Category: Reviews

Grave Babies – Gothdammit EP

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Rating: ★★★☆☆

When a band tosses out a five song EP, such as Grave Babies have done with Gothdammit, it’s often difficult to see it as much more than a stop gap along the way to the next album. But, regardless of where this lives in the band’s on-going catalogue, there are definite steps being taken here towards positive progression.

“Fuck Off” is the start to this rather short affair, but in the matter of time, it’s the longest, although you could easily skip beyond the first minute or so; the band uses the moment as an intro, but you can hear the crackling of the stereo that takes a large precedent over the recording. When the song kicks in, however, it’s just this delicious post-punk moment, possibly hinging upon “goth.”  Brooding bass lines definitely benefit the sound, with the drums seeming a touch to hollow and metallic; this is my stand out track on the EP.

Musically, I dig the following track, “Mourning Heir,” particularly that lofty guitar line, but this is the track where I think the recording process began to lose a little bit of the plot overall.  There’s something about the shotgun sounding drums that just doesn’t do the live show, nor the record itself, any justice.  It ends up sounding muddied like the band blew your speakers out.  A bit of the composure returns for the third track, “Nightmares,” with the pop senses taking a bit more of a leading role on this song in comparison to the heavy hitting drums.  Listening closely, you’ll see that there’s musical genius lurking just below the surface.  Then the band seem to get move in another direction…entirely.

With the first three tracks dabbling in noisier, goth-affected post-punk, the last two songs seems more to delve into sonic exploration.  They’re not nearly as focused on the songwriting here, relying more upon heavy chant-like vocals as on “Bloodstains.”  And “Wasting” seems to regain a touch of the songwriting capabilities, but it’s still not quite up to par with the three primary tracks featured at the onset–perhaps it’s just too short to really find its groove.

You see, this is the problem with EPs like Gothdammit: you find some great moments that get you really excited; you also find some areas where execution could be much stronger.  Personally, I think there’s a good future (and a good market) for a more concise version of the first three song–maybe cleaning up the drum sound.  Should they choose to go in that direction, things could get big real fast.  Should they choose to go in the other direction, there’s a market there too—either way, I’m sure they’re good, I just have my preference.

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

Download:Grave Babies – Nightmare [MP3]

Gothdammit is out now on Hardly Art.

Whitman – Weekends

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Rating: ★★★½☆

It’s been quite a while since locals Whitman put out their debut album, Torch Songs. Since then their style hasn’t really changed too much; they’ve maintained a classic alternative sound while not getting too serious. Weekends is no exception to this style, delivering quality tunes that fall easy on the ears.

The album creeps out slowly, with Ram Vela’s vocals whispering through layers of echoes and atmospheric sounds on “Technicolor Blues.” It’s as though the band is feeling its way into your ears, analyzing the space that they are going to fill before they really kick into things. This kicks comes in the last forty or so seconds before the first song has met its completion. At this point, it’s clear that Whitman has woken up, and continues to pick up the pace on the second song, “NW Thurman.” Jumping right into things, Vela’s Ted Leo-esque raspy chords leads you right along, bounding atop bouncing piano and some “Ooh la la’s” in the background. Immediately on this track, there is that ‘good times’ mentality that this band perfects. It’s the perfect kind of song to bob your head easily along to and perhaps dance a little if you’re feeling up to it—it doesn’t demand anything.

This easy rock-n-roll continues through the duration of the album, exploring highs and lows, crazy times and falling-outs. “Barstools” comes across as a bitter recollection of a friendship gone astray. As Vela sings honestly that he would “rather be falling off barstools than hanging with you,” the electric guitar growls, the cymbals crash violently, and some synth all rage along with him, and it feels as though the song consists entirely for the purpose of driving this hated friend away, making sure he knows he isn’t welcome anymore.  Later on, Whitman slows things down a bit on “Manchester-By-The-Sea,” whose soft nature serves as a nice little meander from the consistent full-tilt pace. This song relies on a gentler strumming of acoustic guitar and instrumentals that stray from the buzz of before and we see a more delicate Whitman. The album finishes up with “Day Drink Part 1” and “Day Drink Part 2” which brings things back up before it reaches its conclusion.

Weekends is exactly what its name entails: relaxation. There simply isn’t a song on here that requires more than a good attitude to enjoy. With the weather warming up around here, count on this album to be perfect for blasting out of your open car windows.

Literature – Arab Spring

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Rating: ★★★★½

No mincing it, we love this band. So much so that Nathan has Austin Town Hall backing the vinyl which can be ordered here. So why do we need to review the record? Probably because it is warranted. A recent blog post by Michael Corcoran lamented the mediocre Austin music scene. I simply retorted you aren’t trying.

Make no mistake, there are jams being laid down by several bands born of the Live Music Capital and Literature is one of the bands doing it in their blue collar, super pop way.. So let’s examine Arab Spring.

The album opener is a gentler affair, easing into the poppy blasts that are coming. And blasts they are with the longest track weighing in at an impressive 2:51. This pace creates the punk tension, stay on top of it, or you might miss something. So, “14 Seconds” features a break midway of guitars, a recurring theme for the rest of the album. Great introduction to the band and the interplay of Kevin and Nathaniel on vocals.

“Lily” starts to really show off the melodic constructions, from the vocals to the building guitar layers. Has a feel of Arctic Monkeys in the best way, without accents and over indulgence. “Push up Bra” brings unleashed pop, jangly riffs, quick lyrical delivery and festive backing vocal destined for sing along participation. “Criminal Kids” starts the swing into my favorite span of the album. “This town scares me.” – attributable to Corcoran? The band follows with “Arab Spring”, the title track, “Then there is you, and others too, that will be left uninvited.”

“Grifted” and “Rooney” are two songs I would use to show off our Austin scene. The former is my high point, best opening hook I have heard in a long while. Nice breakdowns and layering as the vocals resume and proper use of keys to settle the song in for the outgoing jam. The latter is the biggest song on the album, another great guitar hook that climbs and gives way to loud chords. The short run time just makes you want to play it again, right away. Again, trading vocals, trading guitar lead, all while Mike and Seth run the show with the rhythm section.

The album’s finish is composed of a three song set. “O.J.” is the tender vocal moment with a great climbing and falling bassline from Seth. “Esquire Esquire” asks what am I supposed to do? when I can’t win, can’t lose. The finale, “I am Right Here”, doesn’t let us off easy; staccato, fast, short and sweet. Vocals are delivered in a matter of fact way.

So what do I want to complain about? It is over too soon. But it has to be. Arab Spring as a collection of songs is fast, to the point and leave you wanting to do it again. Literature captures the essence of pop, bridging gaps, sometimes more serious and sometimes more playful. Most important, the album shows where we are going. Things are breaking down and our “scene” is getting back to basics. It is time to have fun at shows. It is time to get sucked into two minute blasts of energy, take a short break and do it again.

[audio:https://austintownhall.com/wp-content/uploads/2011/12/06-GRIFTED.mp3]

Download: Literature – Grifted [MP3]

Here is a little video of the song “Rooney” taken a few months back…

[youtube width=640 height=390]TlA-CkpYUWM[/youtube]

 

Gentleman Jesse & His Men – Leaving Atlanta

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Rating: ★★★★½

Jesse Smith didn’t have the best year last year; he was mugged while helping strangers in Atlanta.  You couple that with the title of the album, Leaving Atlanta, and you figure that the record might be a bit of a bummer, giving us songs about one man’s struggle to leave his favorite town.  However, all tragedy aside, Gentleman Jesse seems reinvigorated, leaving us with his best offering to date.

“Eat Me Alive” in its title prepares the listener for what one would assume is a condemnation of Atlanta, and for all intents and purposes it might just be that, but Jesse doesn’t seem willing to give in, singing “it’s as good a place as any to try and survive.”  Whatever his feelings, he’s going to stick it out in Atlanta, clearly having given birth to some of Jesse’s best tracks.  On the whole, the record’s filled with seemingly desperate titles such as “I’m a Mess” or “We Got to Get Out of Here,” but there’s something else taking root in Jesse’s songwriting, helping move him beyond simple power-pop.

One example of such a change is the album’s stand out track “Careful What You Wish For,” which is as close to a ballad as Smith has written to date.  Indeed, there’s jangling guitars aplenty, but the inflection in his vocals gives listeners a glimpse into a more introspective Jesse.  Personally, I can listen to that chorus line over and over again.  There’s also “Take It Easy on Me,” which is another slow moving song, but it’s also one of the tracks that really provides you with a look into the soul of Gentleman Jesse.  At first it looks almost like a love song, and I suppose that it is, but with the personal history public knowledge, it almost seems as if he’s asking for the city of Atlanta to show him a kinder side–the side that made him fall in love with it in the first place.

Leaving Atlanta will keep long-time followers pleased throughout, leaving us with plenty of power-pop goodness, albeit on a more serious note.  You’ll find a sing-a-long foot stomper in “What Did I Do.” It’s the classic sound you’ve come to know from Jesse, making way for the more potent track that follows, “You Give Me Shivers.” While the song blasts off with a jittery burst, it settles into a fast paced tune of glorious power-pop that makes being a fan of the genre so enjoyable.  With these sorts of songs, and a bit of introspection, we’re seeing a nice evolution from Mr. Smith.

Gentleman Jesse has been playing music in various outfits for some time now, but this is by far the best he’s sounded on record.  Leaving Atlanta benefits from a few subtle stylistic changes that change the mood of the listener, providing an escape from the slight monotony you found on his first record.  Regardless of the circumstances surrounding his life, and possible move as suggested in the title, it’s clear that Atlanta’s been great for Jesse, leading him to write his best collection of tunes to date.

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

Download:Gentleman Jesse – Eat Me Alive [MP3]

Evans the Death – s/t

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Rating: ★★★½☆

When you sit down to put a Slumberland Records release on the old turntable, you’re pretty much assured that you’ll find some sort of comfort or joy within the various revolutions.  But, when I put on the self-titled debut of London quintet, Evans the Death, I had no idea that it would bring an abundance of vibrant joy my way; it’s all over the place in the best way, and every individual will have his or her own favorite jam.

Don’t let that bubbling bass line that opens the record’s “Bo Diddley” fool you.  If you wait a few minutes, you’ll see the star of the band is clearly Katherine Whitaker.  Her soaring vocals clearly transcend the music itself, and its affect is almost immediate; at times it comes off punky, other times pristine–this is just the first track.  But, let’s not make her the sole reason your buying this album!

“Catch Your Cold,” the second track on Evans the Death is the song that really lets the band’s prowess seep into your ears. Those ringing guitars played at lightning fast speeds give you that classy indie pop sound we all adore, and companied with Whitaker’s darkly-tinged vocals, it’s just a brilliant track.  You’ll find it in similar territory as the group’s first single from the release, “Telling Lies,” which might just be the most unassuming smash hit of the year.  While the rest of the group has this jagged approach to their guitar playing, Whitaker has your head spinning about with her remarkably strong pipes.

Surely, you’ll notice that a great deal of this first effort from Evans the Death is full of upbeat numbers, but, what makes this a more than adequate debut are the mellower numbers stuck within, leading you away from the monotony.  “Morning Voice,” while holding onto some noisier elements, is largely a quiet song, if only in sentiment.  Katherine comes across in an entirely different manner than she’s been presented up to this point, seemingly frail beneath those gentle vocal touches.  The more I played this track, the further I fell for it–you probably will too. You’ll encounter similar circumstances when you wrap up the record with “You’re Joking.” It’s a lightly strummed closing track, again putting Whitaker prominently at the forefront of the band’s sound.  There’s not louder guitar bursting forth here, but it’s not needed here, as the emotional quality lays solely with their female leader.

For a debut, this is a pretty stellar release, as the band comes across extremely accomplished with a powerful leader at the helm.  You can look beyond some of the songs that have a tendency to sound similar, choosing to find the unique qualities lurking within.  With more time, the whole record eventually sinks in together, leaving you with an enjoyable album you’ll want to play over and over. We can thank Evans the Death for that.

[audio:https://austintownhall.com/wp-content/uploads/2012/02/05-Telling-Lies.mp3]

Download:Evans the Death – Telling Lies [MP3]

Bear In Heaven – I Love You, It’s Cool

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Rating: ★★★★☆

The difficulty for Bear in Heaven with I Love You, It’s Cool is how do they push beyond the limitations they placed on themselves by creating a brilliant first album, Beast Rest Forth Mouth? Surely, they were aware of the difficult task ahead of them when going into the studio, which probably only increases the anxiety of making a record. But, luckily, they’ve come out on top, crafting an album of electronic pop songs that if anything, only increases their accessibility, guaranteeing them further success.

For me, album opener “Idle Heart” is the perfect identity statement by the group, delving into a sort of electronic wash for nearly a minute, shortly before the lyrics open up the melody.  There’s a particular brightness that lurks beneath the surface of the track, providing them with the ability to reach a new, larger audience.  It’s the sentiment one expects a band to make upon their return to the indie limelight with I Love You, It’s Cool. They continue in the vein of bright electronic-pop with the following track, “The Reflection of You.” This is perhaps one of the standout tracks on the album, but it’s also a reminder at 4.5 minutes (more or less) that pop songs can be drawn out, furthering the emotional release for the listener.

When Bear in Heaven pull out the pop stops in a song like “Sinful Nature,” it becomes evident that the group has evolved into something entirely different from their previous affair.  Driving synthesizers propel the melody, but there’s this wash atop it all, sort of reminiscent of Republic era New Order.  It makes almost every song perfect for the dance floor–or wherever you choose to shake it. However, they still mix in some varying sounds, making this more than just your run of the mill dance record.

On “Kiss Me Crazy” there’s flirtations with negative space within the song, almost from the opening moment, especially when you fit in the drumming. At times the percussion doesn’t fit the tempo of the track at all, yet it falls precisely into place when looked at from afar. Another song on I Love You, It’s Cool that helps further this idea is “Space Remains.” It’s perhaps one of the grittier tracks on the record, reminding you of the band’s earlier work; it has elements of electronic noise covering an inherent danceability. And, by placing it near the end of the collection, it also serves to break up the monotony one can find in long electronic albums.

Bear in Heaven don’t seem to be breaking any new ground with this record, but they seem to be evolving on their own merit.  I Love You, It’s Cool will remind listeners and fans that the band are definitely one of the premier electronic acts trucking about the world today.  They’ve definitely got their own musical concept (and a visual one live!), and you’ve got to credit them for sticking to their guns, pushing ahead, and giving us another killer collection of songs we’ll play for some time.

[audio:https://austintownhall.com/wp-content/uploads/2012/02/Bear-in-Heaven-The-Reflection-of-You.mp3]

Download:Bear in Heaven – The Reflection of You [MP3]

La Sera – Sees the Light

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Rating: ★★★★☆

In 2011, Katy Goodman stepped away from the Vivian Girls and made her first record under this new moniker. That album was the essence of a dream, with echoes upon echoes of vocals layered on ethereal pop instrumental in the background. A lot must have changed since then; relationships broken, new attitudes adopted, and an overall new sound for La Sera on Sees the Light, a sound which goes in a bold, good, direction.

From the very start of the album you can pick up on the new changes for the band. If it’s any indication of a change, the first track on the self titled release of last year was “Beating Heart,” whereas Sees the Light begins with “Love That’s Gone,” and we have the new, bitter and resolved Katy Goodman. Instantly you can hear this change in the music: the dreamy washes of echo on the vocals are gone, the drums are more centralized, giving a real and solid feel to the song. It’s as if the honeymoon period of dreams is over and what’s left is a woman scorned, trying to move away from the gay melodies of yesterday.

After the first song gets things going on Sees the Light, the second song, “Please Be My Third Eye,” takes it up a notch, increasing the pace and the level of intensity; the drums are always pushing, the guitars are guttural, and Goodman commands the song, pushing it around to show her strength. This strength continues on through the next few songs, and then enters into a more reserved state on “It’s Over Now,” which is the first real breakdown on the album. The placement of this slower, more morose song this far along into the progression of tracks helps to convey some emotion that is perhaps lost on the faster songs; Goodman doesn’t ignore the pain completely, she just channels it in different ways.

Essentially, it’s a break-up album, but whereas most of those tend to linger on the whiny, sorrow-filled, my heart was broken-listen-to-me cry-about-it, songs, La Sera focuses on channeling this sorrow into faster paced, bolder, and overall stronger pop tunes. It’s not a step to weakness, but rather a step away from it, and a focus on the strength that has always lied behind those spunky, girlish vocals. The emergence of this lingering power is what separate Sees the Light from the previous album and allows it to stand as a cohesive album as opposed to a series of cute songs strung together.

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

Download: La Sera – Break My Heart [MP3]

Strawberry Whiplash – Hits in the Car

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Rating: ★★★★☆

It’s strange to think that Hits in the Car is truly the debut record for Strawberry Whiplash; seems like I’ve been posting their singles or B-Sides for years now.  Regardless, this collection of thirteen great pop tunes is pretty spot-on for a debut, going between infectious indie pop and noisy janglings; its all worth every minute of time you invest, and one can only suspect that you’ll get more back the more you put in.

Perhaps one of my favorite attributes of this sort of pop is the simplicity of both the entire construction, from song title to the execution of the track itself, it’s no small feat to pull this off as well as Strawberry Whiplash does.  Take, for instance, “Everyone’s Texting,” which might seem like sort an arbitrary song, as we’re aware everyone is definitely texting.  But, from the slight jangle in the guitar work, to the steadying drum beat, the song is more than just plain commentary; it’s pristine pop.

For me, one of the best things about Hits in the Car is the effortless playfulness that seems to coincide with the group’s work.  You can listen to “What Do They Say About Me” and hear that nostalgic swirling guitar, but Sandra’s vocals, purposefully stuttering at points, show both the fun and attention to detail that goes into pop like this.  Even smashing hit “Stop Look and Listen” plays with the vocal delivery, which either demonstrates the fun they’re having, or just their reliance on capturing the perfect hook–it all works for me.

Even more promising is some of the slight experimentation that comes into play on the album, showing that Strawberry Whiplash have other places they’re willing to go, musically speaking.  “It Came to Nothing” has this great little power-pop swagger to it, as Sandra sings gently atop it all.  Or you can listen to the band as they dabble in the noise-rock territory, one of the few songs where Laz takes control of the vocal duties.  The other track where he features prominently is “You Make Me Shine,” a song that sounds remarkably like something you’d expect the Magnetic Fields to craft. You’ve got to credit a group that aren’t willing to be pigeon-holed by their own sound, or the masses for that matter.

When it boils down to it all, you can easily write about each one of these songs as great singles, and assuredly that’s what the group intended with the titles Hits in the Car.  What’s surprising is that they pulled it off, rather successfully.  You can listen to Strawberry Whiplash‘s new effort bits at a time, or as an entire collection, but no matter what, you’re going to find yourself loving it.  It’s simple, it’s poppy, it’s experimental; really, it’s just a gem of a record.

[audio:https://austintownhall.com/wp-content/uploads/2012/03/straw05.mp3]

Download:Strawberry Whiplash – Now I Know It’s You [MP3]

Cats on Fire – All Blackshirts to Me

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Rating: ★★★★½

Having followed Finnish act Cats on Fire for quite some time, I was a little surprised with my initial run through of All Blackshirts to Me. But, having spent several days wrapped up in the record, I can say with affirmation that this is the most accomplished recording the band’s put together yet, which will surely have fans of any sort of indie-pop raving over the group.

“Our Old Centre Back” begins the affair, making light-hearted comparisons between football (soccer) and art/life.  Sadly, the lyrics seem to indicate that the centre back wins the heart of Mattias desire, rather than the narrator himself.  The solemn attitude definitely is something that sticks with you throughout the run of the album.  It’s followed by “My Sense of Pride,” which more closely resembles the recent output of Cats on Fire; it has the jangle and the pacing of previous works, but Bjorkas still seems forlorn.  It’s a personal sentiment that should be clear with just one quick glance at the title, All Blackshirts to Me. 

What I really enjoy about these purveyors of pop is that this time around they’re not rushing the songs or the sentiment.  Several of the tracks border on the 4 minute mark, or go beyond, which allows the emotional to be built up slowly.  “There Goes the Alarm” is one such song, barely trickling along, repeating lyrics time and time again.  It’s as captivating a song as the band has composed, and even in its brooding softness, you cannot escape the affecting qualities. Still, other longs songs like “A Few Empty Waves” have the ability to sweep you away, no matter what point of the song you choose to focus on.  This track opens with an acoustic strumming and Bjorkas laments, but it quickly jumps into the majestic, as the rest of Cats on Fire joins in with drums and electric guitar.  There’s something about the vocal delivery and the musical composition itself that grabs you and takes you away into some other state–a true sign of musical genius/prowess.

Perhaps the greatest success in All Blackshirts to Me lays in the sequencing of the tracks.  You can get tracks with the angular stomp like “After the Fact,” used to pick up the speed of the record, but then they’ll slow it down beyond where they’ve gone before with another number like “1914 and Beyond,” a track draped around a nice piano backbone.  No matter where the album turns, or where you jump in, several minutes of listening will take you all over the map, yet still maintain the intended emotion of the record’s entirety.

Personally, I think I’m more in love with this Cats on Fire effort than with anything they’ve done before, which is saying quite a bit.  From the personal sentiment to the discussions of European economics, it all fits uniquely within the spectrum of All Blackshirts to Me.  If you’re looking for something spectacular yet emotionally moving, then do what feels right, and fall in love with the latest release from this Finnish act.

[audio:https://austintownhall.com/wp-content/uploads/2011/12/My-Sense-Of-Pride.mp3]

Download:Cats on Fire – My Sense Of Pride [MP3]

All Blackshirts to Me is available through Soliti Music (Europe) and Matinee Recordings (US).

The Shins – Port of Morrow

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Rating: ★★★★☆

If you seriously still don’t know who The Shins are and call yourself a person interested in music I would have to call you a liar! Well, not exactly, but if you’ve been anywhere close to the indie scene since the turn of the 21st century, you should recognize James Mercer’s usually scruffy face as the front man of this band. Whether you’ve known about it or not, the Shins made indie pop classic, releasing three albums that gained them a cult following that has been dying for some new tunes since their five year hiatus. With such a long period between the last release, you walk a tightrope. Stay with what you know and be labeled boring, or move into sacred, fragile new ground and run the risk of not sounding like yourself?

Yes, it’s the fourth album from the The Shins, but it feels the most youthful with respect to energy. Mercer’s voice is louder; it’s in your face, whereas it used to blend so tightly with the guitars. The guitars are more active, exploring twists and there’s an element of jangly that you just can’t really find on prior releases. Take songs like opener “The Rifle’s Spiral,” the single “Simple Song,” and “No Way Down” as testaments to this heightened energy. Each one explores a new and different level of bursting brightness. “The Rifle’s Spiral” gives you layer upon layer of guitar hooks and tinkling high notes embedded into the synth noise. “Simple Song” goes for the prominence of Mercer’s voice that commands the song as it moves through at its confident and collected pace that is expected of this band. “No Way Down” explores a faster pace, with less synth noises and a reliance on sharp-witted lyrics as its champion. All of these songs explore the old Shins style in an updated and fresher filter.

But it’s not all sunshine and daises—there are slower, subdued moments. For me, I feel nods of nostalgia for the older albums of this band on a song like “September,” whose simplicity is well placed and crafted amidst a sharper than expected grouping of songs on the primary half of the album. Another slower number, but by no means boring track is “Port of Morrow,” on which a falsetto’d Mercer leads you twisting through the tale he has crafted.

And in the end, Port of Morrow is a tightrope walked fairly well. Mercer doesn’t fall into the pressures of being anything he is not, he just pulls more quirky yet insightful material from his past and weaves them together with a brighter overall tone, which may stir mixed feelings from past fans and newcomers. It’s unfair to expect “New Slang” Shins after all this time; things have changed. However, you can still expect a relevant and resounding collection of classic indie pop tunes on this album.

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