest consistently, though there’s a beautiful moment that begins near the 1.22 mark, and quickly fades into the distance.  But, you’ve got to stick around to get to the goods; Eels always has the goods.

“On The Ropes” is the personal material that makes E a special songwriter.  Quietly he plays the guitar and opens up to the listener about his struggles, though he vows to continue the good fight in the future.  His voice is memorable, and his lyrics are wry; this is the Eels that I’ve come to enjoy since my obsession with End Times.  If you dig deeper into the album, you’ll find “True Original,” this time pulling at your heartstrings with a strained vocal performance.  The beauty in this track fully enters as light orchestration gently dances about the strummed guitar; you’re not going to find too many tracks of this vein that sound so perfect.

Wonderful, Glorious definitely lives by its own ebbs and flows.  The high points are some of the best writing E has done in recent years, yet the lows revolve around my personal indifference to his monkeying around in the studio; he’s most successful when he’s straightforward and sincere. “I Am Building a Shrine” is another such song that stands out in my mind for the slow introductory moment, pushed into bliss by added musical accompaniment, before returning to the solitude of percussion and vocals.  Looking back over the 10 years of Eels albums, and this might be in my top 5 favorite tracks.  Yep. Number 4.

I struggled with where to go with this album, mostly because I’ve taken a strong liking to the quieter, more personal Eels.  It’s definitely present on Wonderful, Glorious, but it took some time to get there.   If perhaps the sequencing would have been different, pulling that 5.25 opener and putting it somewhere else, I can see myself enjoying things a great deal more.  It weighed down the opening, but once you move beyond, you’ll find spectacular songs that remind you why E has been able to continue to reach an audience 10 albums into his career.

Ducktails – The Flower Lane

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Ducktails-Flower-LaneRating: ★★★½☆

The Flower Lane is the third studio album from this group, fronted by Real Estate’s Matt Mondanile. The band specializes in garage-esque, murky alternative rock music, though they take a step further into clarity with this release.

The album starts out on an unmistakably high note, with “Ivy Covered House,” which is one of those tracks that makes you yearn for that perfect sunny day so you can roll the windows down and just let the breeze ruffle your hair—it’s that glossy and smooth of a tune. This first number is just about as full of jangly guitar as possible and it is as though Matt Mondanile is evoking the style of his other band, Real Estate, which is far from a bad thing. Regardless, when the band circles around to the final repeated chorus after a short instrumental break, it’s impossible not to be onboard.

Though this is about as jangly as Ducktails go on this album, and the next few tracks put some distance between its sound and the others. Two tracks later on “Under Cover,” the band still has their swirling guitars, but have leapt into the realm of jazz, complete with saxophone interludes; it is safe to say that this isn’t a predictable Ducktails track. That being said, this album is quite a different step for the band, not only in a decrease of fuzziness via the production, as well as the different experimental directions they take.

But what is interesting about The Flower Lane is that if you skipped ahead to the latter part of the album, you’d probably be confused as to if you were still listening to the same band. Though they have already jumped a few genres earlier, there are a few tracks toward the end that don’t really seem to fit in with the rest of the tunes on this album. “Letter of Intent,” the second to last track on The Flower Lane, is really more electronic than anything Ducktails has put out up to this point in time, as it is a collaboration with Dan Lopatin on Synths, and the feminine vocal styling of Jessica Farkas of Future Shuttle. It’s a groovy number, but it really strikes hard as out of place after you’ve been listening to a primarily guitar motivated album. The track before it, at roughly two minutes long, “International Date Line,” retrospectively only feels as though preparation for the track that follows, but alas, it still doesn’t really sit right when the band returns to their ‘normal’ sound on the final track after it.

Even with this odd ending, this album is still one that has a number of good songs to entertain those who are a fan of garage rock. So if you haven’t yet, give Ducktails a spin.

Being There – Breaking Away

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beingthereRating: ★★★☆☆

It wasn’t too long ago that Being There released their debut record, but several spins into Breaking Away and you’ll see the growth in the London four piece.  The guitar playing is tighter, and the recording maximizes the pop sensibility of the group.  If you’re in need of a good pop rock record, then your best bet for 2013 is to begin here.

“Allen Ginsberg” gently begins things, with nothing more than the quieted vocal and a gliding guitar track.  While it’s the first track on the album, it’s also one of those that dictates the sincerity of the group.  But, they’re not eager to lay down an album’s worth of mellow pop tunes, jumping immediately into “Back to the Future.”  For me, the drumming wins out on this track, providing the backbone for the guitars to dig their way into your auditory heart.  Slight bits of twang during the chorus serve to bring the melody back into focus.

While I definitely appreciate the presence of upbeat numbers on Breaking Away, there’s a soft spot for the mellower tunes, like “Infinity.” The ringing guitars accompanied by acoustic strumming are reminiscent of some of my favorite tracks by The Lucksmiths, so it’s easy to see why I gravitate towards such moments.  Perhaps their brightest moments though come when they combine both elements, such as Being There does on the six-minute killer, “Silent Runner.”  You’ll hear a jingling tambourine steadying the track, with a nice melody warmly sung atop it all, but they play with the tension levels too.  There are bits of atmospheric guitar noise that swells midway through, making it more than just an average pop ballad.

Hints of a modern indie pop-gaze influence appear in songs like “Tomorrow” or “The Radio,” but I suggest you hold up to one of the more special songs that awaits near the end.  “17” is perhaps the hidden gem that many people with attention disorders might skip, due to its late presence.  I like the tonal changes in the mix for the vocals, but I also appreciate the steady pacing of the drums that work together with cascading guitar chords.  It’s a special moment that I’ve continuously played outside of my review purposes.

All in all, Being There have done an exceptional job of upping the ante from their first effort.  Sure, there are some derivative pieces here, but the overall feeling of the record more than makes up for that.  There’s enough mixture in the placement of songs to dictate repeated pleasure for listens all the way through, yet there’s also stand-out tracks that you can include in your mixes for friends.  Breaking Away is your chance to enjoy the simple pleasure of good pop music, and hopefully go on and share it with the world.

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

Download:Being There – The Radio [MP3]

 

Lost Animal – Ex Tropical

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600x571-cRating: ★★★½☆

It’s hard to imagine a musician creating an entire album geared around what he, or she, can accomplish on a keyboard, but that’s precisely what Jarrod Quarrell aimed to do with his Lost Animal project.  Don’t you worry your little head, the songs within Ex Tropical are anything but basic keyboard tunes; they’re soulful ballads dabbling in sonic exploration.

The introductory track from Lost Animal is aptly titled “Intro – Beat Goes On,” giving notice that despite the confines of primarily using a keyboard to craft tunes, there’s a huge deal of soul lurking on the entirety of the collection.  Quarrell’s voice has a hint of gruffness, which provides a darker texture to the otherwise pop-laden hooks of this opener.  You’ll see that haunted soul completely take over on the following tune “Say No to Thugs,” which really seems like a less-orchestrated Spiritualized.  While it may be stripped down, Jarrod’s vocals really seek to evoke that last drop of emotion from the depths of your inner being.

It’s hard to escape the dark feeling that comes with Ex Tropical, and that’s aside from the obvious reference to a move away from sunlight in the title.  When you come to a song like “Dark Litter” there are definite sonic flourishes that add to the song, but the overall simplicity is what really allows you immerse yourself in what Lost Animal is trying to accomplish.  If you stripped it all down to a simple keyboard line, it’d still be a solemn number.  That being said, you can still find yourself some more playful moments popping in and out.

Just after what’s the darkest moment, for my ears, you get the playful striding beat of “Cold Cut Nature.”  It’s placed perfectly in the collection, giving you a more light-hearted vibe that originates with that bobbing beat.  You’ll even find Quarrell playing with his vocal approach by mixing up the tones throughout this tune.  It’s comparable to the driving beat that hides behind “Lose Your Baby,” even though the subject matter isn’t necessarily the most uplifting.  Such is the nature of the work on this record; it goes wherever it wants to go.  But, for my two cents, you should not pass go without listening to “Old Lovers.”  It’s hard to explain what’s more strikingly beautiful: the keyboard work, guttural emotion or the soft touches of backing vocals.  Whatever it is, this is surely a special song.

Honestly, Ex Tropical might not be a record for an everyday listen, but it’s an album that everybody needs to listen to at some point in time.  Jarrod Quarrell has found himself in the work he’s created for Lost Animal, leaving listeners with the perfect balance between barroom soul and pop balladry.  You’re not likely to find much else out there quite as unique as this, making this a hidden gem for those who choose to invest their time in the perfect listening experience.

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

Download: Lost Animal – Say No To Thugs [MP3]

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