Category: Reviews

Black Moth Super Rainbow – Cobra Juicy

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Rating: ★★☆☆☆

I always have a great deal of respect for bands who aim to keep as much about themselves secret as possible, allowing their music to do the talking. Such is the case with Black Moth Super Rainbow—although this is their fifth studio release, little is known about the members of this group and they plan to keep it that way. An enigma or not, this is not their first rodeo, as they’ve been producing electronic experimental music for years.

Unnatural would be one way to describe the music of this group. Gone are all traces of humanness from these tunes, replaced with distorted and robotic vocals, layers of space-age synthesizers and mechanic percussion that never misses a beat. All of these elements make it very easy to get lost in the world that Black Moth Super Rainbow has generated, but something about their material keeps you along for the ride. Take the first number, “Windshield Smasher” for example. The song starts out with a bouncing beat and then dripping-with-distortion guitar joins the mix—at first it doesn’t quite sound too experimental. Then, the vocals, or a robotic emulation of vocals, and synthesizer are added to the mix, which adds a peculiar spin on the sound, leaving you wondering what exactly you are listening to, but grooving along nevertheless.

It seems that there are two ways to listen to this album: analyzing what you are listening to, or getting out of your head and jamming along with the band is offering to you. For me, I waiver back and forth between these two— certain songs just appeal more than others. Although, instead of the normal disparity between the merit of numbers, I find these songs to fall under the ‘take-it-or-leave-it’ umbrella. You have songs like “Windshield Smasher,” and “I Think I’m Evil,” that hold your attention for their duration, providing you with something different than your normal electronic beats to jam to.

However, there is a lack of variety in the songs that don’t call to your attention—all of this mechanic and inhuman sound begins to grate upon you as you progress in the album. Less and less do you find tracks that you are keen upon listening to, and instead are kept waiting for the knockout numbers that never really come on Cobra Juicy. The album slowly swirls into a mass of bass and beat and then ends, leaving you wanting for the enthusiasm that you possessed when you first began. Perhaps it is my own inability to pick up on the nuances from song to song, but Black Moth Super Rainbow get a little lost themselves on this release.

Punks On Mars – Bad Expectations

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Rating: ★★★★☆

Ryan Howe’s not new to the music world, but his newest endeavor as Punks On Mars is sort of a new creation.  Listening to the entirety of Bad Expectations, you’re rushed through a compilation of Howe’s influences, re-imagined and perfected by his gift for pop sensibility.  Sure, you can say it’s all over the place, musically, but that makes it one hell of a good listen.

After moving beyond “Overture,” the interlude opener of Bad Expectations you get tossed right into “Chandelier,” which opens with a Ramones-tinted guitar chord.  But, Howe comes in with his semi-erratic vocal delivery, and carries on in his own fashion during the chorus, making the song his own, despite obvious nods.  The punk theme is definitely present on this record, though it’s not stamped onto every song.  It appears on tracks like “Hey! Tiffany” and “Poltergeist,” but you get the feeling that these are just a nice allusion to the heritage in Ryan’s record collection.  He even adds his own vision, draping oddball electronic touches in oddball places, leaving a fresh impression on the listener.

For me, the adoration for Punks On Mars comes from the group’s ability to meet in the space left voided by punk rock and glam.  My mind recalls the progressive tunes that Television banged out, or maybe even Generation X (Kiss Me Deadly), where guitar playing was heralded and song structure was tightened.  If you’re looking for a song that meets my references then just take a listen to the short “Victoria’s World,” using a gleaming guitar and pounding rhythm to clear out the punk rock and replace it with generous elements of pop.  However, there’s also lurking places where the early mod stylings of The Jam are apparent.  Well, at least that’s what I thought when I first gave a listen to “Showers of Pain;” it’s music sounds propulsive, almost carrying a military sensation within it, but there’s more anthemic moments that seem to push it beyond the boundaries of limitations.

In the end, Bad Expectations succeeds because it’s got doses of everyone’s favorite bands, but these aren’t stale renditions, rather an artist putting his own stamp on the music he enjoys.  Many of the songs have electronic elements or keys added in to give a new coat to a sound that seems so familiar.  But that’s why I love Punks On Mars.  Like Ryan Howe, I’ve got tons of punk rock and glam rock in my collection, but in between there’s other bits of clever pop and more orchestral genres.  It seems like this entire effort is a blend of all that, with Howe taking the helm, aiming to freshen up the music of your youth that just might have grown a bit tired.   It’s nice to see someone going outside the normal re-hash and creating something I’ll adore for its obviousness, yet still find myself, and my ears, challenged.

[audio:https://austintownhall.com/wp-content/uploads/2012/09/Punks_on_Mars_-_Showers_of_Pain.mp3]

Download:Punks On Mars – Showers of Pain [MP3]

Bad Expectations is available now from Zoo Music.

Plateaus – s/t

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Rating: ★★★½☆

After a slew of catchy 7″ releases, Plateaus are here with their self-titled LP, which is absolutely refreshing. It’s coated in a bit of distortion, but it’s quick to the point and filled with hooks.  It’s a short listen, which benefits those looking for high energy on repeated plays.  Those looking for a new slice of punk in their playlist need to add this one immediately.

It opens with the excellent single, “Blackout,” which bangs out a throttling beat from the get-go, while the guitar cuts its way sharply in and out of the mix.  Vocals have a nice bit of polished sheen to them, providing an edgy bit of pop to the pummeling track.  Then it jumps right in with another heavy-hitter, “Beach Coma.”  Musically, the songs seem to dwell in a similar space, though the vocals are delivered a little bit more spoken-word than its predecessor.  These are the sorts of songs that make a perfect album opening, giving you energy and hooks, establishing the mood from the start.

But, Plateaus aren’t aiming to make this all in-your-face rock n’ roll, especially when you listen to a song like “The District.”  There’s a slower pace to the percussion and the guitars, hinting at a more classic power-pop sound–something I adore in particular. Songs like “Jump Now” and “Swamp Thing” also carry this element of polished swagger to them, providing bits of pop to the general mood of Plateaus. For me, it gives you a nice little break from the grittier moments on the record, just in case you needed that breather.

Sure, the sound of Plateaus does have a very slight tendency to get caught in redundancy, but don’t even worry about that, as there are some clear standout winners, aside from the previously mentioned tunes.  “Better Things” is one of the album’s longest tracks, and it’s filled with noisy cymbal work and a twang-ing guitar that lurks in the far off background, only to cut in with a bit of screeching solo from time to time.  It’s stuck right in the middle of the record, so it often comes in to surprise me, and then I play it again.  I also have a personal affiliation with “Do It For You,” which was one of the first songs that turned me onto the group.  While it might open with a screeching guitar, there’s an element of sing-a-long pogoing delivery to the lyrics.  Sure, the music is lo-fi and dirty, but the hook comes with the combination of the music and the vocal, drawing me in every single time.

Since San Diego has a deep-rooted history of punk rock, it makes sense that a band like Plateaus would be born from the city.  They’ve combined the classic elements of the city’s sound, using hard-edged guitars and fusing it with elements of pop-punk, creating a sound that allows you to tap your toes, sing-a-long, and still bang your head.  There’s not a bad song on the record, so you can’t fail by getting yourself invested in this great effort.

[audio:https://austintownhall.com/wp-content/uploads/2012/09/Plateaus_-_Blackout.mp3]

Download:Plateaus – Blackout [MP3]

 

The Sugargliders – A Nest With a View: 1990-1994

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Rating: ★★★☆☆

Writing about a compilation is no easy task, especially when the output of said band, The Sugargliders in this case, was so limited, especially to ears on American soil.  Luckily for us, the hardworking folks over at Matinee Recordings have just released A Nest With a View, a collection of the Melbourne group’s singles and their one LP from 1990-1994.  If you’re looking to get your hands on a classic indie pop record that sounds just as relevant today as it did when it originally was released, then this is precisely the album for you.

“Ahprahran” begins our re-introduction to The Sugargliders, basically the project of the young Meadows brothers.  What struck me on this first track is how much I can see this being a vital part of any indie pop collection in the present day.  String arrangements accentuate the incredible melody, and the fact that the guitar sounds like it’s being carefully picked rather than sung only thrills me more.  It’s not the only standout track, in fact, most of these tracks hold up well on their own, but my current favorite is “Letter from a Lifeboat.”  There’s this minimal percussive element, and the guitar is carefully picked from the opening minute, almost like a classical guitar player.  Then the Meadows brothers combine their vocals to craft this fluid harmony that continues to fascinate me the more I play it.

But, for all my love of the aforementioned tracks, there’s plenty within the confines of A Nest With a View to capture your ears. I like how “Sway” opens with this wayward harmonica, crafting a melancholy time that’s reinforced by the lyrical content of a person moving on from their loved one.  You also have to appreciate the earnestness of the songwriting in “Police Me,” a song that reaches its climax when the lyric of “it’s true” is shouted amidst the intricate guitar playing of the group.  Of course, I’m always a sucker for added instrumentation like horns and strings, such as those little flourishes you find on the collections final track, “Top 40 Sculpture.”

I know that not everyone has the same fascination I do with brilliant indie pop music, but I’m glad that modern technology allows us to go back in time and expose the heart and soul of the movement.  I’m always amazed at the work accomplished by bands like The Sugargliders long ago, and although it’s nearly two decades from their time, it still sounds every bit as relevant in today’s genre.  A Nest With a View is an exquisite snapshot of a band that left us with a brief career, but one that, as evidenced here, surely stands the test of time.  You can only say that about the greatest of tunes.

[audio:https://austintownhall.com/wp-content/uploads/2012/10/01-Ahprahran.mp3]

Download:The Sugargliders – Ahprahran [MP3]

A Nest With a View is available now from Matinee Recordings.

Titus Andronicus – Local Business

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Rating: ★★★½☆

You’ve really got to root for Titus Andronicus?  They’ve taken on their own approach to working within the indie rock community, and regardless of pitfalls of other acts, they always seem to come out on their own terms.  Local Business is their third LP, and while it’s story line may not be as grandiose as The Monitor, it impresses greatly, musically and lyrically.

For me, I almost always notice the music first, nowadays.  Perhaps that’s why the guitar line that opens “Ecce Homo” stuck out to me the most on my first listen; it’s almost got a Replacements feel to it, cutting edge, yet relaxed.  Then, of course, Patrick enters the picture delivering his stance as a man looking on from the outside, angry about the way things have played out, for himself and others.  Personally, by the fist song, I’m already fascinated by the clarity of the vocals, but what’s stuck out a great deal is the musical shift.  This album is all about a more classic rock n’ roll sound.  The guitars are turned up, as usual, but they take on less of a post-rock feel, especially if you look at the second track on Local Business, “Still Life with Hot Deuce on Silver Platter.”

That being said, I also think there’s a harder edge punk rock ethos laying beneath the songwriting.  Sure, that’s always been present, but in listening to a track like “Titus Andronicus vs The Absurd Universe” you can tell by the ferocity in the vocal delivery and the ringing guitar that this is all about creating music that’s in your face; it’s brash and lyrical, yet there’s still melody lurking. Even “Upon Viewing Oregon’s Landscape with the Flood of Detritus” has a subdued element of punk rock, although the guitar line that cuts through the number provides a more sentimental classic rock element.  Oh, and you can sing along too, rather easily…a staple of punk’ simplicity, and Patrick Stickles’s songwriting.

For me, the heart and soul of Titus Andronicus still lives in their mini-opus rock numbers.  “I Tried to Quit Smoking” is something I can relate to on a personal level, but the slow start of Patrick singing over piano and minimal drumming draws listeners in from the start, and that sentiment stays with you, that is until the band begins to sort of dial it in near the latter half with some noodling on various instruments.  It also provides a good counterpoint to “My Eating Disorder,” which appears earlier on Local Business.  This one’s almost as long, but it’s more of a bar-room brawler, giving you a bit of a shuffle whilst moving in and out of the track itself.  One listen and you’ll be anticipating the night when you get to scream “my eating disorder is inside me” at the top of your lungs.

Now, if you’re looking for the Monitor Pt. 2, you’re not going to find it here.  Honestly, that’s a good thing, considering the world raved about that album.  It shows me, as well as other fans, that the group’s still sticking to their guns, still operating on their own terms.  They don’t need to recreate themselves, and they don’t need to sound like Titus Andronicus.  They can forage new territory on their own, yet still come out with incredible songs that beg to be sung in the live setting or at the top of your lungs while you’re screaming down the highway.  Local Business is a good record. Hands down.

Delay Trees – Doze

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Rating: ★★★½☆

When I first got hold of the new album from Finland’s Delay Trees, I focused on the most recent single, “Hml,” which might have left me a bit misguided.  That track carries with it a certain resemblance to ambling pop music of the day, but the rest of Doze is a slumbering beast of down-tempo melodies and beautiful tapestry.

“Decide” opens the record, and from the minute you press play, you begin to lose yourself.  Your speakers have a slight rattle, guitar chords are picked so delicately that they seem to float in the air, and Rami’s vocals drift eloquently in the far off distance.  On this statement track alone, Delay Trees aims to take you on a journey, musically speaking, carrying you on the wings of their harmonies into a distant land of pop resilience.  This is when the album begins to really take off, pushing your emotional state beyond recognition, into a hazy world of bliss and relaxation.

The pacing of “Dream Surfer” is, again, rather slow, but it allows for a building sensation created by the vocal and the guitars, which creatively begin to ring brightly around the 2.5 minute mark, only to soften into the distance.  And on comes “Hml,” a track that encourages both thought and toe-tapping; it’s a song that accomplishes that rare feat of contemplation and energy.  For me, this is definitely the standout of Doze, though it might come a bit too early for some listeners.  The elegant harmony of the vocals drew me immediately, both in their effortlessness and shifting of pitch.  If you do anything, let your mind drift away with this tune immediately.

Delay Trees provide you with a touch of respite, offering the instrumental “Glacier” before moving on towards their 8 minute opus, “Pause.”  Trying to write about this track has proved fruitless through countless revisions.  At times, I hear faint hints of a dream pop version of the Flaming Lips, yet other times I see myself traipsing through the snow-covered woods in Yellowstone…that is until an electronic pulse kicks in. Even with that throbbing, I’m still lost in the landscape of my own mind.  But all is returned to normal during the following track, “Future,” which has the most pummeling rhythm of anything on Doze.  It’s coated in a foggy haze, holding onto the group’s aesthetic tendencies, yet it’s the most rocking song, giving you just a glimmer of a group still looking to forge new ground.

Ultimately, however, the group is more comfortable having you drift away peacefully with them.  “Only the Stars” is another long number set at the penultimate spot, encouraging more meandering of the mind, but your patience will be rewarded with a beautifully crafted tune yet again, so stay tuned. It just illustrates that Doze is an album that requires full participation from the listener.  Such records are not always immediately gratifying, and often turn the audience away, but those with time and care will find themselves lost in the marvel created for us by Delay Trees.

[audio:https://austintownhall.com/wp-content/uploads/2012/09/03-HML.mp3]

Download:Delay Trees – HML [MP3]

Doze is out now via Soliti Music.

Bat For Lashes – The Haunted Man

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Rating: ★★★★☆

If you’ve been paying attention to the state of music in the indie world, it should be apparent to you that there has been a rise of the powerful female archetype. This year, there have been a number of powerfully female-centric albums that have been released—names such as Cat Power, Metric and Beach House come to mind. Natasha Khan is no stranger to the music scene either—this is her third studio album under the Bat For Lashes moniker, and shows a vast amount of growth for Khan. Stripped down and reliant on vocal power, The Haunted Man is work of fine production and even finer artistry.

At a little over fifty-one minutes, this album is epic in nature, but is gripping upon first listen—it just depends at which point in your first listen that you yield to Khan’s enchanting spell. Some will fall in love upon hearing the opening number to the album, “Lilies,” which is a softer number for Bat For Lashes upon surveying the whole album, but still holds the understated power of this female. The number begins quietly: minimalistic instrumentation of synthesizers and other electronic sounds are held together with Khan’s voice, which easily explores her range. As it progresses, the song builds upon the instrumentation, adding in orchestral sounds to the electronic beat to give it the signature electro-bohemian pop sound.

But if the first four numbers haven’t called your attention to Bat For Lashes, “Laura” ought to, or perhaps you should stop listening. Fairly hard to ignore, this track gives listeners a bit of a break from the pulsating beat that his been effervescing in the backdrop of previous songs and allows you to really focus on what is the main-event of this album: Khan’s vocal strength. Lana Del Ray done right, the song doles out a raw cut of emotional vulnerability that pulls at your heart. It’s quite a dramatic number, tough to follow, but “Winter Fields” does a good job at transitioning to the rest of the songs with it’s mellow, pan-flute sounding intro that transitions into a driving rhythmic section. Another song with overt rhythmic dominance comes a little later with “Marilyn,” whose drum machine beats will have you grooving right along.

With each and every twist and turn of this album, Khan is there with you, her strong presence serving as a guide to traverse the electronic as well as stripped down tunes that are found on The Haunted Man. All the way through its duration, the energy level never falls, or loses your interest. So sit down and have a listen, or maybe a few listens, to this release—maybe you won’t be sitting for too long.

Mac Demarco – 2

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Rating: ★★★★☆

Earlier this year everyone raved about Mac Demarco after the release of Rock N’ Roll Night Club, which had Mac scatter-brained, musically speaking.  He’s back already with his first proper full-length, 2, focused and ready to take aim at your most intimate chill session.  If you need that will help you unwind, then turn on the subtle genius of Mac.

Almost immediately, I was won over.  “Cooking Up Something Good” is a catchy little guitar ditty, opening with a funky guitar line that almost seems off-key at points–in fact I’m positive he bends those strings out of tune.  Still, you wouldn’t be able to escape the relaxed atmosphere Mac Demarco offers you from the get-go.  Following that laid-back vibe is “Dreaming,” a tune that’s coated slightly in the atmospherics of Demarco’s guitar.  There’s something about his voice that draws you in, even with its lack of polish; it’s got a smooth delivery, yet it resonates as if he’s singing from your couch.

My ears can’t help but think of 2 as the perfect counterpoint to Real Estate‘s Days.  Where as that band pleasantly spun harmonies around bright guitar sounds, Mac seems content to slow things down with a similar guitar sound and a more intimate approach.  “The Stars Keep on Calling My Name” definitely has that twang in the guitar, but the slower pacing, if that’s possible, allows for the listener to sit back and absorb the melody, rather than pursue a more passionate sound.  That’s not to say that Demarco isn’t passionate about what he’s doing, or that you won’t feel an emotional draw, but rather that he seems more content to be your friendly couch-crashing troubadour. One listen to “Still Together,” the record’s closing number and you’ll completely understand my sentiment.  The tune features a quiet guitar strum and vocals that strain to reach the right pitch.  Those little imperfections demonstrate that 2 is created by an artist in his own world, but one that’s willing to let you be a participant.

There’s also some of that clever electric guitar jamming that made Mac Demarco so mesmerizing, even though he spins it in his own way.  He uses it to open “Freaking Out the Neighborhood,” and then sinks into his groove to offer more of a croon with the guitar sinking further into the background.  The added touch of backing vocals helps perfect this tune too. But, for me the most special moment comes during “My Kind of Woman,” featuring a swirling guitar that wraps around Mac’s voice, and the faint hint of a female vocal counterpart.  Here you’ll find the song a slow trudge of what one can only describe as pretty sounds–and that’s never a bad thing.

I hate comparing musicians to others, especially if it really has nothing to do with the artist at hand, but I’m going to say that Mac Demarco seems poised to make a Kurt Vile-ish run at the masses.  As a songwriter, he seems to be equal in his output, and 2 is a representation of a musician you can’t really put in one place.  We’re witnessing the unique birth of a man who’s got a true craftsman’s style to songwriting; he’s just getting started, and I couldn’t be more pleased with the outcome.

[audio:https://austintownhall.com/wp-content/uploads/2012/09/03-Freaking-Out-The-Neighborhood.mp3]

Download:Mac Demarco – Freaking Out The Neighborhood [MP3]

I Was a King – You Love It Here

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Rating: ★★★★½

I’ve long praised the wonderful work of I Was a King, and for a bit I felt like I was the only one that noticed.  It seems that wasn’t true at all (thank goodness) with the band getting a touch of grace on production duties; Norman Blake of Teenage Fanclub and Robyn Hitchcock share duties on You Love It Here.  If that’s not enough to sway you towards the excellent work of this Norwegian trio, then perhaps I can push you just a little further.

Three albums into their career and the group opens You Love It Here with perhaps one of their best songs, “Frozen Disease.”  The guitar has that nostalgic ring to it, distorted yet melodic.  The song itself has a down-trodden temp, but Frode’s voice has this warmth to it that somehow allows the song to avoid any sense of melancholy, even if that’s the intent of the vocals.  Then they move off into their meat-and-potatoes indie pop, blending slightly angular guitar work, emphatic drumming and harmonies that would make your mother swarm.  “Leave” is the sort of song that originally endeared me to the group, and it’s clear that even with great producers on hand, you can’t take away a band’s songwriting sensibilities.

You’ve only got to skip ahead a few tracks to see the progression I Was a King has made in their songwriting; it’s nice to see them holding close to certain aspects, yet still see them pushing forward.  “Hanging On” isn’t filled with distorted guitars, rather it’s filled with vocal harmonies and light instrument strumming.  I particularly love the change in the vocal pitch that comes in right at 1:40 on your player; this is a mood affecting shift that’s been perfected by the likes of Nada Surf.  Another move that was unexpected, yet welcomed, was Anne taking the lead on “Superhero.”  For the majority of the track, there’s a hint of guitar, though it’s been cleared out in the studio to let her vocal shine through, remaining the perfect focus.  It’s striking, not only for the power in Frokedal’s voice, but in its ability to break up some of the album.  While I love power-pop and such, a little differentiation goes a really long way.

As always though, the winner on You Love It Here seems to be the sound of the guitars.  “Food Wheels” enters near the end of the album, and while there’s still that element of swirling guitar, a more rudimentary sound is what struck me most.  The distortion is peeled back, and I dare say that there’s a bit of a jangle to the track.  It’s similar to the earlier appearance of “Eric” on the record, though that track has more of a chugging folk guitar vibe, and a more pronounced rhythm.  All in all, these tiny additional touches demonstrate both exceptional songwriting and the band’s ability to adapt/change.

Sometimes when I listen to a record like You Love It Here, I want to hold it close to my heart/ears.  It’s the perfect pop record that I can play any time of year, and it will always bring a smile to my face.  That’s selfish though; the whole world needs to get a chance to listen to I Was a King.  If you make one decision today, I beg you to make sure that it’s to pick up this delightful record from our friends in Norway; it’s a decision that will improve your life drastically, I swear.

[audio:https://austintownhall.com/wp-content/uploads/2012/10/1-01-Frozen-Disease.mp3]

 

Chelsea Wolfe – Unknown Rooms: A Collection of Acoustic Songs

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Rating: ★★★½☆

It would be difficult to think of Chelsea Wolfe without the haunting imagery that always seems to surround her, especially in the artwork and promotional materials that accompanies her release.  But, with Unknown Rooms: A Collection of Acoustic Songs, the title alone suggests a more intimate view from which we may look into the life of Wolfe.  If anything, the only haunting that remains is the mesmerizing beauty of her voice, and the emotional pull of her latest batch of songs.

“Flatlands” is the opening track on this release, and also the longest of the bunch.  The opening of the song is a personal guitar strum, with the quieted sound of crackling vinyl (or recording tape) making its way through.  Wolfe enters the picture, serene and effortless, with her mention of “flatlands” almost coming off as floodlights.  Careful string arrangements only do more to create an aura of pure majesty in her singing, careful and composed.  I don’t think too many other artists can do it up this way.  While I loved this song, it didn’t take me long to find one of my favorite tracks to date from Chelsea Wolfe.

“Spinning Centers” would almost seem playful, if it weren’t for that fact that Chelsea comes in on the cusp of the winds, her voice floating in softly atop the careful string work (both in guitar and accompaniment).  Her vocals here are rather gentle, as opposed to the more forceful presentation she demonstrated early on.  With her voice toying on the verge of a whisper, it’s difficult not to be drawn in by her voice alone.  From here Unknown Rooms moves into “Appalachia,” which in name and mood seems more like a wayward folk number.  It was here that I noticed more that her arrangements often bring more to life in these tracks than the actual guitar work; she probably doesn’t even need a guitar with such a strong vocal performance like the one she gives here.

Oddly, the latter half of the record is filled with echoes of Wolfe, with her presence sounding faint and distant in tracks like “Hyper Oz” or “Our Work Was Good,” the latter being one of my favorite short tracks of the year.  In less than two minutes she captivates you with airy guitar strumming and a vocal that is haunted by its own whispering echo in the far off distance.  But, none of it prepares you for the closer, “Sunstorm.”  This tune is possibly one of the most spirited tracks Chelsea Wolfe has composed to date, and with that, she demonstrates that she can pretty much do whatever she wants in the near future.  There’s no weakness, even if this song seems out of place on the rest of the recording; there’s an electric piano in place of the usual guitar.  For me, it’s a reminder that Unknown Rooms might just be a stepping stone for Wolfe.  She’s got an incredible voice, warm songwriting and above all else, it’s hard not to be captivated by what she’s doing.  Put this one down as another great stepping stone into a quickly exploding career.

[audio:https://austintownhall.com/wp-content/uploads/2012/10/04-Appalachia.mp3]

 

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