Category: Reviews

Local Natives – Hummingbird

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preorderRating: ★★★★½

In 2010, Gorilla Manor put this band on every keen indie-music fan’s radar, and since then, due to an insane amount of touring (they’ve played in Austin at least four times since their debut alone, not including the SXSW the year prior) it seems like everyone has been wondering when this band was going to put out a follow up record. But now that time is upon us, a bit of pre-flight jitters and second thoughts fill the air: would it be as good as their debut, or leave fans wanting to break free from the sophomore slump?

Those who have heard the two singles, “Breakers,” and “Heavy Feet,” that the band were circulating in hype of this album should know that Hummingbird is a completely different animal than Gorilla Manor (pun intended). In every way that Gorilla Manor was percussively raw and indulgently explosive, Hummingbird is refined and yet powerful, constantly effervescing in some way—be it a percussive element or a gentle riff, or a cathartic “ooh.” You can hear the difference in the two tracks aforementioned. On “Heavy Feat,” the drums flutter hyperactively in the background while the blissful harmonies you’ve already come to love fill the foreground. On “Breakers,” the percussion is still there, but what is most noticeable are the building waves of “Oohs,” that layer upon themselves and give the song an elegant ferocity that will have you playing it on repeat.

But these two songs are far from the only hard hitting tracks that Hummingbird has to offer—on the contrary, the whole album shines almost as bright as the band’s debut, albeit in a different light. Part of this is due to the National’s, Aaron Dessner, who helped produce this album, as well as his recording studio wherein the band recorded this time around. With his finesse, the band’s nuances are amplified, and a sharper, cleaner record comes into focus in which the music is less gimmicky, and more emotionally accessible. Even on the numbers that are of a faster nature, the lyrics are still vividly expressive, though perhaps on a bit darker, more National-esque, note. Take the opening lines of “Black Balloons,” one of the strongest songs, for example: “I can see the words as they come out of your mouth/Black Balloons form into a poison cloud—” such imagery is much more prevalent.

And in the end, it’s pretty hard to be disappointed with Local Natives, as Hummingbird lives up to the hype even upon first listen and gets better upon repeat. That being said, it’s important to let go of your preconceived notions of this band as one-trick percussive ponies and let yourself be carried away by the refined ferocity, if not, you’ll be passing up on a band who has only put out, and will continue to put out impressive music.

Wimps – Repeat

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wimpsRating: ★★★½☆

As a pseudo-music critic it pains me to admit that I often have a tendency to over-analyze the music put before me.  Sometimes music is just meant to be fun; it doesn’t have to have this higher meaning you can only discern by thumbing through the lyrics sheet.  The debut LP, Repeat, by Seattle’s Wimps is just that.  It’s a rock n’ roll record meant to be blasted loud through your speakers. If you approach it just right, you’re going to pogo about your house like your teenage self.

“Slept In Late” kicks Repeat off in a great fashion, getting your energy pumping from the very get-go.  Rachel Ratner’s vocals have this natural brattiness, but in the endearing manner that most of us who love punk rock will easily enjoy.  Guitars are turned up to just the right levels, careful not to appear over-bearing in front of the drum kit.  That same no-frills attitude comes in again with “Grump,” a song that immediately begins with exuberant shouting.  But, before the group dallies in repetition, they decide to switch things up with careful guitar work instead.  It’s a slight move away from the opening track, albeit not too far.

Upon repeated listens with Wimps my ears seem to gravitate towards “Hello Frustration.”  I love the sound of the guitar here, which almost has a bit of a stutter to it.  The call-and-response lyrics of “let’s grow old and be boring” are perfectly delivered, allowing the song to stand-out just a bit from its predecessors.  From here it only gets better as you blast off into “UFO.” There’s a bit of a swing to the overall feel of this tune, which will have you tapping your toes as you rock along.  And sure, the lyrics might be a bit juvenile, but when did we start taking our rock n’ roll so seriously?

Repeat has a lot of songs that don’t necessarily have lofty lyrical aspirations, but I don’t remember “Judy Was a Punk” being the most poetic piece ever.  Perhaps there’s even a bit of tongue-in-cheek nerdiness, especially when you listen to songs like “Stop Having Fun.”  I mean, come on, the opening line is “I got a long face/that’s because I’m a horse.” You’re allowed to appreciate music just on its own basis, and that’s just what I feel this debut from Wimps provides.  You’re not going browse through the insert looking for deeper meaning in lyrical craftsmanship, but you’re going to have a hell of a time turning this one up really loud.  Throughout Repeat, the vocals are shouted in joy, and the guitars bring in a distorted garage rock mess.  It’s rock n’ roll music, and I love the way Wimps pull it off.

[audio:https://austintownhall.com/wp-content/uploads/2013/01/Stop-Having-Fun.mp3]

Download:Wimps – Stop Having Fun [MP3]

Buke and Gase – General Dome

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Buke-and-Gase-General-Dome-580x580Rating: ★★★★☆

A lot has been made about the talented duo Buke and Gase, with a great deal of the discussion revolving around their ability to use hand-made instruments.  That’s quite a gift, I assure you, but I think the biggest thing to focus on with General Dome, the group’s second full-length, is how it all comes together.  In a basic sense, it’s executed pretty perfectly, leaving listeners with a crunchy bit of art-rock that sounds more like a multi-membered band than a twosome.

From the moment I first heard opening track “Houdini Crush” I was already into General Dome.  There’s a ringing guitar chord just before Arone Dyer enters the picture, her voice soaring heavenly with just a bit of an off-bitch quiver.  The duo uses a sense of playfulness that reminds me of a more-focused Deerhoof, or perhaps less erratic. That attitude carries over into tracks like “In the Company of Fish” where Arone and Aron play off each other before Dyer takes over the lead roll.  Here the guitars sound almost like emotional jabs rather than sprawling chords, but it’s organized in such a fashion that you find yourself mesmerized.

As you arrive at the fourth, titular, track from Buke and Gase, things begin to take root. For me, this was the first track where I really was impressed by the musicianship; I thought it surely couldn’t be less than three people–such is the usage of various sounds.  Dyer on this version sounds more breathy, drawing you into the edgy construction of the track.  It’s similar in fashion to the following number, “Hard Times,” a tune that opens with what sounds like piano tinkering (it’s not) before plunging into the heavier side of the group’s sound.  Layers are placed upon layers, and again, you’re mystified.

But, one thing that would have immensely affected General Dome would have been a number or two that changed the pace a little bit.  There are moments when things seem to change up a bit, such as album closer “Metazoa” or the feeling of added tension on “Split Like a Lip, No Blood on the Beard.”  They alter the formula slightly, but Buke and Gase find themselves middling about at parts…perhaps the downfall of being a duo, as two people can obviously only do so much without giving into unnecessary technology.  That being said, each song on the album (aside from a few artistic intermissions) can be successful on its own.

Some albums need your involvement as a listener, while others can survive as environmental noise…General Dome is the former.  For you to maximize your enjoyment with Buke and Gase, you need an attentive ear that closely follows every structural change or every added instrumental touch.  If you choose to do so, you’ll be rewarded with an experience you’ll cherish from the moment you press play.

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Nightlands – Oak Island

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Rating: ★★★☆☆

When I first heard Forget the Mantra, the first album from Dave Hartley’s Nightlands project, I was completely enamored.  From the moment I pressed play, it somehow matched my life, fitting in nicely like only few records could at the time.  Now, a few years later, Hartley returns with Oak Island, his newest effort via Secretly Canadian. For me, this is a different beast; yet, it’s solid through and through.

When “Time and Place” opens the record, the song revolves around Hartley’s gently draped vocal, seemingly hanging in mid-air.  Slowly, drums make an appearance just after the 1 minute mark, pushing the song forward ever-so-slightly. Reflecting back, Oak Island begins much in the same manner as the previous effort, but by the time one arrives at the following track “So Far So Long,” one can see that there’s a bit more clarity present: a bit more focus if you will.  That being said, it takes a bit of the mystery away from it all.

Juxtaposed to Forget the Mantra, the layering of the music here definitely has a less ethereal quality.  For instance, “Nico” has somewhat of a flamenco influence with the guitar and drumbeat.  These direct approaches make Nightlands both more accessible, yet less thoughtful. Sure, the usage of horns on tracks like “I Fell in Love With a Feeling” adds a little bit of nostalgic pop grooving, but it’s seemingly open; there’s nothing to be discerned, nowhere to find yourself lost.  Therein lays the one issue I’ve found in this listen, while more immediately approachable, it doesn’t seem to have the longevity that I felt with the first release. 

Of course, there is one issue that still remains for me, which could change the whole game…the title, Oak Island.  Thematically, one tends to look immediately at the references to love (they’re even mentioned in press).  But, Oak Island is a mysterious place, with a mysterious treasure; people have spent their lives hunting for said prize.  Perhaps I’ve faltered here in my quick judgment of Hartley’s work.  Knowing the history of Oak Island, it could be possible that he built obvious hooks atop his detailed layering, hoping to trick listeners into discarding the LP, or at least with comparing it to Forget the Mantra. 

In the end, the album is an enjoyable listen, although a dozen listens finds it a little bit more obvious than the previous release.  Multiple stand-out tracks exist, such as “Nico” or “I Fell in Love with a Feeling,” but their presence alters the overall cohesiveness just slightly.  Nightlands originated by crafting one man’s dream-scape, which flowed from beginning to end.  Oak Island on the other hand seems like a collection of songs, good songs mind you, but with songs that stand alone.  Still, you’ve got to spend time with the entirety of the album to full appreciate it all.  I suggest you start there.

Yo La Tengo – Fade

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Rating: ★★★☆☆

Okay, so you know Yo La Tengo, the alternative band who has only been around for about thirty years and have released twelve studio albums? No? Well, crawl out from that cave you’ve been living in and get with things! This band has been putting out quality indie rock for a lot longer than most, and Fade is far from a disintegration of such merit and raw talent that this band possesses.

On the first song of Fade, “Ohm,” you have a fine example of the Velvet Underground-esque style of endless looping of the gritty guitars to start things off right. It’s a long track, pushing seven minutes, but the persistence of the song keeps you intrigued for its duration. The mild gang vocals slide in amidst some heavy hitting percussion, contributing to add up to a fuzzy, beast of a number, which sets the band up to launch right into yet another album filled with music that is simply easy to listen to—you can easily find yourself lost amidst the subtle vocals and the overall gentle sound.

While the first song is a bit grungy, it really doesn’t give way to the rest of the album is going to go; the first track is the grungiest number you’ll find on Fade. Immediately after, on “Is That Enough,” while the fuzzy guitars are still present, the string work lightens up things quickly. But as far as the lighter tracks go on this album, stronger songs are to be had later on, such as “Stupid Things.” Fifth on the album, it’s about the peppiest of songs to be had, with Ira Kaplan’s vocals coming at you, echoed and foggy in the verses and sweetly soaring through the choruses. Meanwhile you have a steady upbeat carrying things on jollily. Another unmistakably strong song comes at the very end of the album with “Before We Run,” which incorporates the string work from before, the persistent buzz of Yo La Tengo, and the deep vocals of Georgia Hubley. Similar in length of the first number, the last track on Fade provides for a wonderful ending to the simplicity and comfortable tracks on this album, complete with some magnificent horn work to round things out.  

While the majority of the tracks are easily accessible, Fade can also be lost track of when listened to. Sure, it’s a great record to listen to when you’re just laying around or on an afternoon drive, but it isn’t really the kind of album that persists you to listen to it. Fade doesn’t beg for your attention, but it makes good use when it gets it.

Northern Portrait – Pretty Decent Swimmers EP

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Rating: ★★★★☆

It’s been almost three entire years since we’ve heard anything new from Northern Portrait, but this four song affair will make us forgive the gap between releases, as this is some of the most accomplished music the band has crafted to date.  The Pretty Decent Swimmers EP may only be a short little stop gap until a full-length comes our way, but fans old and new will surely find solace in the well-manicured pop of these Danes.

It’s early in the year, but you’re going to have to try real hard to find such a splendid piece of pop musical openings for the rest of the year.  There’s a casual entrance, building the listener’s internal tension, and then unleashing enchanting bliss at the 36 second mark.  You can sing along to the chorus of “Happy Nice Day,” aided by the perfect vocal control of singer Stefan, which never hurts the audiences ability to attach themselves to the music.

“Greetings From Paris” is an eternally satisfying track, full of literary allusions and a ringing guitar line that infects any pop lovers soul.  It’d be easy to take Stefan Larsen’s voice and make Morrissey comparisons, but this song demonstrates the softer quality of the vocals, stripped of the over-bearing sexuality.  I have to admit, I’m a sucker for monosyllabic lyrics sung in repetition like the “la la la las” that close out this little gem.

If you were wondering if Northern Portrait was going to pick up a little bit of the energy, then wait until you get to “Bon Voyage.”  The cutting guitar lines are extremely sharp, which provides a natural bit of pacing to the song…almost a dance floor shuffle.  But, like other pop classicists, The Lodger, there’s a bit of restraint, focusing instead on the harmony within the tune rather than force you to stomp your feet.  Closing out the song is a soaring bit of vocal melody and a tinkering it of piano…you don’t get better than that.

And it all comes to a grand close with the longest track, “I Feel Even Better.”  Larsen here seems to express a bit of solemnity, if only in the way he delivers his vocals.  Sure, the lyrics guide one to think there’s a bit of a reawakening, but you can hear the distant pain that the narrator had to live with at one point.  For me, the attached arrangements present in the background reinforce the pristine sound of twanging guitars that seek out your heart.  A perfect bookend to the whole listening experience.

If you aim to be frustrated about anything on Pretty Decent Swimmers then you’re going to find difficulty in that search.  There’s not a single misstep or faltering moment, but rather a complete collection of four songs exemplifying pop writing at its very finest. Cheers to you Northern Portrait: and welcome back!

Pretty Decent Swimmers is available now from Matinee Recordings.

Low Culture – Screens

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Rating: ★★★☆☆

If there’s one thing I’ve been able to count on for some time, it’s been the delivery of solid punk rock records from Dirtnap Records.  They’re at it again in 2013 with their first release, Screens by Low Culture.  Hailing from New Mexico, the band pumps out a grittier version of your modern power-pop, using furious pacing and jagged guitar chords to add an extra dose of energy.

“Screens” kicks off the entire affair, almost blasting off immediately with a punk rock anthem that blurs the lines between traditional punk rock and modern garage-pop.  A quickened beat, encouraged by the pounding rhythm of the drums, makes this one of the albums stand-out tracks.  Seamlessly, Screens moves along into “I Feel Your Ghost.”  It’s here that you first begin to notice a little bit more of a guttural influence on the vocals; this is one of the minor effects that carries the group away from the majority of their peers, at least in sonic comparisons.

While a great deal of Low Culture‘s latest effort has a tendency to stand in the territory of their punk/power-pop fusion, there are a few songs lurking here and there that allow listeners to absorb something a touch different. For me, you can tell by the opening guitar line of “Touchy Feely” that you’re in for something that varies from the group’s standard fare.  It jumps into a forceful vocal delivery, almost barked in your ear, though they do create a bit more classic alternative melody that enters towards the latter half of the song.  A few songs later you find yourself at “Nightmare,” providing that pummeling sound that one can only assume entices those in a live setting to circle about.  While I appreciate the variation in songwriting, these two examples are also probably the hardest for my ears to connect with during an average listening experience.

My favorite piece of Screens has to be “Trying to Quit.”  It’s sort of a sloppy garage ditty, which has me bobbing my head and tapping my toes as I write these very words.  It also features a softer vocal, though you can still hear a hint of strain; its presence makes the song immediately accessible and memorable, regardless of your personal tastes.  The group comes close to repeating this feat on the following track, “California,” although it takes a second or two longer to fully grasp the apparent pop sensibility in the songwriting.  Like the opening two tracks, this is a good 1-2 punch.

For my two cents, I’ve had a blast listening to Screens, blaring it on the home stereo time and time again.  Sure, there are some weaker spots, but even those I don’t mind playing all the way through.  While Low Culture waivers slightly in monotony, the record’s brevity allows them to avoid such traps, leaving music fans with an album you’ll spin on the table repetitively.

[audio:https://austintownhall.com/wp-content/uploads/2012/11/01-Screens.mp3]

Download:Low Culture – Screens [MP3]

Lone Wolf – The Lovers

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Rating: ★★★½☆

Paul Marshall, the heart of Lone Wolf, has been dabbling in the music world since 2007, when he released a solo album under his own name, but Lone Wolf emerged in 2009 as another solo project of Marshall’s, edified with a new moniker. The Lovers is his second album under this name, and it is full of swirling darkness and groovy tunes that will slither its way into your listening palate and curl up and stay.

After a forty five second introductory track of ambient and minimal sounds, the first track, “Spies in My Heart” kicks things off on a mellow note, setting the chill tone for the rest of the album. It’s a slower number, but it also shows off Marshall’s rich vocals, which are charged with emotional power and subtleness. There is an encompassing quality to his voice, which lures you in and makes you hang on his every word. Also on this song, the interesting and complex percussion is introduced in the background, which makes Lone Wolf unique from other alternative, and electro-folk outfits. All together, the elements of this number make for a deep and gradual introductory track.

There are several elements of this album that remind me of that of a stripped down Twin Shadow record. You have the swirling and meandering electric guitar loops and the central focus of percussion, which are exemplified on one of the most interesting songs on the album, “Ghosts of Holloway.” The third real track on Lovers, this song begins with an infectious riff and complex rhythm that will have you grooving even before Marshall’s vocals chime in. After a few opening moments of instrumental, Marshall joins in with the choppy percussion and riff to add another element of smooth to the mix. His voice, combining with the guitar’s cohesive riff, nicely juxtaposes with the cutty drumming. If you haven’t enjoyed the album up to this point, do yourself a favor and listen to this little baby on repeat a few times—it’s damn catchy.

While the juxtaposition between smooth and sharp is quite effective on this number and others like “The Swan of Meander” and “The Good Life,” there is quite a bit of it within the small space of this thirty-four minute album. I’m not saying that it’s not intriguing and appealing, but that The Lovers is missing that element of surprise and variation that would allow it to go from a good album to an especially great one. It’s still a haunting and groovy album with several excellent tracks to enjoy and get lost in. So give The Lovers a try and find some new tracks to spice up your mixes and musical repertoire.

The Babies – Our House On The Hill

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Rating: ★★★½☆

The project between Woods‘ Kevin Morby and Vivian Girls‘ Cassie Ramone isn’t exactly a new project, but their newest effort for Woodsist seems like the side-project finally got some much deserved focus from the two core songwriters. Our House On The Hill is the perfect execution of sunny pop with a ramshackle approach, giving listeners exactly what we’ve been looking for since we first got wind of the band.

“Alligator” takes aim at my pop-centric heart almost immediately.  A ringing guitar accompanied by Morby’s sunny vocal approach definitely pleases, and when Cassie Ramone comes in for accompaniment midway through the track, I couldn’t have been happier.  It’s a simple tune, with fairly common writing, but it’s just the beginning of the infectious hooks coming from The Babies.  Immediately following you’re greeted by slow-walking, where Morby and Ramone take dead aim at bright pop by trading vocal duties back and forth. This is the track I longed for the group to create!

A few tracks ahead and you enter the realm of perfection with “Get Lost,” one of the standout tracks on Our House On The Hill.  This is definitely Morby’s track, and it’s his vocal performance that steals the show, though the low-key approach of the various verses just builds the tension for the group to blast off into a bliss filled meandering guitar affair to close out the song.  Just because there’s a hit like this laying in the middle of the record, it doesn’t mean there’s not enough interesting tracks to fill out the album exceptionally.

You can take “Mean,” which is mostly a one-man Morby affair, with the singer coming off with hints of Bob Dylan, both in the writing of the track and the vocal delivery.  Ramone’s quieted backing vocals only strengthen the track even more.  There’s also “Baby,” which belongs to Ramone, and definitely wears the mark of her other project, Vivian Girls, though there’s also similarities to Best Coast lurking in its structure and vocal delivery.  These are just a few of the various examples that mark this effort by The Babies, leaving you with an effort that doesn’t really repeat itself, though paces back and forth in similar territory.

Our House On The Hill is all over place, and in saying this, I’m meaning it as a compliment.  In combining the great songwriting attributes of Morby and Ramone, the record never really gets stale, and if anything, it only improves reveals more gems from listen to listen.  Depending upon your mood, you might light the sunny pop elements, but others might find themselves leaning towards the more stripped down tracks like “That Boy.”  Thats precisely why I think The Babies are so successful on this round, doing what they do best on their own terms, and excelling in every way.

 

Andrew Bird – Hands of Glory

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Rating: ★★★★☆

It would be an understatement to say that Andrew Bird is an accomplished musician, as his work in the musical field spans a great distance. Through his work with Bowl of Fire as well as his own well-developed solo career, he has made a name for himself in the singer/songwriter category. He has generated quite a number of fans to support him and was asked to write an entire soundtrack for a film. Folksy tunes are his game, and his talent shines through everything he does—Hands of Glory is no exception.

Though this album is a fairly short release at thirty-five minutes, Bird doesn’t compromise on substance in the slightest. The first song is an excellent example of the brevity, yet complete nature of each individual number on Hands of Glory. “Three White Horses,” at three minutes, blazes by, building to a dramatic crescendo at its finish. It’s pretty classic to Bird’s style—folksy and slow burning, at least in the beginning of the song. It starts with a bass-line and Bird’s bluesy voice, accompanied soon by backing harmonies and the track is mild, but then explodes into something more fiery; the wall of sound builds and then breaks in emotion that can be heard in Bird’s vocals.

The emotional quality of this album can be felt the entire way through, but it never gets too heavy. You have deeper cuts like “Spirograph,” on which Bird’s voice matches the guitar riff in a melancholy melody and the songwriting of this gentleman is exceptional if you really listen. But there are also lighter numbers like “Railroad Bill,” which evokes a classic country-blues number, complete with a barnstompin’ beat and a fiddle solo to match.

It all comes to a close with a blissfully serene nine-minute number whose simplicity overwhelms you. “Beyond the Valley of the Three White Horses” is a treat to behold—the elegant over-arching string-work drifts in and out, alternating with opposing casual guitar strumming. I find myself swooning over the beauty of such a song, getting lost in the heavy violin sound and then picked up once more with the guitar and Bird playing out in his gentle way. Though it is nine minutes long, there isn’t a point in the song in which you even think about its length. On the contrary, you wish it would continue.

Here in Austin we’ve just experienced our first real cold snap of the season, signaling perhaps the hope of fall, but if you’re anywhere else really, cold weather is here. Hands of Glory makes a great listening companion to warm your inside with folksy bliss as you watch the leaves change colors. So throw on a sweater and jeans and let Andrew Bird keep you company.

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