Category: Reviews

Wild Nothing – Nocturne

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Rating: ★★★★☆

Perhaps one of the greatest things about listening to Wild Nothing is being aware that the project began as an intimate bedroom affair, possibly not even meant for mass consumption.  But, as with all good things, it’s made its way to our ears, and with Nocturne the sounds have become more fleshed out, creating a more dynamic sound that bodes well for Jack and friends.

With a title like Nocturne, you immediately get a darker image than what you might have gotten from the early works such as Gemini.  “Shadow” works with that meaning, both in title and in its emotional pull.  Sure, there’s still a bit of an angular guitar chiming in, but the lush string arrangements bring out an undercurrent of heavier sentiment.   Similarly, the title of “Midnight Song” implies the exact sentiment, but there’s something more energetic lurking here.  I’m not sure if it’s the guitar sounds, or Jack’s vocals, but I feel as if there’s more emphasis in this tune; it’s a personal standout for me.

But, one of the things I like from this new recording by Wild Nothing is the smallest of tweaks that demonstrate a branching out of sorts for the group.  If you skip through the album to “Paradise” you’re going to find an entirely different guitar line than what you’re used to from the band.  It’s almost as if Jack switched up his homage to C86 bands, trading it in for some Northern Soul guitar licks.  That being said, the electronic wash present on the track, and the deeper vocal tones still tie it nicely into the thematic darkness of the entire album.  It’s a good song to contrast with earlier numbers like “Only Heather,” which gains its energy from the frenetic pace of the drumming here.  I can see how the vocals have a similar weight to them, but the guitars are much brighter, and your toes won’t be able to avoid a bit of tapping as you listen to the record at your desk.

Personally, I think there’s sort of a magical quality to Nocturne, and I don’t mean in the sense that it’s going to possess your soul, though it just might.  Lyrically and emotionally it seems to carry with it an other-worldly quality that combines bits and pieces of the group’s earlier works with touchstones of its contemporaries.  Yet, with all those bits and pieces, something inevitably captures you, pushing your thoughts beyond the mundane.  Perhaps wistful is a fitting term to use here, as the title and the mood are affected by a feeling of sadness; I honestly don’t know how to put my finger on it, but I think listeners will completely understand the sentiment after a few runs through.

For those that expected Nocturne to be a complete return to where Wild Nothing left off with Gemini, you might be disappointed.  It’s definitely an album consumed by the nature of the title, offering a fair balance between beauty and the vague hints of darkness.  Light splashes of energy come and go, but what you’re left with is a record that immediately transports you beyond your status quo; such is the quality of truly great music that can consume us wholly, yet still maintain its intimate qualities.

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

Download:Wild Nothing – Paradise [MP3]

Ariel Pink’s Haunted Graffiti – Mature Themes

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Rating: ★★★★☆

Ever since I first caught wind of Ariel Pink’s Haunted Graffiti it always seemed like (it actually was) one man’s recording project.  It was steeped in lo-fi recordings, occasionally allowing for the pop elements to leak out into the listener’s ear.  On Mature Themes, throw all your preconceived notions out the window and get ready for Ariel Pink’s pop extravaganza.

I swear that the first time I heard album opener “Kinski Assassin” I thought I had stumbled upon some rare Magnetic Fields track.  Deep vocal tones backed by keyboard backbones are most prevalent, fueled by witty bits of lyrics that might only connect with the songwriter.  It’s actually a solid tune, just not what I expected here. From here it blasts off with “Is This the Best Spot,” which definitely sounds more like Ariel Pink’s Haunted Graffiti have opted to make a video game piece…it’s like the oddball version of Blank Dogs–not necessarily a bad thing.

While the group’s received a lot of praise for their work in the past, I feel as if the accessibility of Mature Themes alone warrants more fans and listeners, though that might steer away the hipster cognoscenti.  “Only In My Dreams” approximates the group’s quirky psych hits, but the production has made way for clarity that makes the record leaps and bounds better than its predecessor.  There’s warm tones from the guitar, relaxed backing vocals and a central pop element…yet it’s definitely still as playful as ever.  “Farewell American Primitive” is another track where the clarity of the pop element provides listeners with a chance to really sink themselves into the song. You can just take one listen to the vocals and you’ll see that this track is moving the band in a more direct approach to songwriting, and that will vastly benefit anyone who picks this up.

Still, I’m not going to get rid of the allusions to Stephin Merritt, though there’s slight differences present.  “Symphony of the Nymph” is another example of a track where Ariel Pink are flirting with more sincerity in their songwriting, using simple rhyme with the lyrics to provide a much-needed hook.  But, of course, the group’s always been built upon pushing the limits of their craft, and even within this track they do it successfully, happily letting the tune take turns left and right, only to return to the central pop song.

Admittedly, I can see that Mature Themes is not nearly as weird and out there as many listeners thought Before Today was.  You’ll find more tunes that allow you to sink your teeth into the lyrics, rather than coat them in meaningless atmospherics and yelps. For some, that’s going to be a detractor, as they want Ariel Pink’s Haunted Graffiti to be their own secret joy, but with some of the best song the band’s constructed to date, that’s not going to be the case this go round.  Ignore the recent drama of the group and ignore the ideas you already have about the group.  If you do so, you’re going to find yourself pleased with a pop record that’s got far more longevity than anything the group’s put together before.

[audio:https://austintownhall.com/wp-content/uploads/2012/08/04-Only-In-My-Dreams.mp3]

Download:Ariel Pink’s Haunted Graffiti – Only In My Dreams [MP3]

Nude Beach – II

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Rating: ★★★★½

There’s very few records out there that force you to pause and take a deep breath, momentarily reflecting upon the great possibilities that await you.  This is precisely what happened to me when I first put on II, the latest release from New York’s Nude Beach.  For me, it’s exactly everything I love in music…a little bit punk, a little bit pub and a whole lot of hooks; isn’t that what we all want?

“Radio” is the opener for II, and it’s a great way to start things; it’s sort of power-pop, but the type that was sung by your older brother when he was hanging out doing Springsteen covers with his friends. This vocal’s not punk rock; there’s a bit of classic American pop sensibility, which is refreshing in this genre.  And of course, the band moves into a bit of their Elvis Costello work on the following track “Walking Down My Street,” but I like the slight bit of yelp that comes through; it balances out with the smoothness of the song’s chorus.

But, as much as I love to write about great power-pop tunes, Nude Beach adds an extra bit of pop that lays outside the tried-and-true formula. You take a  tune like “You Make It So Easy,” and you can tell that this group isn’t defined by the historical context of the tunes they obviously favor.  I like the mellower approach, the touches of keyboard bouncing in the background and I don’t even mind the guitar solo.  You’ll also find hints of a good old-fashioned ballad by way of “Don’t Have to Try,” which is pretty much just a slow jam to close down the night at the bars, again with a late touch of organ in the background.

While it’s refreshing to see that II isn’t fueled by pure energy through and through, the peppy songs don’t hurt the release by any means. “Cathedral Echoes” is perhaps the most punk rock jam on the album, with furious pacing by the percussion section and a bratty bent on the vocals.  I like the swagger you can feel coming through the speakers on this tune, adding a bit of bounce to the record as it’s stuck between a few softer tunes. Album closer “Loser in the Game” has a similar edgy punch to it, but the song itself is a bit steadier, with a bit of that pub-rock swoon swinging atop the instruments.  For me, it’s all good fun, and that’s what I want from my rock n’ roll.

Nude Beach may have been bouncing around their local scene, but they’ve executed a pretty flawless album with II.  There are songs with a romantic leaning, there are tunes with energy, but it’s all done with a working class sensibility, making it one of the most enjoyable records I’ve written about in a long time. Now’s the time for these dudes, and this effort shows that times are good…and they’ll only get better.

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

Download:Nude Beach – Walkin Down My Street [MP3]

Lorelei – Enterprising Sidewalks

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Rating: ★★★☆☆

DC’s Lorelei have a somewhat storied past, though it seems more steeped in the history of their label, Slumberland Records, since the band only released one LP during their  time.  But, they’re back with their second LP, Enterprising Sidewalks; it’s interesting, as the record feels a bit like it has a more modern influence than their previous release(s).  Lets take a look.

The first song that stuck out to me was “Majority Stakes,” the second track on the record.  When it begins, the vocals are draped neatly over a distant drum roll, giving off a haunting mood, but as it progresses it blasts off into what I would deem Interpol territory.  I know Paul Banks came later in life, but I swear he’s the one singing this tune. Still, the ringing guitar makes it a solid jam, though it might carry on a bit too long.  The inherent darkness subsides a bit when you move into the next song, “Wound Up.”  While I’m not overly sold on the vocal (it sounds a bit flat to me), I can’t get over the way the words wrap around the guitar lines.  There’s something classic about the way Matthew Dingee plays guitar, and it’s executed perfectly here, demonstrating why the band’s name has made it this far.

As I spend more time with Lorelei, I realize that the band’s really a guitar based band.  In listening to a song like “Sorry for the Patience,” you can tell that the time spent writing the track revolved around the guitar.  I’d kill for more songs to sound like the opening twenty seconds with that bright angular guitar ringing in the foreground. I guess it’s the group pushing songs a bit too far that sometimes gets me, but their more concise songs are worthy of repeated listens.  Another song that really gets me is “Dismissal Conversation.”  There’s a trickling guitar meandering in from the beginning, but it takes a step to the side for spoken word lyrics to break out, but they wrap it up neatly, giving you a succinct example of the talents they have in their hands.

I’ve spent several hours with Enterprising Sidewalks, and there’s something just a bit off, for me.  I love the fact that the group combines elements of bands like The Wedding Present and Interpol, which would normally make them a shoo-in for one of my favorite groups, but what is that thing that’s amiss? As I’ve tried to figure it out, I’ve come to the realization that it could be one of two things, or perhaps both.  The vocals often sound flat, and don’t always seem to fit in with the feeling of the songs.  But, the songs also carry on a bit too long for me.  Only one song goes under the 4 minute mark, and that’s my favorite one.  I guess I just feel like they’re trying to fit too much into a limited space.

In the end, I like the record, and I know I’ll listen to it for times to come, but I’m not entirely sold on the group’s complete return to form.  In time, I reckon Enterprising Sidewalks will grow on old fans, but they’ve got a little work to do in order to completely win over fans who are just now getting to meet Lorelei.

[audio:https://austintownhall.com/wp-content/uploads/2012/06/01-Hammer-Meets-Tongs.mp3]

Download:Lorelei – Hammer Meets Tongs [MP3]

Junk Culture – Wild Quiet

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Rating: ★★★½☆

When you receive a record in the mail, and notice that there’s just one man behind the project, sometimes you jump to inclusions, expecting the output to merely be the work of a man and his laptop.  Fortunately for everyone, this is not the case with Deepak Mantena and his project Junk Culture.  Sure, the new record, Wild Quiet, definitely uses some electronic flourishes, but the accompanying music makes it a stand out among many of its peers.

Immediately, there’s a discordant guitar opening on “Oregon,” before drums come crashing into your ears.  Deepak’s vocals soon join in, hanging somewhere in the middle of the mix, which allows them to be purposeful, but not the sole focus of the track.  There’s some vocals that back Mantena at parts, particularly during the chorus that make the song, and its construction remarkable; clearly this isn’t just your average one-man laptop project. Then Wild Quiet takes a more electronic driven turn on the album’s title track.  This jam features stabbing electronic beats, but a fair amount of solid percussion to accentuate the synthesized beats. When execution is done this well, it’s hard not to appreciate the actions of even the loneliest of songwriters.

In listening to the latest from Junk Culture, I think one of the elements that provides that extra bit of special is the usage of live drums.  Playing “Indian Summer,” I wanted to lump it in with bands like Twin Shadow, and it definitely has that hooky throwback groove, but the live drums give it a bit of grit…they’re not the cleanest sounding drums, but they hit hard, giving the song an added bit of emphasis that distances the record from its contemporaries. The kick drum that opens “Ceremony” even adds a darker bit of resonance from the opening line; it contrasts perfectly with the song itself, which is more of a slow burner in essence. If you need more evidence, then just take one listen to “Young Love.”  Personally, it’s the song that I’ve connected with the most on the album; there’s something about the ringing guitar sound and the way the vocals are lined up and looped back again as backing vocals.  It’s definitely a special song in my book.

Thinking about it, perhaps the reason Deepak Mantena opted for a solo career in a sense is that he wanted complete control over the music he’s creating, and we’re fortunate that his Junk Culture project is producing such unique results.  Yes, it’s possible the addition of something extra could take an album like Wild Quiet over the moon, but for now, it’s a completed work that doesn’t seem to need anything else…that is, of course, besides your listening attention.

[audio:https://austintownhall.com/wp-content/uploads/2012/08/07-Growing-Pains.mp3]

Download: Junk Culture – Growing Pains [MP3]

 

The Silver Factory – If Words Could Kill

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Rating: ★★★☆☆

Over the last few years, the music scene has blossomed with bands foraging through their record collections, looking to find a sound from the past that they can adapt to their own projects.  When Fran Feely set about organizing The Silver Factory he might have struggled to find precisely that perfect formula, since his interests, musically speaking, were abundant.  But, with If Words Could Kill, it seems he’s found the perfect sound that reflects both his ambitions and his penchant for nostalgia.

“If Words Could Kill” begins with sort of a jangling guitar, combining it with singer Marc Johnston’s soft voice.  Yet, listening closely, you’ll see that the guitar sounds has a bit of a wayward California rambling, rather than that sharp-edged jangle from the C86 era that’s often associated with his group.  It’s a love dealing with the oft visited theme of unrequited love, but I’ve chosen to focus on that the guitar sound.  If Words Could Kill continues its foray into a juxtaposed pop sound with Western guitar on “I Am the Sign.” While the guitars do harken to a more pristine era in classic rock, the group’s rhythm section definitely propels the group into a more modern sound.  The drumming, in particular, provides a steady stomping beat that allows the song to remove itself from fashionable nostalgic rock n’ roll.

I think one of the reasons I’m enjoying this mini-LP from The Silver Factory is the lyrical delivery from Johnston.  “The World May Bring Us Down” visits the common theme of mistrust, both in love and in the world.  But, Fran has this interesting vocal that really seems like the music could almost be secondary, as if he constructed the vocals prior to asking the rest of the group to join in on the fun.  It’s an interesting sound that I know other’s use, but it really seems more prevalent within the confines of If Words Could Kill.  Personally, it all comes to fruition when the band offer you “Flowers on the Scene,” perhaps the best song on the record.  For what I believe is the second time on the record, a vocal counterpart faintly joins in on the action, providing an extra bit of emphasis on Marc’s vocals.  He even changes the pace and delivery from time to time within the track, which really ties in nicely to the track, making it my personal standout.

As you listen through If Words Could Kill, you’ll probably notice the sincerity of singer Marc Johnston, which is a facet appreciated by lovers of great indie pop, myself included.  Combine that with the indie pop cum classic Cali rock and you’re going to find yourself swooning over this recent release by The Silver Factory.  It might just be the beginning for the group, but they’ve created a strong foundation that will only see the band grow in our hearts in time to come.

[audio:https://austintownhall.com/wp-content/uploads/2012/08/01-If-Words-Could-Kill.mp3]

If Words Could Kill is out now via Elefant Records.

 

Fergus and Geronimo – Funky Was the State of Affairs

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Rating: ★★★½☆

Last time out, Fergus and Geronimo seemed intent upon playing themselves into the artier side of the garage rock game, but such attributes will rarely be seen on their newest effort.  They set off to make Funky Was the State of Affairs a complete album, and after spending days with this record, their work has revealed a group intent upon making their own way in the indie sphere, compiling bits of proto-punk with hints of Devo and snippets of enhanced messages for the listener.

“No Parties” is the first traditional song, following the album’s opening bit of quirky messaging.  While there’s a bent towards the proto-punk of Wire, Fergus and Geronimo are intent early on to reveal their notes to the fans.  Themes of mass-consumption and indifference to the greater Earth seem prevalent, and it’s something that only grows stronger as the record progresses.  “Roman Tick” soon follows with a brattier rock n’ roll moment, but this time the boys are aiming their guns at the trials and tribulations of modern dating.  I like the propulsive drum beat and the vocal delivery on this note, harkening back to one of my favorite periods in music history.

You could probably skip around on some of the tunes, or tidbits, from Funky Was the State of Affairs, but you might miss some of the elements that run through the entirety of the album.  For instance, “Roman Numerals/Wiretapping Muzak I” wouldn’t make much sense when listened to by skipping the snipped that precedes it, but when it’s all tied in, it makes for a special moment where listeners can see the dedication to tying everything together. Would “Earthling Women” make any sense if we ignored “Earthling Men?” In truth, probably not, but that’s just one of the special attributes of such an intellectually accomplished effort.

I mean, if you’re looking for solid songs from Fergus and Geronimo, those definitely exist within the woven fabric, and it’s not like you have to search for them.  Aside from the previously mentioned tracks, “Drones” is another solid track you’ll find yourself tapping your toes to while you press play.  Nice work on the high-hat gives the song it’s rhythm, and the vocal delivery is sort of spoken word, matching the pace of the track itself.  This one here is probably one of my favorite songs.  Or, maybe you’re looking with something funkier? You’ll find that in “Marky Move,” a track that opens with handclaps and a bobbing bass line.  Just to keep things interesting, the group throws in a nice horn solo to coincide with the stomping delivery of the lyrics.  These are just a few moments of the clever songwriting present throughout.

Funky Was the State of Affairs is probably one of the first records to be put out there that really sticks to the point.  Fergus and Geronimo set out to make a record with thematic elements that hit the listener from start to finish, and their execution is spot on; each song ties into the album somehow, somewhere.  It might not be the album for everyday listening, but it’s an album that requires your attention and dedication to completing your experience from start to finish.  Should you accept the mission, you’ll be rewarded.

[audio:https://austintownhall.com/wp-content/uploads/2012/07/02-No-Parties.mp3]

Download: Fergus & Geronimo – No Parties [MP3]

Funky Was the State of Affairs is now available from Hardly Art.

Big Wave Riders – Life Less Ordinary

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Rating: ★★★★☆

Finnish band Big Wave Riders burst onto the music scene with a pretty solid self-titled EP, and as they’ve spent more time together you can tell that the band’s grown in leaps and bounds.  Life Less Ordinary is an album that evades classification, demonstrating one of those rare acts that’s just going out there to put together the best songs they’ve written and giving them to their fans.

Opener, “Waiting in the Wings” might have a bit of dream-pop swagger to open the number, but as you move into the chorus you’re going to get swept away with the exuberant vocal delivery, sharp, yet backed by soaring touches.  And then in an effort not to replicate themselves too much, they move into “Stuck In Reverse,” which opens with a bit of a funky jam up front, before pulling back ever so slightly to offer club ready lyrics punctuated by a stabbing electronic pulse.  Back to back, these songs might not match, but in the grand scheme of Life Less Ordinary, it’s clear that the group are destined to outlive your genre studies.

The bio page for Big Wave Riders suggests the band are merely out to replicate the styles of their youth, and if that’s the case, I have a feeling that the band spent a lot of time jamming out to the Britpop movement that conquered Europe in the 90s.  One listen “California” and you’ll hear that fuzzed out guitar line with a distant vocal seemingly coming into your ears from a far off place.  It’s catchy; it’s got a groove, but it builds you your anticipation for where they band will go next.  And really, there’s no telling precisely where you’ll end up with this group.

“Sunny Season” is definitely a dream pop track you’d find with a lot of the bands in Europe, using a wash of melodic atmospherics to coat a throbbing bass line.  I will say Treppo’s vocal delivery has a little bit more of a post-punk delivery, giving an edge to the track that you might not have had otherwise.  Still, Life Less Ordinary begs you to move out of your comfort zone and move your expectations to the side.  “Castle in the Air” features an incredible bass line that forces your feet to stomp about beneath your office desk, offering you a nice new-wave bent, but then the song takes off.  The chorus, or what seems like the chorus blasts away into a noisy wall of guitars and vocals being pushed to their limit.  Big Wave Riders never dwell on your preconceived notions, nor their own for that matter, which benefits listeners who want more than just your average album listen.

Band’s like this are bound to succeed, playing on their own terms, playing with all their heart.  You can tell by listening to Life Less Ordinary just how important making music is to the group, just how important music is to the lives of Big Wave Riders.  Listening to this album over and over again, I have a feeling that it will help remind you of that emotion as well.

[audio:https://austintownhall.com/wp-content/uploads/2012/05/Waiting-In-The-Wings.mp3]

Download: Big Wave Riders – Waiting In The Wings

Life Less Ordinary is out now via Soliti Music.

 

The Antlers – Undersea EP

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Rating: ★★★★★

The Antlers, hailing from Brooklyn, have been making groovy tunes for some time now, but they made significant waves last year with the release of their third studio album, Burst Apart, which graced several ‘best of the year lists,’ including that of this website. That album left us all ready for more, so when the band released a new single and announced this EP a mere year after that brilliant record, it’s safe to say fans were stoked, and The Antlers do far from disappoint; Undersea immerses listeners in layers of complex sounds that you’d expect from this band, but through the lens of an underwater film noir.

On Burst Apart, we saw a dramatic shift in focus from songwriting to the overall atmosphere of an Antlers song. Yes, the songwriting was still there, but Peter Silberman’s half-falsetto crooned amidst atmospheric sounds instead of riding on the very top. This seems to be a permanent and effective change for the group, as evident on “Drift Dive,” the first track on this EP. Going along with the nautical theme as shown by the title as well as the album artwork, the track dives right in where the band left off, keeping that heavy and yet easy sound and you instantly feel like you’re swimming in cool waters of the somber horns, glossy guitars, and bubbling percussion, with Silberman’s vocals leading the way.

Frankly, all the aspects on this release work marvelously together and it’s everything you want an EP to be. There is the dedication to the deep-sea theme, but it doesn’t become boring as it could have been on a full-length album. Each song can stand alone as a sultry and sonically beautiful submarine ride of its own, but all together the four tracks add up to a twenty two and a half break from reality into the world this band has created for you. Song after song they take you deeper underwater, so that by the time you get to the fourth and final number, “Zelda,” it’s easy to find yourself engrossed in the sound, wondering how it such a heavy sound could feel like it went by so quickly, but it’s not over yet. The last number is the icing on the cake, with Silberman’s echoed voice bringing this dream of an album to a close in The Antler’s elegant sexiness.

While it seems like everyone else is furiously working to stay on top of the music scene, The Antlers have suddenly become the cool guy in the back with sunglasses on, one step ahead of the curve and I encourage them to keep doing their thing, as it’s working.

Eternal Summers – Correct Behavior

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Rating: ★★★★☆

It’s hard these days to find a blow-your-mind pop record that will last you longer than on or two listens without boring you. Often, I’ll fall in love with an album that falls flat upon further inspection, so when I first listened to Correct Behavior, I assumed that it would be once again another throw-away album, but Eternal Summers have a bit more in store than that.

You can’t really blame me for believing that this album was going to be like others when you listen to the first track, “Millions.” It’s got all the symptoms of a one hit wonder written all over it: endless guitar hooks, toe-tapping worthy drums and the perfectly shrieky vocals of lead singer Nicole Yun topping it all off. Sensationally sunny, the song starts things off infectiously, maintaining the youthful sound that Eternal Summers brought to the table on their debut, Silver, but also a bit fuller than that of previous recordings. Yes, the track still only lasts two and a half minutes, but it’s a bit meatier than before, although all the sunshine that you could ask for, which led me to think it was a little too good to be true.

This feeling of astonishment continues, as the band lays down hit after hit in the main bulk of the album. Third on the roster is another standout track in “You Kill,” which once again brings the power pop in its raging guitars and quick-tempo percussion. The song is one of the longest on the album and it does not disappoint. It pushes and pulls from chorus to verse, Yun’s voice being the element to lead you through both. Towards the end you have the nice garage-y breakdown that adds yet another dimension to Eternal Summer’s sound; twists like these help keep things fresh as the record continues. Another one of these unexpected turns comes on “Girls in the City,” with male vocals and a greater emphasis on the drums than the guitars, which leaves me a little reminiscent of The-Go-Betweens and bands of the like.

When all is said and done and Correct Behavior comes to a close after a brief thirty minutes, you’ll immediately be ready to give it another spin. This three-piece band does their thing and they do it well, fulfilling your desire for a fun summer release, but they also don’t make it easy to part with their sound at the close. It’s fittingly akin to the name of the band in that like this season, you don’t really want it to end and hopefully Eternal Summers have found a way to make their sunny punk-pop carry into the cooler months…which seem to be quite a ways away for us Austinites.

[audio:https://austintownhall.com/wp-content/uploads/2012/07/03YouKill.mp3]

Download:Eternal Summers – You Kill [MP3]

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