Category: Reviews

Led Er Est – The Diver

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Rating: ★★★☆☆

One would imagine that the temperature and the greater environment of New York City would have a huge impact on the band’s coming out of the scene there, and listening to The Diver, you’re assumption would be right.  Led Er Est have constructed their second album, this time on Sacred Bones, with a very metallic cold sheen, further propelling them into the minimalist electronic scene.

“Animal Smear” opens with a very quick paces electronic rhythm, soon joined by a dark guitar line.  It’s vocal presence is a bit difficult to completely grasp at first, with Samuel Kklovenhoof’s voice maintaining a sterile echo that is present throughout.  For all intents and purposes, the record begins simply, not pushing the group’s sound too much further than Dust on Common, their first effort. However, there’s a pop sensibility that soon emerges for the group, which may garner more attention in the long run.

Your first glimpse at a progressing sound comes via “Kaiyo Maru.” The opening beat is a little bit basic, but the effects of implemented keyboards combined with Kklovenhoof’s voice give the track a softer pop underbelly.  If you could turn up the bass just a hint, and sharpen the dully synthesized drum beats, you might just have a glorified hit.  Interestingly, other tracks such as this one exist, such as “Iron the Mandala,” portraying the softer side of the band.  A great deal of The Diver seems like the band is just on the verge of pushing beyond their cold minimal sheen, yet they never take that full plunge over the edge; they choose to evoke emotions with the bare necessities…and the more I’m involved with the listening process, the more I see that it works.

Led Er Est‘s restraint in the overall production of the album demonstrates that their willing to remain subdued in light of the resurgence in bright electronic pop.  Listening to title track, “The Diver,” there’s an emptiness to the song.  I keep imagining myself walking through some large industrial landscape, one that’s been left barren and destroyed.  It’s a haunting number, and when followed by the impending doom of “Bladiator,” you begin to understand the dark sentiment that establishes the mood of the entire album.  It’s the perfect background music for a cold moment in life; one that doesn’t necessarily require the chilling weather of NYC in the winter.

The Diver, for me, finds Led Er Est in the middle ground, balancing somewhere between cold industrial electronic and dark pop.  Personally, I dig the entire thing as an album, but my ears definitely lean closer to the speakers during the poppier moments of the album.  Seeing as the group hasn’t been around for too long, you can see as this record as a band finding their way through the darkness in their music.  Perhaps in the future there’s a darker side, but I’m hoping for a little bit of light to continue to shine through.

Best Coast – The Only Place

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Rating: ★★★★☆

Chances are, if you know anything about Best Coast, it’s that front woman Bethany Cosentino really likes cats.  Or perhaps you’ve delved into the tuneage of said cat-obsessed female and found that she also creates some pretty sunny California pop jams. Best Coast have shown they can crank out some quick paced and fun jangly pop, but can they be more than that?

Substance has never really been Best Coast’s style; their first album, Crazy For You barely passes the thirty-minute mark, with each of the thirteen songs not averaging much more than two minutes apiece. If length of songs is any indication of the changes that this band has undergone, than it’s clear that they’ve grown up a bit. The Only Place has a range of songs, but the majority reach three minutes. Even at this first glance, you can see that the second time around this group is straying from dropping into the pattern of becoming the same old same old. The first song and title track, “The Only Place” sets things off on the right foot. From the moment you press play, it’s like opening a bag of sunshine and ocean spray into your speakers. It’s classic Best Coast: we’re still having fun, we’re still hitting the beach and those guitar riffs are still surfy.

The biggest difference between this sophomore release and Crazy For You is maturity. Yes, the songs aren’t chock full with lyrics of eloquent diction and complex syntax, but Cosentino has definitely stepped it up. She has moved past the overt simplicity of songs like “Happy,” in which repetition was the song’s key lyric. On The Only Place, even on one of the shorter numbers, “My Life,” there’s still an immense amount more of actual lyrics that make sense to generate some kind of story instead of just the moody emotions of a California Girl.

Another sign of this maturity is a big push for stronger, slower songs on this album. One of my favorite numbers, “How They Want Me,” combines Cosentino rocking the ballad, with the continuation of the groovy guitar of the rest of the tracks, some interestingly detailed percussion topped with some “oohs” and “ahhs,” that layer to give this song that extra punch. It’s tracks like these and others like “Do You Still Love Me Like You Used To,” which lead me to believe in the longevity of this album. Whereas Crazy for You got a little tired a little fast, this albums packs a greater punch than just a few listens.

It’s a perfect album for the upcoming heat and freedom of summertime. So roll down your windows and savor those last few weeks of a breeze with Best Coast.

Mystery Jets – Radlands

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Rating: ★★★★½

The boys in Mystery Jets have come quite a long way, staring first with their angular guitar pop and moving forward into a full-fledged pop group.  But, with all their success, the band needed a move to Texas for a different perspective, leading to their most accomplished album to date.  Radlands, despite some roots in Texas, remains a uniquely MJ affiar, one that shows the group far advanced in their songwriting prowess.  For my ears, they’ve crafted a pop album that hits on almost every note, from start to finish, a feat worthy of high praise alone.

“Radlands” opens the album with just the echo of a guitar, soon joined by Blaine Harrison’s vocals.  It takes a moment before you hear the slight introduction of strummed guitar, which then bursts into a full-band affair.  As the guitar rings, you hear Blaine take control with his soaring vocals, but then the group settles back down to the vocal/guitar approach again; few people are making such well-crafted pop songs like this. And it doesn’t just stop here, with the first several tracks from Radlands easily being called knockout punches.  You’ll find a bit of a Texas jangle when you listen to “You Had Me at Hello,” which features perhaps one of my favorite choruses from the group’s career.  Personally, I dig the fragility in Harrison’s voice on songs such as “Someone Purer.”  He can belt out a chorus with great strength, but a great deal of his power comes from his ability to reign that in when it’s needed most.  If you’re looking for a traditional pop moment with verse chorus verse chorus, just give this track a listen to find yourself pure pop gold–it even has some “ooh oohs.”

One thing I’ve always appreciated about Mystery Jets is that while there’s some elements of high brow music, they still remain youthful and playful.  This album’s playfullness comes via “Greatest Hits.” It’s a song for writers, answering the age old question of the influences for the band as a whole; at one point, the group gives a nod to Neutral Milk Hotel, Belle and Sebastian, The Kinks and the Minutemen all in a twenty-second span.  There’s whimsy all over these tracks, which is one reason why I think the group writes some of the best pop tunes around–they’re songwriting is serious, but their heart still says music should be fun. Radlands also indicates the band’s willing to takes risks, especially when you look at the duet between Sophie Rose and Blaine.  It’s definitely a tune that seems influenced by the group’s recording in Texas, and like all songs on this record, it succeeds; it’s clever, and yet heartfelt. 

Sitting here writing this review, I’m trying to think of how to include every single song in this review, as I know I left off some hits like “Sister Everett.” But, it’s probably too long-winded to try and touch on all the highlights of this album, although  I easily could do so.  Radlands is one of the best simple pop albums to come my way in a long time.  There’s no spectacle, there’s no hype, it’s just great songwriting wrapped up in the perfect way.  For this reason, and a ton of others, Mystery Jets remain high upon my list of best pop groups; cheers to you lads.

[audio:https://austintownhall.com/wp-content/uploads/2012/04/03-Someone-Purer-1.mp3]

Download: Mystery Jets – Someone Purer [MP3]

Beach House – Bloom

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Rating: ★★★½☆

Let’s face it, there’s no one out there crafting music just like Beach House.  That is, except Beach House.  Seems redundant doesn’t it? Well, if you’re looking for a fault on the band’s fourth LP, then it might be that the group seems a bit cornered on Bloom.  While the music itself is beautifully emotional, it’s not too far from where they left off with Teen Dream; that’s going to appease hordes of folks, but it might also leave some detractors this go round.

Beach House has a knack of opening an album with brilliance, much like they do here with “Myth.” That twinkling keyboard line complimented by the lofty vocals of Victoria Legrand demonstrate that the duo will continue to find themselves atop year-lists, with few songs capturing the eloquent pop of this track.  When the group takes a slight turn near the 2 minute mark it’s clear to any listener that few songs can eclipse this one.  Bloom is filled with similar moments like this opener, but it’s hard to top your first impression of this listening experience.

“Lazuli” seems to have a bit more sparkle to its construction, which enables the track to stand out from many others on the record.  There’s an underlying quality of brightness to this track that’s not always present with regards to the wistful quality of Legrand.  You get the feeling that she pushed herself here in the studio, and it pays off huge dividends…these are the moments you long for from a group with such a distinctive sound.  Other moments such as this one exist on the record, and Bloom succeeds due to their presence.  “The Hours” is the shortest of the tracks on the record, and its brevity definitely is filled by the group pushing for a slightly different sound, be it the vocals or the guitar work.  And near the end, “On The Sea” gives us a completely different side of Beach House, using a less electronic side of the keyboard.  Really it’s Victoria who steals the show, and while there’s still that element of smoky fuzz in her voice, you’ll also notice a songstress giving the recording of a lifetime (in my opinion).

You see, Bloom has absolutely fantastic elements sprinkled here and there for the listener, so be sure to listen to the record through and through.  However, other tracks do find the group in some middling territory, seemingly unable to escape the remarkably distinct sounds they’ve created in the past few years.  Those moments were beautiful, but at times they do come across as a bit of audio overkill. Beach House is growing here, showing glimpses of new dynamics in their songwriting; they just haven’t completely distanced themselves from Teen Dream.  For some, that’s exactly what you’re looking for this go round; others, like myself, love it, but can’t wait to see where the group takes us on the next go round.

[audio:https://austintownhall.com/wp-content/uploads/2012/05/01-Myth.mp3]

Download:Beach House – Myth [MP3]

Here We Go Magic – A Different Ship

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Rating: ★★½☆☆

When Here We Go Magic first jumped onto the scene, it was clear that the work was mostly done by Luke Temple.  But, through two albums it has become clear that the band’s blossomed into more of a group effort. So with their third proper release, A Different Ship, would the title indicate a final change in the music itself? The answer to that question can go both ways, and therein lays the problem.

“Hard to Be Close” is the first track, and while there’s that inherent beauty that you find in Here We Go Magic tracks, but it seems rather subdued.  The percussion is fitting and tight, as I expect from a group of this stature, but there’s not a whole lot else to the song; it’s missing that, oh how do you say, magic. They follow it up with “Make Up Your Mind,” a groovier number than the rest, yet still missing that extra bit of emphasis that early HWGM numbers like “Fangela” contained.  It’s something that seems to be stuck in the overall emotion of A Different Ship.

Take, for instance, “I Believe in Action,” a song that definitely has a bit of a groove living within it, but for some reason, that sound is completely contained within, never being unleashed. Perhaps this is the sort of jam that unfolds before your eyes in the live setting (if you’re to go off the song’s ending), but the recording just doesn’t have a kick to it.  In fact, there’s really not a kick to this entire affair; it’s a slow burner to say the least.  I guess in my listening experience with the band this is the most subdued they’ve come across on record…and that might only be my perception.  Still, Here We Go Magic do possess the craftsmanship to write upbeat tunes that catch your ear.

“How Do I Know” is the lone standout jam.  From the moment Luke Temple sings, you get the feeling that he’s more passionate in this performance than he is on any of the other tracks within A Different Ship.  Even the percussion seems a bit more pronounced on this one, giving a more vibrant mood to the listener.  Honestly, this is the reason I adore the band as a whole, and I think I expected more gems like this one.

I know that bands are allowed to grow and progress throughout their careers, and that’s always appreciated, and in the very least, understood.  Sometimes, however, a group can take it too far, and I feel as if that’s what Here We Go Magic did on A Different Ship.  They took a turn in their recording that may sound cleaner than previous outings, but it left out some of the group’s strengths.  If you’re looking for a calmer, steadier version of the band, you’ll probably find this meets your fancy, but if you’re a nostalgic fan of the group, you might be a little let down. Better luck next time.

[audio:https://austintownhall.com/wp-content/uploads/2012/02/Make-Up-Your-Mind-1.mp3]

Download:Here We Go Magic – Make Up Your Mind [MP3]

Royal Headache – S/T

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Rating: ★★★★½

Lo-fi recordings and accompanying jangle pop rock have been the rage for sometime, and that’s all well and good, but sometimes you just want to have a little bit of a twist on tried-and-true fashions. When you head to your local record store, and you should do so immediately, to pick up the self-titled record from Royal Headache you’ll find exactly what you’ve need. This album’s furious and fun, but just different enough to make the group stand out among the masses.

Side A of this excellent LP opens just as you would expect from a band with garage leanings, furiously paced by the gritty guitar sound.  But, then enters frontman Shogun, using his voice to take you back to the nostalgic soulful recordings of the 50s/60s.  Perhaps you’ll hear bits of angular post-rock similar to Cloud Nothings, but the vocals take you somewhere else entirely.  Oddly, the powerful dynamic between Shogun and the rest of the band fits the mood of Royal Headache perfectly.  From start to finish, Side A is a winning adventure of six incredible tracks, with the frenetic “Girls” remaining my personal favorite.  That being said, the exuberance isn’t always a pummeling in-your-face affair as evidenced by the somewhat slowly paced “Kinds of Love.” The fact that there aren’t any lyrics might come as a surprise after the first five tracks, but it’s the perfect cleansing before you flip the record on its backside.

If you fell for Side A then Side B is absolutely going reaffirm that Royal Headache  are your new favorite band.  “Down the Lane” definitely fits into the modern musical spectrum though it has a tendency to sound dated–in an absolutely good way.  At times, Shogun even sounds a bit like Robert Pollard stretching his vocals to the maximum; it’s perhaps one of the most emotionally captivating songs on the entire record.  Plus, you don’t want to miss the closer, “Pity,” another track that seems to have ingrained itself in my mind.  I definitely enjoy the steadiness in the vocals on this number, leaving you with the sentiment that the group has evolved with regards to the conceptual aspect of the record.

Nowadays it seems that a lot of people can record in their bedroom or make an album of lo-fi tracks that quickly burst into a huge success, but you’re not going to find anything at all like Royal Headache.  That alone is one reason that you need to get your hands on this LP, but you couple that with the fact that there’s not a single track on this record that you could skip, and you have a winning group of songs that you might not ever escape.  Each song is infectious, whether you base that on the inherent hooks or Shogun’s performance; you’re not going to want to listen to anything else for some time to come.  Yeah, I said it; it really is that good.

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

Download:Royal Headache – Girls [MP3]

Allo Darlin – Europe

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Rating: ★★★★☆

Allo Darlin’ are a four piece indie/twee pop band that hail from London, and if you haven’t gotten to know their dazzlingly sweet tunes, then it is time you started. Their self-titled first album was released back in 2010, but if you want to get to know the sweet and groovy tunes of this band then look no further, Europe is an excellent place to start.        

On opener “Neil Armstrong,” it’s easy to see the similiarities of Allo Darlin’ to other indie-pop legends. The vocals of Elizabeth Morris share the discreet power that Camera Obscura’s Tracyanne Campbell has perfected and the delicate guitars reminisce of that of Belle and Sebastian. Though this band is not simply a culmination of other groups, they have their own flair as well. The ukulele that is ever-present on this first song is an aspect that gives this group the playfulness that such a genre begs for. For a first track, it’s a pretty good representation of this band’s style; gentle pop that still manages to bubble in sunshine.

Later on, you have an even softer, but no less equally delightful tune in “Tallulah,” where Elizabeth Morris and her uke step away from things. The result is a plain and simple tasty song, whose simplicity is what makes it as Morris sings a tale of a summer past. Sure, you’re missing the other jangling elements that Allo Darlin’ have become masters of, but it’s a lovely little break from the bright pop and a side trip to a more grounded sound. It’s a good reminder that this band can do a little more than all sunshine all the time.

However, it’s clear that what this band does best is easily music that bathes you in light. On the very next song after “Talulah,” they jump right back into their warmth with “The Letter.” The guitar feels further up in the mix of things on this song, at times dueling with Morris’ vocals for the lead of the song. Meanwhile the drums roll steady on, with the prominent cymbal crash to complete the overall bright atmosphere. That being said, Allo Darlin’ isn’t that easily pegged with the label of cheery pop songs. No, if you listen to the intricate lyrics that Morris spouts out, you’ll find that not all that she has to say matches the surface level observation of peppy.

Like the bands aforementioned, and essentially any band that is really worth listening to, there is more to be found here than can be acquired on first listen. After some time spent traveling around Europe, you’ll find that it was worth the trip.

Suckers – Candy Salad

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Rating: ★★★☆☆

Candy Salad is the sophomore effort from one of my favorite acts, Suckers.  My first few weeks with the record were tumultuous; I just couldn’t wrap my ears around the slightly polished and less erratic tunes.  But, I’m dedicated to these dudes, and that sort of dedication definitely paid off in the long run.  This record might not be as effortlessly brilliant as Wild Smile, but get to know the album and you’ll find it might even win you over more.

When “Nowhere” starts off, the first thing that really stuck out to me was the absence of Brian Aiken on drums; this track doesn’t have too much of a defined percussive element to it (nor oddball intensity).  That being said, the way the rise of the vocals when we’re “going nowhere” warrant some accolades; it’s a perfect pop moment. Those heightened sort of bursts continue with the stomping “Figure It Out,” but while I enjoy the sonic construction, it seems a bit rudimentary for Suckers.  That’s the issue some might make with this record, but you’ve got to seek out some brilliance that hides within.

For instance, I thought “Bricks to the Bones” was just another of those such tracks, that’s until I got to the third minute of the track.  You’ll get soaring vocals, and the ecstatic pop you’ve come to expect from these dudes. It leads perfectly into the standout jam, “Chinese Braille.”  After a few moments of pulsing you get the Suckers trademark whistling; I think they’re the best at incorporating a good whistle into a jam. For me, this song definitely embodies more of the spirit that I would have expected on Candy Salad; it’s a little bit quirky, still holding onto a certain brightness. Admittedly, I needed more of this sort to completely fall in love.

Much like this first half of the record, there are elements of joyousness for every music fan at the center of these songs, but I guess in the end they lack a little bit of the frivolity that was present on Wild Smile.  “Charmaine” is one of the few tracks that truly seems to capture the live essence of the group, and that’s one of the things (for us at ATH) that made their first effort so addicting.  With this group and their more than memorable live shows you need to capture that spirit in a recording, but these songs seem a touch subdued.  Take another great track from the record like “Turn On the Sunshine,” a joyous song in every sense, but you all know it could be far more killer if Quinn just exploded into the microphone; he’s done it exceptionally well in the past.  Still, you can count this as an otherwise pretty solid track on Candy Salad.

Looking back on the roughly 45 minutes of Candy Salad, you can see that there’s shining moments of exuberant pop, the sort you’ve come to expect from these guys.  But, such moments are hiding in places and absent in others, which leaves you wanting a whole lot more from the group on their second effort.  If you’re a fan of Suckers, you know the band is capable of great things, it’s just that this round they didn’t quite get there, giving us a good effort, but not the great one we expected.

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

Download:Suckers – Chinese Braille [MP3]

Jack White – Blunderbuss

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Rating: ★★★½☆

Jack White‘s pretty much done everything musically speaking at this point: he’s played in various bands (White Stripes, Raconteurs, etc) and he’s produced/written with music legends.  Heck, he even got to date Bridget Jones and marry a British super model, so what does he have left to prove to us?  Absolutely nothing…and that’s the point of Blunderbuss.

Old fans of Jack’s will probably enjoy the album opener “Missing Pieces;” it seems like one of the simpler songs he’s written in a long while, not to mention the fact that his distinctive voice really takes the song’s focus.  It’s also got a muddy feel with the chorus, which provides that raw energy his early White Stripes stuff carried with it. But, he then goes into “Sixtine Saltines,” a tune that I could probably do without.  It’s a definite rocker, so if that’s the Jack you’re looking for then it’s in this song; I just hate that it comes off as braggadocio rather than fragility and ingenuity.  The juxtaposition of the many faces of Jack White is something you’ll encounter time and time again on Blunderbuss.

“Love Interruption” was the first single from the album that really grabbed hold of me because of it’s stripped down structure.  Ruby Amanfu’s presence provides Jack with a familiar female counterpart, but the delivery of the two vocals is something that varies greatly from the work he’s done with other ladies. There’s something about this tune, as well as “I Guess I Should Go To Sleep” that demonstrates White’s ability to work others backing vocals easily into his songs.  What amazes me is that on Blunderbuss they all sort of seem to come off as a bit of impromptu jams, which probably isn’t too far from the truth in the end.  These are great songs that any fan will add to their favorites list.

There’s probably some songs on this album that most people will find appealing that just haven’t sunk in as of yet.  “I’m Shakin” and “Trash Tongue Talker” delve into White’s fascination with traditional blues-influenced rock n’ roll that first won over teenagers in the early years. It’s definitely clever, and his voice is more than fitting, but these songs don’t seem to be his strength–still, you can’t blame anyone for wanting to throw a rocking stomper out there.  Funnily, these two songs (my least favorite) move right into what’s my personal standout, “Hip (Eponymous) Poor Boy.”  This tracks is centered around a nice bit of barroom piano, and what I suspect is a bit of banjo in the background.  It stands out to me because it illustrates just how strong a voice Jack White actually has (no matter how often I forget).  It’s not even the most complex song in the world, but you better believe it’s a sweet tune all around.

With Blunderbuss you get sort of a mixed bag of Jack White.  He throws in a few rockers (not my cup of tea) to appease that side of his fans, but for the most part these are blues/country/bluegrass/barroom influenced tunes that are by and large pretty successful.  I guess there’s only a few stunning tracks on the effort, but he’s still able to accomplish a lot more in one album than most people will do in an entire career; I’ll gladly take a solo Jack over 99.9 % of the rest of the music out there. Such are the gifts of one of America’s finest songwriters.

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

Download:Jack White – Love Interruption [MP3]

Tiger Waves – Don’t Be Yourself

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Rating: ★★★★☆

When I first encountered Austin’s Tiger Waves, I was caught off guard by their experimental inclusion of bits of noise that eventually shifted into snippets of grandiose pop.  However, on their recent release, Don’t Be Yourself, the band tends to switch it the other way around–clearly indicative of a band who have grown in their songwriting capabilities. 

“From the Start” begins with a bit of a noise snippet, but the impressive forcefulness of the track quickly breaks into full stride.  Personally, I like how the lyrics are hiding just a bit behind the music, almost like the classic rock we all grew up jamming to in our parents living room, and then it ends. But, the motif of classic songwriting comes in with the hints of psychedelia that are present on “Quebec.”  Perhaps it’s just that jangling tambourine and the affected vocal that gives it the San Francisco effect, but it fits perfectly with the mood of the entire album.

When Tiger Waves breaks into “I Hope You’ll Feel Alright” you can tell that the band has abilities beyond just living with their influences; they’ve created their own sound with fluid movements amidst many of the tracks.  Here, you get almost a quieted chant from the get go, but the lurking backing vocal seems to make way for the entire group to make some mono-syllabic noise in unison.  And this is where you’ll find Don’t Be Yourself really taking hold of listeners, as the record moves into “Summer.”  It’s the sort of constructive pop that recalls bands like Youth Lagoon or Ducktails, but only done more effectively since they’re utilizing the songwriting of an entire group in the studio.  Layering the vocals atop the music on this track definitely creates special moments that you won’t want to miss.

As Tiger Waves prepare to wrap up the whole affair, they close things out with the perfect juxtaposition of their unique sound.  Of course, “I Love You George Harrison” surely harkens back to the careful craftsmanship alluded to in the song’s title–and I’m sure it would make George proud.  But, then you end Don’t Be Yourself with the hauntingly brilliant “Underground.” It’s the quiet atmospheric touches, mellow pacing and steady dosage of pop writing that initially drew me to this band; it comes full circle as the band closes out this EP, going out in quite a fashion.

Hopefully this isn’t your first introduction to Tiger Waves, but if so, do yourself a favor and spend some time with the group’s music.  If Don’t Be Yourself is anything with which to judge these young lads by, then they’ll probably be around for some time, hopefully writing more great tunes such as these.  You can grab this EP, as well as other great tunes by visiting the band HERE.

[audio:https://austintownhall.com/wp-content/uploads/2012/02/14_Underground.mp3]

Download: Tiger Waves – Underground [MP3]

 

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