Category: Reviews

The White Wires – WWIII

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Rating: ★★★★☆

When I first picked up this new gem from The White Wires, I took the label (Dirtnap Records), the album photo, and then I jumped to conclusions.  I figured it’d be some sort of garage rock record; I figured I dig it.  In a sense, it does both things, but WWIII is far from just your average garage rocker; it’s got a lot more pop sensibility and natural energy, giving listeners much more than, if they’re like me, bargained for on this listen.

“All Night Long” blasts in with your typical garage fair, or so it seems.  Guitars trade off from the speakers, jagged and distorted, but then Ian Manhire enters the fold.  He’s got a polished vocal, allowing his natural fondness for pop to shine through with his lyrics.  It’s a quick start, but in seconds you’ll be pogoing about your home.  That sort of sentiment continues with “It’s Been a While,” a track that features a rolling drum beat, accented by heavy-hit cymbals, and staggered guitar licks.  The chorus uses backing vocals to provide that extra bit of hook. But, WWIII isn’t just a blend of garage rock and pop-punk; it uses power-pop goodness to mix it up.

“The Magic” might not be the best song from The White Wires, but after three straight tracks of upbeat rock n’ roll in your face, it gives you a second to breathe in the power of a good power ballad.  Guitars twinkle, bass fuzzes out and everything else wraps together to create a wonderful tune I can’t wait to see the group play live. However, the calming effect of the sequencing only lasts briefly here, with the band eager to get back to what they do best–rocking your face off.

I like the youthful attitude that’s present throughout the entirety of WWIII, giving you a license to just enjoy the record without having to think too much.  “Let’s Start Over Again” is the perfect song to fit this sentiment, with lyrics in the chorus that reflect the simplicity of the song’s title.  In doing so, the band has created anthemic choruses that are perfect for the live show, letting fans jump about and sing along in frivolity. Then it moves right into the bubbling bass work of “And Then You Told Me,” which features the band providing you with a sharp-edged swinging sensation.  It sort of reminds me of a teenage Ted Leo, free of all the political heroics and legendary status.

Sure, I only filled the review with mention of a handful of songs, but you could easily use every track on WWIII as a lead single.  Only one song reaches beyond the 3 minute mark, keeping things tight and joyous in a short space.  It propels the record, but it also caters to durability for The White Wires.  You’re not going to get bored listening to this record (I promise!), and you’re going to find something to get you going on every track.  Take elements of pop punk, garage rock, power-pop, even power ballads–throw it in a blender with a gritty attitude, vibrancy and solid recording–you’ll end up with the perfect recipe for a great listen, and a great album from this Ottawa trio.

[audio:https://austintownhall.com/wp-content/uploads/2012/06/01-All-Night-Long.mp3]

Download:The White Wires – All Night Long [MP3]

Heavenly Beat – Talent

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Rating: ★★★½☆

It seems like everyone from Beach Fossils is going out on their own these days (DIIV), but the music being created by bassist John Pena has a brighter bent than his bandmates, giving you a collection of songs that’s probably more suited to the “beach” title than even his original group.  Talent is chock full of bright pop tunes that provide listeners with a chance to let some of music’s natural warmth into their lives–you know, if that’s what you’re looking for these days.

Originally, I expected to find Talent as a bedroom listening experience, but “Lust” brought more to the table as soon as I pressed play.  There’s a brightness in the musical arrangements that supersedes the quieted vocal approach used by Pena.  It’s either the string arrangements or the throbbing beat bubbling beneath, but it provides more depth to a typical headphone listen.  “Messiah” carries on with it’s string arrangement stabs propelling the vibe of the record/track.  I completely dig the bass line working beneath the single too, which isn’t too much to expect I suppose, seeing as this is one of Pena’s specialties.

But, one of the things I dig isn’t necessarily the arrangements, though they all fit perfectly, it’s the tropicalia feel that comes along with the guitar sound.  Songs like “Faithless” or “Influence” have this mellow strumming that seems to have roots in Latin American beach tunes, or even classical Latin music.  When it’s combined with the other musical arrangements, it transports one to either the beach or to the heart of Mexico (maybe that’s only me since I lived there for a time).  Heavenly Beat has cleverly put a nice spin on this sound, making it instantly original, though there are other acts taking similar approaches.

Admittedly, heavy doses of listening to Talent can perhaps wear you down, as the level of differentiation is fairly minimal, but there’s something undeniably powerful about the record as a whole.  Each time I put it on, I find new elements lurking beneath a track I thought I already had figured out. It’s not every day you find a band that can create an album with a sound that seems limited to a certain extent, but still has the ability to surprise you over and over.  I mean, “Tolerance” still gets me every time, with each element entering at different moments, coming in and out of the speakers.  At times the guitar almost seems to disappear, then it comes in with hooks to grab you again. Such are the perks of a well-crafted record.

Side projects aren’t always able to eclipse one’s main project, but I think Heavenly Beat in a lot of ways has allowed John Pena to establish himself as a credible songwriter on his own.  Talent doesn’t have Pena playing a role where he’s revising his work, but rather sees him pushing beyond Beach Fossils to find his own sound, and he does so successfully.  If you want to find yourself wrapped up in the warmth of a solid record, then get your hands on this.

[audio:https://austintownhall.com/wp-content/uploads/2012/07/02-Messiah.mp3]

Download:Heavenly Beat – Messiah [MP3]

Talent is out 7/24 via Captured Tracks.

Pale Sunday – The Fake Stories About You and Me

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Rating: ★★★½☆

You can put all your preconceived notions about music in Brazil to the side now.  Pale Sunday are nothing like CSS or Bonde Do Role. While I appreciate the regional flavor of those acts, The Fake Stories About You and Me seems so distant; it’s an album of pristine guitar pop in the realm of bands like Lucksmiths or Nada Surf–it’s somewhere in the middle there.

It’s a short EP, but “Happy (When You Lived Here)” is perhaps going to be one of my favorite guitar tracks of the year; it’s easiest the best track from the band that I’ve heard to date.  Luis’ voice sounds incredible here; it’s calm and cool, yet there’s a smoothness that coincides with the rest of the music.  Everyone else’s accompaniment fits perfectly into the track, from the backing vocals to the steady propulsive drum beat. So good; I wish everyone would write tracks like this.

“About Your Life” seems a little bit more straightforward in the vein of classic pop songs.  The guitars aren’t quite as clean here, and the synths provide an extra element to the background. I can’t quite put my finger on what makes this song so familiar, but I put it all down to Luis Gustavo’s voice.  In contrast to the casual cool of the EP’s opener, here he sounds a bit softer, yet more distant in the mix.  It might seem like I’m not enthused by the difference, but I assure you that I’m having a hard time not playing this track over and over.  Screw it. I’m playing all four songs constantly.

Pale Sunday gives a bit of a bouncing drum roll on “That’s the Way,” giving the third track a bit of swagger and swing.  It’s a song about getting high with a friend or loved one, feeling lost in an emotional sense.  Towards the end of the song it sort of careens with guitar work that sort of bursts into a solo…perhaps providing the listener with that feeling of taking off into the far out realms of one’s mind.

When The Fake Stories About You and Me came to a close with “The Winter Song” I was taken aback at first.  It’s a song focused on strummed guitar, and a different pop appeal than the previous tracks. For me, it seems a lot more thoughtful, as if the band intended to leave you with a departing note about how we should go on with our lives. I like the way there’s a musical emphasis from the rest of the group that seems to arrive just after the 2 minute mark.  It’s a gorgeous track, and one that’s a fitting end to this EP.  Just as it ends, you want more, which might be my only detractor here, but with songs this good, Pale Sunday isn’t going anywhere any time soon. I’m grateful for that.

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

Download: Pale Sunday – Happy [MP3]

The Fake Stories About You and Me is available now from Matinee Recordings.

 

The Bankees – Home

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Rating: ★★★★½

Occasionally you encounter a band and a record that fits perfectly into who you are or where you are; these are the sorts of albums that you’ll always find endearing, no matter who tells you otherwise.  Home by The Bankees, just might be that album, reaching beyond my expectations and finding its way straight into the core of my being.

Admittedly, I’m not in the same place as the lyrics on “Single Life” by any means, yet I’m drawn to the songs emotional appeal.  I love the way there’s some restraint in the delivery of the verses, which is only strengthened when the chorus comes through with a bit of brightness. The cascading electric guitar solo nicely ties the song together as it continues through the track.  And then you come into “Days,” one of the standout tracks from the Home.  For me, the quality of the recording is what does it; it’s not overblown with production, allowing the craftsmanship of the group to shine through.  The lyric of “I don’t have that much to say, no one listens anyways” seems perfectly fitting to my wandering mind.  This track is perfect.

The Bankees put songs together so well that you have no idea what hit you until the track is over, so you rush to play it again.  Every time I listen to “Big Fish” this is the exact sentiment I get, hitting that repeat button.  Quietly strummed guitar, stomping drum beat and male/female vocal duo all feature on this jam, warming my spirit with each play.  Mid-track the song seems to come to a halt for just a moment, then carries off again as the cymbal is used for extra bits of emphasis.  But, making songs like this surely can’t come easy, even if they sound so incredible.  “Home” creates nostalgia personally, though it’s not just in the lyrical material, but also in its likeness to Arab Strap.  Similar to the Scots, this French band seems to strip things down to such simplistic moments that you sometimes aren’t even aware of the musical quality, despite how moving it is as it comes out of your speakers.

There’s hardly a misstep on Home, which alone makes it worthy of your listening pleasure.  More importantly, it’s hard to write about one song, or even several, as each song seems to deserve some attention.  “Under the Sun” closes things out in a softer space than where the album began, relying mostly on the guitar work and the vocals.  It’s almost a personal farewell from The Bankees, although the subject matter might not lead you that way.  That’s precisely why I’ve annoyed everyone playing this record over and over again: it’s extremely personal.  Whether you relate to the lyrics or your drawn to emotional appeal of the tracks themselves, you can’t help but feel enwrapped in the whole of it all.  In my mind, that makes for a memorable record I vow not to put down anytime soon.

[audio:https://austintownhall.com/wp-content/uploads/2012/06/02-Days.mp3]

Download:The Bankees – Days [MP3]

We Can’t Enjoy Ourselves – Make A Mess of Sacred Ground

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Rating: ★★★★☆

I’ve been pleasantly following the career of We Can’t Enjoy Ourselves for well over a year, and it seems to have all come to a head with their excellent new LP, Make a Mess of Sacred Ground.  Sure, you’re going to find hints of Smiths and Northern Soul all over the record, but this isn’t your typical re-hash; the group’s songwriters are too good to be run-of-the-will.

The first time I heard “Winsome William,” the opening track, I knew it was going to be a hit.  There’s that happening stomp and jangling guitars, then the vocals come in with this crooning swagger; it’s absolute bliss.  They’ve captured the best part of the Northern Soul movement, providing you with a song where you can swing your lover about, whilst still having lyrical content that begs attention.  While the sharpness of the guitars doesn’t necessarily continue in the same fashion on “Stop Moving,” the rolling drum beat that opens the track definitely makes way for some good listens. Personally, I love the urgency in the vocal delivery; you can hear the passion behind the voice–with lyrics that lean towards a sort of Dev Hynes construction.

Make A Mess of Sacred Ground isn’t just going to beat you over the head with jangle rock; the group loves the soul aspect to boot!  “Heart in a Sling” beings almost as if you’re chilling in a hip lounge somewhere, listening to a tight backing band support their favorite crooner.  Then the group joins in to take you on a twangy crash into the seas of pop precision.  Interestingly, they take a completely different approach altogether with the following track, “Eloise.”  It’s similar in structure to the album’s opener, yet here you’ll find a quieted acoustic guitar with vocals soaring at the front of the mix.  I was already in love with this song from the beginning, but then some string arrangements join in for accompaniment and I swooned; I can’t stop listening to this track.

If you haven’t heard of We Can’t Enjoy Ourselves, then you’re definitely in for a treat once you put this record on play.  From the spirited opener of “Winsome William” to the jangling bookend “Devil in the Old Folk’s Home,” you’ve got a diverse set of eight tracks that wrap themselves around your brain and heart.  Make a Mess of Sacred Ground is a quick listen, but it’s so infectious that you won’t be able to resist flipping it over and playing it again and again.  If you’re looking for a flawless record that you can show off to all your cool friends, then pick this one up and hopefully we can help spread the word about this great band.

[audio:https://austintownhall.com/wp-content/uploads/2012/05/Devil-In-The-Old-Folks-Home-1.mp3]

Download: We Can’t Enjoy Ourselves – Devil In The Old Folks’ Home [MP3]

Deep Time – Deep Time

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Rating: ★★★½☆

Working to cover the music scene in a town like Austin can sometimes be a bit much, and the sad truth is, you sometimes don’t give much attention to deserving bands.  Personally, I feel like all of Austin has largely ignored the continuous rise of Deep Time (the artists formerly known as Yellow Fever). Based on the music alone, their self-titled debut for Hardly Art Records, that should definitely change.

Immediately the duo of Jennifer Moore and Adam “not Pacman” Jones make their presence felt.  “Bermuda Triangle” features an opening angular guitar knife, before the rolling rhythm moves into the track.  Moore’s vocals loom large here, especially with her coy delivery of “oooohs.”  It’s a minimal sound for sure, with the band keeping things to the basics, but they add slight finishing touches here and there that bring the songs to life, such as on “Sgt. Sierra” where light keyboard/bell sounds come in and out of the track.

For the most part, this is the group’s formula, and while it’s not necessarily the most inventive out there, it’s a formula that functions well throughout the duration of Deep Time. Listening to a track like “Homebody” you can’t help but to fall for the way Jones rolls in with his drums, perfectly accenting Moore’s vocal delivery.  While her sharp vocal jabs are often more prominent, I really enjoy the warmth of her voice when it’s steady, as fans of her old band The Carrots can attest to I’m sure. One listen to the chorus here of “who cares if you never go home” and you’ll have as much appreciation for Deep Time as I do. There’s always this underlaying steadiness to the group’s songs that might go unnoticed, but maintaing a constant level of cool is difficult to do throughout an entire record, but they definitely accomplish that feat marvelously.

You can listen to “Gilligan,” which has sort of an abstract reference to the television show, and really appreciate the songwriting capabilities, particularly if you’re listening to the guitar work and the chorus.  These might be my favorite moments on the whole record itself, but that’s one man’s opinion.  And through it all, the band is still pushing themselves sonically; you’ll notice this when you listen to the album’s bookend track, “Horse.”  This is perhaps the most diverse track on the whole record, with changing paces, switching directions, and even a hint of a galloping horse…let’s hope the the band keeps pushing themselves like this.

At times, the duo walks the line of tedium, but they’re able to get beyond that on this self-titled effort by sheer talent alone.  Moore and Jones have always played well together, and changing their name to Deep Time isn’t going to change that.  All in all, it’s a pretty artful record, filled with ambition and creativity that any listener should be able to enjoy.

[audio:https://austintownhall.com/wp-content/uploads/2012/07/05-Homebody.mp3]

Download:Deep Time – Homebody [MP3]

Twin Shadow – Confess

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Rating: ★★★★☆

Big hair, high-waist jeans and new wave pop are all things that belong to the eighties, right? Wrong. These are all things that aren’t hard to find at present, but unlike the first two on that list, George Lewis Jr. brings his take on eighties new wave to the present with a sleek soulfulness that makes for a plain sexy record in Confess.

From the album title, it’s apparent that this is going to be somewhat of an intimate work, and Lewis does not disappoint on this aspect through his prominently poetic songwriting about his trials of love, or lack thereof. On “Golden Light,” the opening track, this front man seems to be modeling his music after other pop giants of the eighties and so the focus rests on his vocals. Waves of synthesizer back him up, interchanging with other electronic elements that build the drama of the music up to the chorus, where it jumps to Lewis belting. It’s an interesting start, as it definitely introduces listeners to his style, but it doesn’t make a lot of bold steps, which all seem to fall later on the album.

Things begin to really pick up from the third track, “Five Seconds,” and from here, Confess flies by in a frenzy of dance-inducing dramatic synthesizer saturated music. “Five Seconds” bursts into action with its memorable electric guitar sound dueling with Lewis’ clear tones, which confess “I don’t believe in you/you don’t believe in me,” and while we are introduced to the idea that love hasn’t come easy for the protagonist of these songs, (“I can’t get to your heart”) we are treated to a delightful track birthed from these woes. Up next is a sinister number in “Run My Heart” which features another explosive chorus from Lewis. He starts out low, and then bellows “This isn’t love,” laden with plenty of emotion and self-assurance and once again, he’ll have you trying to keep up with him through his denunciation of a love and love in general.

But, like a true confession, this album isn’t entirely devoted to bashing love; there seems to be some conflicting feelings about the subject, which can be found on “The One.” This track offers another side in which the protagonist’s love is real and devoted to one person with “something special” about them. In addition to this new dimension, the song has a groovy bass line and faster rhythm that provides for another hit. Such is the rest of the songs; they battle back and forth with how they approach the subject of love, turning into a dramatic pop toss up, but you won’t find a number that is less than interesting.

At ten tracks in length, Confess may seem like a small record at first perception, but after your first listen, it’s apparent that this is a bigger work than it seems to be. So give it a spin and soak up some new-new wave, you may just find yourself dancing right along.

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

Download: Twin Shadow – Five Seconds [MP3]

Holograms – s/t

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Rating: ★★★★☆

When you get a record from Captured Tracks, you sort of know what you’re getting into, but Holograms, one of the newest bands on the label, are here to change your preconceived notions.  Their self-titled debut is dark, but it’s definitely fueled by a punk sensibility that provides listeners with an angst ridden record you can throw on to lift your spirits.

“Monolith” is the second longest track on the record, and it comes with a great sense of foreboding. A bass line slowly moves in just before you get the swirl of the angry guitar sound.  Hollow vocals dictate a more industrial feeling, and then they blast forward.  Energy, distortion, brash youthfulness; it’s all there. But, then “Chase My Mind” comes into play, giving more of a traditional pop sensibility to Holograms. Light synthesizers and a steady drumbeat provide little bits of a propulsive hook.  It’s the sort of track that energizes you; it encourages you to appreciate the vibrance that underlies a great deal of punk rock.

One of the things that differentiates this self-titled affair is its reliance upon a tradition that encourages anthemic choruses, no matter how angry and bitter the music may sound. Take a track like “ABC City” and you immediately feel the bass growing in your speakers, and as the band jettisons off, you’re tossed back to an era when frivolous pogoing was popular.  Even the lyrics have a tendency to be screamed at the top of your lungs, though the Swedish accents make it a touch more difficult to perfect your sing-a-long. Holograms even seem to have captured the swagger that I adored in my punk rock heroes growing up, which is sometimes lacking in modern acts.  “Fever,” for instance, is a pretty straight forward punk rock tune, but the vocal delivery reeks of cockiness (or brattiness if you like) and as you listen you can feel the grin creeping upon your face. Still, the band’s not just content to revel in the past.

A great deal of the record also has that industrial post-punk sound, which honestly revolves a great deal around the way the vocals are recorded.  They seem distant on a track like “Memories of Sweat” where the swirling guitars and pounding drums do the body of the song’s work.  There’s a primal element to the track, giving it a raw emotion that makes it endearing to listeners. Some might find that the recording of such tracks weakens the effort, but I think it’s quite the contrary, allowing the band’s songwriting and vibrant energy to push beyond the limits of your speakers.

Holograms is a record that warms your heart as you listen, especially if you consider yourself voiced in the annals of punk rock.  What makes it thoroughly enjoyable though is that it goes beyond some of the typical stereotypes, adding a darker element that often goes missing in modern renditions of the style.  Still, Holograms have given you hooks too, which will make any listener swoon; it makes for a great record that you’ll soon learn to love.

[audio:https://austintownhall.com/wp-content/uploads/2012/05/Chasing-My-Mind.mp3]

Download:Holograms – Chasing My Mind [MP3]

 

Echo Lake – Wild Peace

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Rating: ★★½☆☆

Last year, this band first hit the music scene by releasing their Young Silence EP, which demonstrated their ambient/psychedelic pop styling’s. On their first full length, Echo Lake lives up to their name in the biggest way; Wild Peace is a collection of distortion and mirages that combine to create a cloud of hazy indie rock that may leave listeners a little hazy on how they feel about this record.

Things start out bright on the first track, “Further Down,” with an intense amount of echo to the vocals and thick layers of guitars and synthesizers, as expected. It’s a good balance between the harsh electronic sounds and the sugary vocals, which give off a creepily serene vibe. Juxtaposed well, these elements hook you, making you wonder just what exactly this band has to offer. Echo Lake continue on the upward slope with the second song “Another Day,” which immediately bubbles above the first track in energy. Whereas the first track was mysterious and dark, the second is lighter, with its jangly percussion and faster tempo. Linda Jarvis’ voice takes a more prominent role here, leading the song instead of becoming another element of the atmospheric background; a role I wish it would take more often on the rest of Wild Peace.

To me, this album feels a bit like the gradient shown on the cover in that it starts out so strong, but gradually fades away from your attention as it progresses. Such is a shame, as there are quality tracks to be found on the second half of songs, but by the time you get there, things already feel too far out of your reach as though you’re only hearing echoes through a wall of the room next door. Take “Last Song Of The Year,” which is an exceedingly interesting listen on its own. With more pronounced percussion and clearer, centralized vocals, it comes across less ambient and more like noisy lo-fi. Complete with some nice guitar lines interspersed, the song makes for an easy and enjoyable listen, but it’s buried seven layers under massive amounts of atmospheric buzz that prevents it from standing out.

There just simply isn’t enough variation from track to track to give this album the ups and downs it needs to prevent it from being a large mass of fuzz and echoes. Separately, there are some really solid tracks on Wild Peace, but collectively, it comes across as flat, missing the production it needed to push it to be something great.

Wild Peace is out now via Slumberland Records.

Ty Segall Band – Slaughterhouse

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Rating: ★★★☆☆

It’s been an extremely busy couple of years for Ty Segall; he’s fronted his own project, joined up with White Fence and now he’s got an effort with the Ty Segall Band—it’s gotta be hard to keep all of that straight.  That being said, over-working yourself can often lead to mistakes, and while I am not saying those exist, I do feel like something is amiss on this effort.

Coming into “Death” you want to see just how tight the Ty Segall Band can be, and rest assured, he’s got the right group surrounding him here.  While the song begins with distorted feedback, it jumps into Ty seemingly chanting before an onslaught of guitars explode ferociously.  Personally, I feel that the instrumentation out-performs the vocals, as so often happens throughout Slaughterhouse.  However, I feel like “I Bought My Eyes” is the most traditional Ty Segall effort on the record, capturing the live sound of the band, yet still holding onto Segall’s vocals as the band pummels your ears.

From there, the record seems to go off into a furious live album, which is both good and bad.  “Slaughterhouse” brings images of a frenetic live show, with Ty and his man Mikal Cronin banging out the tunes furious and loud.  Then you get “Tongue,” which does have a bit of that traditional Segall bounce to it, but again, the vocals get a bit obscured as the band seems to turn up the noise.  Therein lays the problem with Slaughterhouse: it’s an album with the markings of Ty Segall all over it, but the final production value isn’t as polished as the work he’s done in the past.

I get that one man can’t repeat himself too much, but as a long time fan I sort of get the impression that Ty Segall Band is meant to capture the live sound of Ty, with more of a nod going to the performance than to the actual songwriting. “Muscle Man” has that angular distorted guitar chug that I love, but the sound of the track itself seems sort of muddy; I just ask for a bit of cleaning up.  “That’s the Bag I’m In” follows that up with a sort of childishness that’s none-too-pleasant. It’s forceful in delivery, yet it beats you over the head with Ty’s vocal performance; it’s probably one of the worst performances I’ve heard from him to date.

Slaughterhouse is an excellent listen if you want to picture what Ty Segall Band sounds like in the live setting.  It’s heavy and heartfelt, but it doesn’t quite emphasize the songwriting licks that made Ty stand out in the past few releases. That’s always been his dynamic though, right? He’s a great songwriter in the studio, and a brash performer on the stage.  I dig both, but I just don’t think I can spin this album as much as I could spin Goodbye Bread or Melted.  Just one man’s opinion.

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

Download:Ty Segall Band – I Bought My Eyes [MP3]

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