Category: Reviews

Sea Pinks – Freak Waves

Leave a comment

Rating: ★★★★½

My love for Sea Pinks originally began when I discovered that the drummer of Girls Names, Neil, had started the group. My thoughts were that it would have the same dark jangle rock sound, and I guess the first LP, Dead Seas, does have a bit of that.  But, it didn’t prepare me for the incredible Freak Waves album that I cannot stop playing no matter where I go.

“Lake Superior” beings Freak Waves off with a nice jangling bounce, even including a bit of monosyllabic doo wop moments in the background.  It’s catchy, and it definitely sets the tone for the rest of the album.  That attitude is stepped up almost immediately with “A Pattern Recognition.” The vocals begin in step with the songs underlying groove, with a light guitar wavering in the background.  My highlight though is the vocal delivery during the chorus, just changing the heavier verse into a hint of warming pop as guitars pick up and dance away. It’s perfectly juxtaposed to the psych-pop elements of “False Spring,” which sounds like one of the long-lost Fresh & Onlys tunes.

Then you’re introduced to my favorite moments on this latest Sea Pinks release. It all begins with the refreshing “You’re Not Happy,” which is a song that lyrically I think a lot of us can relate to, not being able to completely make a loved one happy. I’m just in love with how the vocals are delivered in contrast to the heavy drum beat in the background.  I’ve probably played this track 40 times in the last two days. Then it moves into the slowly unfolding “An Act of Treason;” the song begins rather slowly with a twinkling guitar line off in the distance, yet its beauty is truly reached when the chorus of “I can make you cry” is repeated.  There’s something about the change in the vocal inflection that is so affecting and addictive that I can’t get it out of my head, nor do I want to do so. 

Even though the middle of the record has the meat and potatoes of pop brilliance, I can’t sit here and pretend like every song isn’t worthy of your attention.  For instance, I’m completely infatuated with “(Out of) The Capital,” which seems to be a reflective look at one’s life moving forward and away from their roots.  The refrain “I work out of the capital” has been playing in my mind all day long.  The song’s bounce is noteworthy too, but I think once you listen to this track you’ll see that its efforts speak for itself.

Sea Pinks might not be one of the many band’s on many people’s list, at least not yet in the United States, and that’s quite a shame.  I haven’t had this much fun listening to a record through and through in a long time, making this review easy to write about.  Freak Waves isn’t an ordinary record, and those of you looking for something to appease your jangling pop fix might find this one of the best albums to come your way this year. You know what, who cares about genres, this might just be one of the best things I’ve heard.

[audio:https://austintownhall.com/wp-content/uploads/2012/08/Sea-Pinks-A-Pattern-Recognition.mp3]

Download: Sea Pinks – A Pattern Recognition [MP3]

Freak Waves is out now on CF Records.

Unnatural Helpers – Land Grab

Leave a comment

Rating: ★★★½☆

It’s a good thing ballsy rock n’ roll is back in fashion, otherwise the hits that Unnatural Helpers have been churning out up in Seattle might not sound as sweet.  But, that’s not the case, so the short hits from the foursome hit hard and fast, then they’re gone, leaving you with the desire to hit repeat over and over again on their latest LP, Land Grab (Hardly Art).

“Medication” immediately introduces you to the bouncing garage pop side of the group, using a rolling drum beat and catchy guitar line that forces your toes to tap themselves to death.  Vocals are delivered in a sort of spoken word manner, though I enjoy the bratty edge of Dean Whitmore, even when the poppy backing vocals join in.  They’ll stay in the same place for a moment with “Stiff Wind,” although you’ll probably find the guitars a bit more dangerous than on the opener.  Land Grab is definitely a record you can turn up loud while the wind blows your hair straight back.

While the pop element exists in spots for Unnatural Helpers, I’m particular to the more punk leaning sounds that they’ve been able to balance in between the bubbly elements. You’re first real taste of this sort comes via “I Trust It Hurts;” I imagine this song being best sung by Whitmore stalking an audience with sweat dripping down his face–it’s over just as you get yourself moving, which might be a slight drawback. “Hate Your Teachers” is another such song, beginning with a heavy bass sound, which continues with a barrage of noisy guitars and frenetic pacing.  For me, the punk rock ethos pervades the entire album, but it’s good to have the above mixed tracks in here to provide some differentiation in the group’s sound.

All that said, Land Grab has a few incredible hits that weren’t represented in the singles, my favorite being “Waiting Girl.”  It closely represents the poppier side of the band, with forceful riffs blasting through the speakers from the moment the song opens. Here, the vocals have a bit of a cool swing, something you’d find in old UK post-punk records; it’s helped by the addition of vocals that chime in in unison during the chorus.  It might not be the hardest hitting song the band’s got, but I’ll be damned if this isn’t everyone’s favorite track by the end of your listen.

There’s two great things that Unnatural Helpers have going for them, aside from being on a great label: short songs and differentiation.  The short songs are great because with a sound like this, you don’t want to be overbearing or grow too complacent, which is why the differentiation factor is so important.  Yes, you can see a similar strain of thought in the music, but not many of the songs sound exactly the same.  That’s really refreshing considering the genre has the uncanny ability to grow stale after too many repeated listens.  Fortunately for you, Land Grab benefits for the group’s hard work and stylistic choices, leaving you with one of those records you want to turn up loud and play for all your friends.

[audio:https://austintownhall.com/wp-content/uploads/2012/06/UnnaturalHelpers_HateYourTeachers.mp3]

Download:Unnatural Helpers – Hate Your Teachers [MP3]

Land Grab is available now from Hardly Art.

 

The Hermit Crabs – Time Relentless EP

Leave a comment

Rating: ★★★½☆

We’re almost a decade into the excellent career of The Hermit Crabs, a Glaswegian group specializing in jangling guitars and sentimental melodies.  They hit 2012 running with the warming Time Relentless EP, crafting timeless pop songs that every listener will surely find endearing, no matter how many times you play it on your stereo.

We find the group opening with “On The Spectrum,” and Mel opens with a steady vocal that attaches itself to your inner ear from the moment she joins in with the carefully choreography of the guitar.  As she sings of her favorite fella a light backing vocal warms your heart, illustrating the relevance of The Hermit Crabs in everyone’s personal indie pop collection.

“Time Relentless” continues the pop barrage, using a heavy drum beat as the backbone of the song.  Once the guitars take on a more prominent role in the song, you’re going to find it hard to ignore the fact that this group can clearly match any of the work of their compatriots Camera Obscura.  I know it might seem like hyperbole, but each little added touch deepens the emotional appeal, such as the added keyboard wash that hangs far off in the distance of this track.

Perhaps my favorite track on the Time Relentless EP is also its shortest, “Stop This Now.” It begins with a strummed guitar, and Mel coolly singing atop it, but the song blossoms into pop beauty when the lead guitar begins to noodle its way in and out of the track, all the while the rhythm guitar still carries with it a steady strum.  Again, you’ll find the perfect backing vocal assuring you of the pitch-perfect melody in Mel’s voice.  Such a wonderful track.

Closing out the EP is a more melancholy number, which comes to you via “So Blue.” Instead of revolving solely around the guitar and Mel, they use a bit of piano to provide the slowing mood.  For me, I keep hearing the guitar cutting in, as if it’s crying with the emotion of the track.  While it definitely has a change of pace, this is the sort of song that indie pop fans fawn over.

While The Hermit Crabs aren’t necessarily a household name as of yet, you can be assured that those of us in love with the group are begging to share the group’s music with you.  It might not seem otherworldly, but the perfect execution of blissful pop songs makes the Time Relentless EP a must have for all fans of the genre.

[audio:https://austintownhall.com/wp-content/uploads/2012/08/Stop_This_Now.mp3]

Download:The Hermit Crabs – Stop This Now [MP3]

Time Relentless EP is available now from Matinee Recordings.

 

Catherine Irwin – Little Heater

Leave a comment

Rating: ★★★☆☆

It’s not often that I delve into the country-side of the music world, but when I do, it has to be for something pretty special. So when I first began to listen to this second solo record from Catherine Irwin, it was hard to really take notice of the deep songwriting, simple, yet suiting instrumentation. However, what was instantly evident was the copious amount of soul in this woman’s work.            

Such soul is evident on the first track, and runs strong from start to finish on Little Heater; the blood that courses through this album’s veins. “Mockingbird” enters with some gentle guitar and Irwin’s twang-y, classical country vocals. The lack of percussion is made up with the rhythmic strumming and the vocal help that Irwin gets from the backup singers. The result is a fuller sound, with a central focus on the songwriting and lyricism that Irwin brings to the table. The first few songs are pretty mild: “Dusty Groove,” and ”Hoopskirt” pander around shortly after the opener with similarly simple arrangements. There are still other musical elements to spice up the classic guitar/vocal acoustic sound such as some steel guitar and string work.

The heavier, and in my opinion, more interesting numbers come towards the end of Little Heater. “Save Our Ship,” employs Irwin’s deeper range, although her voice never loses that unmistakable country twang. This song stands out after things get a little one-dimensional in the progression of tracks and picks the energy up a little after a long series of songs. A big part of this song is the elegant and somber strings in the background that makes its way to the front of the mix by the end of the song. This plays for a darker, resigned sound that continues on “Pale Horse/Pale Rider.” However, on this number there, the dark aspects come from the bluesy guitar rather than the strings in the background. It’s subtle changes like this that provides for variation within the Irwin’s country style.

At the close of this rather long album, it’s clear that a whole lot of effort and time went into crafting all of these tracks. Despite not being the biggest country music fan, I still found songs that related to my musical palate in their soulful nature, but there is no doubt in my mind that those who are big country fans will love this album.  Such is a testament to the talent of a musician.

Grizzly Bear – Shields

Leave a comment

Rating: ★★★★½

With their release of Veckatimest in 2009, Grizzly Bear essentially placed themselves on the map for those of you who had no prior knowledge of these indie rockers. Receiving accolades upon accolades, that album made it to the top of end of year lists and fans swooned over the brooding, yet airy sounds of this band.

While I was a fan of that last album, I have to confess that I didn’t enjoy it to the same obsessive level that others seemed to. After too much repeated listening, I found myself tuning out of the music and forgetting I was listening; the passive and subtle nature of this band made it easy for them to slip into the background. Thus, the biggest change I was hoping for in Shields was a shift from the passive, to a more aggressive and gripping sound dispersed through the whole record.

The singles for this release foreshadow the success of this album. “Sleeping Ute” and “Yet Again” have that same edge to them that prior Grizzly Bear singles, like “Two Weeks” possessed. First up is “Sleeping Ute,” which is guitar heavy, to say the least. Loops of distorted guitars welcome you in, and then the crash of the lighter-than-air-percussion follows and it isn’t long before the familiar calming vocals of Ed Droste break into the mix. At four minutes and thirty-six seconds of experimental rock bliss, this track is excellent for you to embark on your journey through Shields. It grips you right from the beginning, doling out a rockier jam than expected from Grizzly Bear, but the band also backs off for the last minute of the song, introducing a winding and equally interesting sound. “Yet Again” holds this same outright rock flair, complete with the catchiness of the aforementioned past single.

Unlike Veckatimest, it’s not just the singles on Shields that really catch your attention—the way it should be on cohesive album. Each song is enticing and an important part of the record. Even on the slower numbers, take “The Hunt,” for example, on which it’s difficult to slip away from the captivating nature of the music. Even late in the game, the band still manages to cram in another fully fleshed out song in “Sun in Your Eyes.” This closing piece is multi-crescendo’ed and epic in nature, spanning seven minutes in length, but never losing your complete attention through each swell and fall.

Grizzly Bear have certainly stepped up their game—fans of their previous work will grow impossibly more smitten and newcomers will have a hard time resisting to fall in love.

Dinosaur Jr. – I Bet On Sky

Leave a comment

Rating: ★★★☆☆

I love how the songs of my youth are coming back to haunt my record collection.  A slew of bands have returned to the fold, but for me, none has been more important than that of Dinosaur Jr, especially with their classic line-up at the helm.  I Bet On Sky isn’t a return to form, but it shows the continued growth of a band we’ve all adored for many a year.

At first, I was taken aback by the opening guitar lines of “Don’t Pretend You Didn’t Know,” sort of taking an angular approach at first, but when I heard J’s voice it all brought it back home.  There’s something so familiar about the sound of Mascis, but perhaps that’s due to my early acquaintance with the group.  For newcomers, you’ll find a singer that sounds aged, yet comfortable in his skin.  It’s probably one of my favorite voices in all of music. And while there is some heavy riffing going on, especially on tracks like “Watch the Corners,” I Bet On Sky is mostly an even keel affair, with J steadying the troops.

“Almost Fare” sort of pokes and prods its way into a full on chorus eruption, but I like the pacing on the track; Mascis never sounded so warm and personal, to me at least, as he does on this track.  That is until the chorus just blasts off, only to return quietly a few moments later.  Album closer “See It On Your Side” is a slow-burning guitar track, with these incredible bits of guitar skill dominating the early moments of the song, yet the star belongs to the vocal performance.  Somehow J always makes his songs fit his voice, even when he’s not fronting Dinosaur Jr, which is a feat in his own when you consider how much his vocals play a role in the band.

Of course, one of the special moments on this record doesn’t come from Mascis but rather a Barlow penned tune, “Rude.”  There’s an effortless bounce to the tune, and it’s definitely in the range of what one would expect from the group’s classic line-up; it’s definitely rooted in a sound very much known to fans of SST. Even “Pierce the Morning Rain” comes at you hard and fast, and while I like Barlow’s tune, this is one that reminds me of the first time I turned on a Dinosaur Jr. record. No matter how far the band changes and grows, there is something in their songwriting that will always feel like home.

Honestly, I Bet On Sky is a good solid record.  You’ll press play, and hopefully you’ll listen from start to finish, but it’s far from their best effort.  A lot of the songs have a decent punch, but other than three tracks that immediately spring to mind, there’s nothing that you can call an absolute standout.  It’s hard to knock a band that sounds this tight, and I don’t aim to do that, but perhaps I was looking for the warmth from J’s last solo outing, combined with the tight-knit unit of Murph and Barlow.  Dinosaur Jr. are clearly not the same band they once were, and yet at their core, they’re everything you love/loved about the group–so cheers to that.

Woods – Bend Beyond

Leave a comment

Rating: ★★★★☆

Honestly, I’ve never been one-hundred percent behind Woods.  Some of their tunes have been really good, and others I could have done without, but when you’re working as hard as this band, sometimes you get lost in the fold.  But, Bend Beyond is a pretty exceptional record, and it’s definitely gotten a hold of me.

You couldn’t have asked for a better opening track than “Bend Beyond,” which clearly owes a bit to California pop of yesteryear.  The song opens slowly, but when the chorus begins to take off in this perfect melody, it won me over completely.  Sure, there’s a bit much of the guitar noodling for my typical liking, but with the striking harmony as the central player, I can forgive that. And they followed it up with “Cali in a Cup,” a song that immediately had me awkwardly stomping about my stereo room with a huge grin upon my face.  One listen here and you’ll remember why those of us who are pop lovers really love music.  At this point, Bend Beyond is two for two.

I promise you, Woods aren’t letting up, but they do offer more than just this folk-laden sunny pop.  You don’t have to go too far to find “It Ain’t Easy;” it’s a number that mostly revolves around gentle guitar strumming and vocals.  You’ll hear some faint slide guitar shimmering in the background, providing the song with more depth, but it’s not like that’s needed, as the track’s pretty special standing on its own.  Or they can go in a completely different direction, just as they do on “Find Them Empty.” It opens with this shattering psychedelic guitar noise, which never fully fades away, circling in and out about the central idea of the track.  Definitely a pop tune, similar to the earlier tracks mentioned, but with a bit of ballsy guitar work making it something else entirely.

I’m not really sure what is about this release that has made me completely warm to the band, but right now I’m leaning towards the undeniable consistency on Bend Beyond.  You can skip all the way from the first track to “Impossible Skys,” which is the second to last track here, still seeing some lineage in the sense that they’re still grooming blissful pop tunes.  In fact, the majority of the songs in this collection share the same sentiment, though there are some differing variables that I’ve previously mentioned; those differences provide just another variation to leave you with a record that never sounds the same, but always sounds cohesive.

Ultimately, that’s where Woods leave off on this record, giving you a record that’s tied nicely together by the band’s focus.  You’re not going to get bored listening to this album, but you’re surely going to leave your listening experience with happier ears.  Some bands make pop music, others add elements of pop to their folk music, and when it’s done as well as it on Bend Beyond, you’re not going to see too many people complain.

The Helio Sequence – Negotiations

Leave a comment

Rating: ★★★☆☆

Oregon duo The Helio Sequence are over a decade into their career, carefully crafting intimate tunes that seem to be enduring in most people’s record collection, and hearts as well.  On their fifth full length, Negotiations, there are some stunningly brilliant moments of pop, though their intimate approach often heads in only one direction, which may (or may not) wear down listeners come the end of the record.

Coming out of the gate, The Helio Sequence clearly have lofty intentions.  “One More Time” has a vocal that rises almost immediately after its introduction, but a slight change in the pitch provides a different direction.  All the while, the guitar rings in the far background of the song, and the drums provide a perfect pace.  Negotiations continues to climb higher towards perfection with “October,” utilizing a soft vocal introduction, before it playfully turns you on your ear with the “go go go, if you wanna go” refrain.  Each time I listen to this track, I swear it continues to warm me, making it one of my favorite tracks from the duo.  But, while the opening segment is rock solid, it peaks out here, unfortunately.

There’s definitely a noisier approach to the duo’s craftsmanship as the record proceeds, using bits of feedback on tracks like “When the Shadow Falls” or a heavier bit of emotion on “Hall of Mirrors.”  Both songs are interesting to a certain extent, but their power is diminished by the album’s opening moments, which will still remain in most listeners heads.  Perhaps it’s not the most apropos conversation to have, but I feel like the rehearsal or studio time falls short on the latter half; it just doesn’t quite fit with the beautiful moments that came in early on Negotiations.

Yet, despite some mild pitfalls, there’s also an interesting mix of more traditional folk-influenced tunes that one could consider winning efforts, such as “Harvester of Souls” or “December.”  The former track is definitely a quieter track, mostly revolving around vocals and carefully picked guitar, with hints of atmospheric accompaniment use to provide depth.  On the latter of the two songs, the band tries to remain quiet to a certain extent, but they can’t seem to escape the formulaic approach that seeps through your stereos as you listen to The Helio Sequence.

I’m not going to lie; I quite like this record.  It comes to me at the perfect time of the year, with a slight change in the weather, and a slight change in what I plan on listening to during my days.  That being said, the more I listen to Negotiations, the more it has a tendency to blend into the background as I play it from start to finish.  You’ll find exceptional highs, especially near the beginning, and you’ll find some that fall short, but it’s very much a record by The Helio Sequence in sound and scope; I think that’s just enough to please the fans of the group.

[audio:https://austintownhall.com/wp-content/uploads/2012/08/05HallofMirrors.mp3]

Download:The Helio Sequence – Hall of Mirrors [MP3]

Negotiations is out now via Sub Pop.

Seapony – Falling

Leave a comment

Rating: ★★★½☆

These days there seems to be a real abundance in lo-fi, dream and twee pop. In recent years, the indie world has witnessed and transitioned into a world filled with that of these genres, but with the overwhelming growth of the shoe-gaze movement, how does a fan sift through the vast amount of music and find the bands that do it right? What makes a lo-fi band stand out against the masses?

Seapony stands out in the overwhelmingly bright and sunny nature of their pop tunes as well as the ever-apparent guitar hooks that are featured throughout the music. A little over a year ago, they introduced you to their take on dream pop with Go With Me, which seemed to fit perfectly into the summery bedroom listening category. On this sophomore release, lead vocalist Jen Weidl and company are back with more cheery guitar riffs and jangly percussion to dance to. Up first is “Outside,” that throws listeners into the swing of things right from the start. Weidl’s sugary vocals are a distorted, making them a bit heavier on this song than on the majority of the other songs that can be found on this album. The guitars jangle along with these gritty vocals, while the drums punch in the background. It’s not the fastest of songs, but it certainly gives you a taste of what Seapony is all about.

There isn’t much to complain about on Falling. The songs work together well so as to avoid repetition and banality, but there are also standouts to be found in this mix. Such a noticeably grand number is “Follow,” which relies on the dreamy and ever feminine voice of Weidl and the glorious focus on the guitar riff. It’s a song that sounds so blissful that you can practically feel a cool breeze on your face. An equally beautiful song comes on the single for this album, “Prove to Me.” As opposed to “Follow,” the guitar is set further back into the other instrumentation and the vocals so that it blends in, but is also able to float to the surface and become the center of the song in places.

My only qualm with this record is that it is perhaps a little too sunny, if that’s possible. It feels like Falling should maybe have been released a few months ago, when the weather was heating up and not cooling down. But it’s still quite hot here in ATX, so soak up this radiance before the leaves start to change and the wind blows cold.

[audio:https://austintownhall.com/wp-content/uploads/2012/08/Seapony_ProveToMe.mp3]

Download:Seapony – Prove To Me [MP3]

Falling is out now via Hardly Art. 

Thee Oh Sees – Putrifiers II

Leave a comment

Rating: ★★★★½

Putrifiers II is the third or fourth LP in the last two years from Thee Oh Sees, depending upon whether or not you’d like to include their single collection.  They’re hard-working, clearly, but what impresses me is that the tiniest details alter the sound from record to record, though Castlemania is a bit of an outlier.  Again, the group’s giving you a psychedelic garage rock run with a bit of punk rock energy kicking down the doors.

As soon as you turn on Purtifiers II  you better turn it up loud because “Wax Face” is best listened  to at high volumes.  After opening with a playful twinkling guitar line, the band jumps on the distortion pedals and bangs out a stomping number.  Interestingly, the vocals almost seem an afterthought here, coming off as an extra instrument rather than a pertinent piece of storytelling. But, that’s the opposite case with “Hang A Picture,” the following tune, which definitely has Thee Oh Sees playing to their strengths as tight knit unit; this track has that same pscch stomp feel, but it’s as if the group’s rocking this one out together around a campfire.

I know it’s hard to see this band getting much better than they already are, but with tracks like “Flood’s New Light,” it’s clear that they’re not resting on their laurels, even if you can see the lineage between the various records.  The opening bass line completely won me over, and then the horn jumped in, on came the vocals, creating one of the catchiest tunes I think I’ve heard from Thee Oh Sees.  On the chorus you’ll find a little monosyllabic lyric, continuously improving the delectable flavor apparent on this tune.  Speaking of that chorus, it sort of indicates a slight R&B sensation that also seems to occasionally pop its head up here.  “Will We Be Scared” might not come across as classic Motown, but the guitar work, the airy vocals and the way the bass walks through the tune really gives you a nice groove.

Ultimately, the differentiation on Putrifiers II is what makes it a winning collection of tunes. The album’s title track (“Putrifers II”) begins with this slow-handed light pop element, but as the guitars and drums get going, there’s a layer of depth that provides you with a darker sensation.  However, the restraint is where the band seems to really switch things up…I kept expecting them to fully blast off, but they don’t go that route.  There’s an increased pace, but it’s not as in your face as one would expect, if you’re familiar with the previous works of the group. Then you get the contrast with the folk-ish album closer, “Wicked Park.”  It feels like something the Kinks might have put together early on in their career–it’s definitely a step away from the band’s garage-psych blend, and the record is better off for it.

If you’re a fan of Thee Oh Sees, you can pretty throw all your expectations out the window when you pick up your copy of Putrifiers II.  Yes, it does have hints of the band’s storied sound, but at the same time they never seem to stay in one place for too long.  That’s what makes them so dynamic, both live and on record, which will only continue to grow their fame.  I’m continuously impressed with the group’s work, and once you get your hands on this, you will be too.

 

1 … 31 32 33 34 35 … 102
Social Media Auto Publish Powered By : XYZScripts.com