Category: Reviews

The Twilight Sad – No One Can Ever Know

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Rating: ★★★☆☆

A brief synopsis of the Twilight Sad has some ups and downs.  They burst onto the scene with the explosive Fourteen Autumns and Fifteen Winters, filled with squalling guitars and blissful pop.  But, then they took an odd side-step with Forget the Night Ahead, which was a more straightforward approach.  Now, officially three albums into their career with No One Can Ever Know, the band is still treading the darker side of humanity, just with much more polished edges and electronic flourishes.

James Graham’s vocals have always been a vital part of the Twilight Sad, and it takes the lead on opener “Alphabet.”  More important, however, is that the guitars work that made the band such a bombastic group is now being replaced by shades of electronics, at least in the foreground of this track.  You can’t claim that this is a poor track, but the absence of the dynamics that flourished early in the band’s career really aren’t present on No One Can Ever Know. Still, with Graham’s prowess, it’s hard to dislike anything the band puts together.  “Sick” almost feels like it’s utilizing some of the electronic playfulness we found on Kid A or Amnesiac, combining grooves, beats and strengthened vocals. Just one listen to the chorus and you’ll surely find yourself fawning over this number.

Even though it’s easy to see the differences from album one to album three, the band’s not completely lacking energy on this effort.  In “Another Bed” you’ll find a pulsating rhythm brooding beneath the number, and melded with further electronic swaths that cut through the track.  Similarly, “Don’t Move” uses the same stylistic accompaniment, although the pounding of the drums definitely provides hints of a darker force just waiting to explode on No One Can Ever Know.  Yet, there’s something amiss, even as you see the band is aided by their craftsmanship. The whole of the record feels really sterile, and lacking a bit of passion, which drew me to the band long ago.  “Kill It in the Morning” is perhaps the only track of the collection that really sees Graham pushing himself, and it doesn’t arrive until the end.  But, you should definitely give it a listen as there’s hints of Trent Reznor in the production of the song; the ending where it drops off and you get Graham again is also a special moment.  You just get the feeling that the band is capable of so much more.

For what it’s worth, No One Can Ever Know is an enjoyable listen, and one that brand new fans will surely appreciate.  But, followers of The Twilight Sad might be a bit disheartened by the listen, as the group still seems like they’re trying to find their footing in the current musical landscape.  I appreciate the dark quality musically and lyrically, but it’s placed too simply, lacking much of the force you know the band is capable of producing.  Perhaps this is just a stepping stone to greater ambitions, and only time will tell. For now, we can be pleased, just not blown away.

Liam the Younger – After the Graveyard

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Rating: ★★★★☆

Liam the Younger is the project of Liam Betson, a man who’s spent some time playing with his friends, Titus Andronicus.  But, that’s about all he shares, or at least his music shares, with his friends, as After the Graveyard is a stripped down affair of bedroom folk tunes.  It’s just now being released by Underwater Peoples, after being stored away for the perfect day.

One of the first things you’ll notice when listening to opener “Current Joys” is that there’s definitely a minimal recording quality with the album, but I promise that won’t detract from the listening experience–not one bit. There’s a familiarity in Betson’s voice, which reminds me of Elf Power (in vocals only), but it’s his approach, which includes the recording hiss, is reminiscent of a young Conor Oberst.  If you listen to “Ode to Then,” it’s hard not to see the similarity, as his delivery definitely has that same feeling of nonchalance.  And while indifference might not be the most charming attribute for a human, you can appreciate it in the musical sense, as the songs on After the Graveyard come across as personal introspections.

For the most part, most Liam the Younger songs on this effort don’t go too far beyond the 2 minute mark, which might do a bit of a disservice to the songs themselves.  You barely have time to soak in the special quality of each number before you’re on to the next number, but tread carefully, as there are definitely some real gems. “It Is Good” is one such track, and probably one of my favorite of this entire collection.  It begins with a softly picked jangling guitar, which then moves up a bit to more of a steady strum.  The pace carries on for the rest of the song, finally fading towards the very end.  Find this song, and no matter what, you’ll be pleased Liam sat down to pen any songs at all.

All in all, a great deal of these songs come across as brief demos, as if they’re not fleshed out quite as one would expect.  It’s always great to hear someone having fun recording tracks all on their own, but one is left to wonder what would happen with a bit more time spent with each song, narrowing down the precise elements that really stand out.  Don’t get me wrong, After the Graveyard is absolutely chock-full of such elements, so much so that it’s a bit overwhelming at times, but I’d love to see Liam the Younger go back in time and re-record all these tracks with everything he’s learned. Pretty sure he’d be indie newcomer of the year.  For now, he’ll have to settle on being a musician with loads of talent, who just needs a touch more time.

Liam the Younger – Clear Skies Over Black River

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Rating: ★★★½☆

Once again, Liam Betson is the man behind the recent Liam the Younger releases.  This is his second album under the moniker, finally seeing release (on the same day as the first) after being stored away, then shared with a few friends along the way.  While his association with Titus Andronicus is probably an easy point for critics to point at, there’s definitely something else going on beneath this set of songs, all of which benefit from an expanded length, in comparison to his other release, After the Graveyard.

Anyone can pick at a guitar and crop a tune nowadays, but it takes someone special to really evoke the emotions out of a listener.  Liam the Younger accomplishes this on all his tracks, just like a few others before him.  “Leaving Black River” again recalls both the playing and singing of young Conor Oberst.  You can feel the earnestness in his singing, so much so that he occasionally hits that off note, yet not quite like Oberst’s warble–it’s a little more gentle. Also, there’s hints of a humorless Adam Green on “Country Wide,” which comes across like a haphazard ditty–that is until eventually you fall in love with the track, realizing that Liam Betson might just be the new singer for you.

Adam Green sticks out the most in comparison when you look closely at the lyrical stylings on Clear Skies Over Black River. Take “Walking,” for instance, a song that’s very casual in its composition and seems to merely be recorded thoughts, albeit from different perspectives, of every day happenings.  This is the sort of thing that made Green and his Moldy Peaches so charming, just as it does with Mr. Betson.  Stripped down to guitars, you really just get to listen to the man tell his stories, and everyone loves a nostalgic storytelling moment.

But, don’t let me drown you in comparisons, as this record is so much more than all that.  For one, listen to the whisperingly soft “Beneath the Weeping Willow Tree,” and try to not tell me that this is the sort of song you’ve always been toying with in your bedroom. Or go with Liam on “Clear Skies” as he reminisces about his good day, a la Ice Cube.  These are friends that make you feel close to the artist, allow you to get drawn into his craft; for a lot of us, that’s all we’ve been looking for our whole lives.  Each track on Clear Skies Over Black River is just that, a song you can feel yourself writing, you just didn’t happen to write it, Liam the Younger did.  It’s personal; it’s a musician stark naked with nothing but his guitar; it’s something you’ll want to come back to time and time again.  That’s what great records and songwriters do, and that’s what you have here.

Sharon Van Etten – Tramp

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Rating: ★★★★☆

“We’re alright, we’re alright” sweeping over a slow moving beat and creeping along with wailing guitars screams as the farthest thing from being actually alright. Accompanied by Zach Condon of Beirut, “We Are Fine,” the eighth track on Tramp comes across as a bold statement of purpose for this album and Sharon Van Etten’s style itself—pushing through while exploring the emotional turmoil that perhaps plagues this songstress and perhaps plagues us all at some point or another. Tramp is yet another staple of this exploration for Van Etten, whose raspy voice is power, often made grim by the words that are carried by it, and haunting in itself.

The album begins at “Warsaw,” which is by far the most jangly/garage rock number on this release. Squalling guitar brings you in at its crawling pace, and then Van Etten’s voice makes its first appearance. Juxtaposed against the raw instruments, the vocals appear at their sweetest here and it isn’t until the next song that you can really grasp the true force behind them. Second up is “Give Out,” on which the focus is transferred to the voice that sails above the guitar and minimalist percussion, and is yet tethered to the music by its deep resonant force. When Van Etten belts “you’re the reason why I’ll move to the city,” she reaches a sinisterly arching, skin crawling tone that oozes strength amidst destruction.

After this powerful track, “Serpents,” the lead single from Tramp gets its bitter say in its own chilling notes. More prominent percussion and borderline angry vocals command this song, driving it into corners and then letting it all go. Here is where essentially my only qualm with this record can be found: song placement. The first three songs are all brilliant and supremely gripping in their strength and boldness, and then the fourth song immediately drops from outward reflection to inward contemplation. All of the caustic and edginess is lost and Van Etten turns to a softer, more acoustic sound, which carries through the middle portion of the album and may have some differing reactions by listeners. Some may find this breakdown alluring in its real nature, and others may find it weak.

She does not end on a meek note, however, and brings back the power on songs aforementioned like “We Are Fine,” that stretch the vocals to boil and “Magic Chords,” which strikes the same fancy as the first few tracks on Tramp. It is a devastatingly beautiful number, and the same can be said for the whole album. You are transfigured by the sorrow found in Van Etten’s voice, and held down by its overwhelming strength.

[audio:https://austintownhall.com/wp-content/uploads/2011/11/Sharon_Van_Etten_-_Serpents.mp3]

Download:Sharon Van Etten – Serpents [MP3]

Imperial Teen – Feel the Sound

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Rating: ★★★½☆

After nearly two decades together, what’s their left for a band to accomplish, or say that matter?  Well, after spending the last few days with Feel the Sound, the most recent release by Imperial Teen, it’s clear that there’s plenty more to be done.  There’s always been an infectious brightness to the band, and they don’t hold back on this effort, giving you 11 new tracks to which you can tap your toes.

“Runaway” doesn’t hit hard, but it hits you in all the right places.  Guy/girl vocals, one of the band’s specialties, provides a certain sentiment of joyousness, propelling the album along in the precise manner one would expect.  As the song rolls along, a smile will begin to spread from ear to ear.  This approach seems to be the most successful on Feel the Sound, with songs like “All the Same” using steady drumming, precision guitar play and a penchant for a nice hook to keep us bobbing along with the group.  Listening to the increased pace and stomping drums in the middle of the aforementioned track will have you seeing precisely why Imperial Teen have been able to win us over again and again.

Don’t think that the record’s just going to pound you with furious bubblegum flavor from start to finish, as restraint is definitely a forte on this outing.  One of the standout tracks, “Don’t Know How You Do It,” really comes across as an indifferent jam, yet you’ll find that it slinks its way into your heart.  Monosyllabic chants always get me, personally, but the effortless cool of the track itself reminds one of the great tracks by current label mates, Shout Out Louds. “Overtaken” has a much more melancholy tone for listeners, almost in the vein of mellow post-rock, which might come as a surprise for most fans.  The lyrical line of “it’s overtaking us” provides in ominous mood, yet those soaring harmonies always make it hard to fall too deep into the darkness with Imperial Teen.

While there’s plenty to absorb, musically speaking, on Feel the Sound, it’s an interesting collection of tunes.  None of these tracks are going to absolutely blow your mind, but there’s a certain playfulness that allows you to really get carried away in the listening experience. Take the brief, “It’s You,” with its sexy vibe and sprightly bounce and you’ll hear the sort of maximum enjoyment that band can offer up in a heartbeat.  Whether you’re looking for a solemn tune, or something to lift up the spirits, this record really does have it all.  A little bit of time, and you’ll realize exactly why Imperial Teen have been able to sustain such great longevity; the band’s just flat-out good, simple as that.

[audio:https://austintownhall.com/wp-content/uploads/2011/11/01-Imperial-Teen-Feel-the-Sound-Runaway.mp3]

Download:Imperial Teen – Runaway [MP3]

Hospitality – s/t

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Rating: ★★★★☆

January has come and gone, and there have been some decent releases of the New Year already, but as for classic indie-pop, this is by far the most playful album yet. You have all the elements that tend to work for indie; the whimsical yet grounded tone, the combination of slow beats that still manage to grab your attention, and of course the fast past and downright fun numbers. Hospitality, a three part, but by no means a small part band, brings it to you hard on this self-titled debut.

For starters, there isn’t really a bad song on this album. When you listen to it, from start to finish, every twist and turn will have you anticipating the next corner, the next direction you’re heading. Take “Friends of Friends,” the second song and single for the album, is all about the build to this fun climax of poppy goodness. You begin with a simple guitar line, guttural and garage-y, add in the percussive odds and ends, and finally layer Amber Papini’s sassy and earnest vocals over the top and you get this song that just crawls along at its own beat; it feels like a series of images strung together in a montage. Then, on the very next song, you get a smoothly blended sound in “Betty Wang.” The acoustic strumming and Papini’s never ending lyrics that run together and

But the treats don’t just come early on Hospitality; this Brooklyn trio keeps their hold on you to the very end, throwing in monumental tracks like “Argonauts.” The longest song on the album, at a little over five minutes, pushes together the success of the two songs I’ve already mentioned, bringing you a cohesive, yet piece-y number that relies on the jangly percussion to be its backbone. And if that is the backbone, then the vocals are the highlights. Here, Papini is backed by some male vocals that juxtapose with her delicate playfulness and keep it from soaring too whimsically. Grounded, this song explores a melancholy tone that can be found buried beneath the layers of fun that runs through the work.

What keeps these excellent songs from running together, and what keeps the rest of the songs from running together for Hospitality is the variation in length of tracks as well as their style. Not only do you have creative and exciting songs, they are given their best opportunity to shine amidst their album mates—and isn’t that what every album should long to be?

[audio:https://austintownhall.com/wp-content/uploads/2011/09/Hospitality-Friends-Of-Friends.mp3]

Download: Hospitality – Friends Of Friends [MP3]

Golden Calves – Collection: Money Band + Century Band

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Rating: ★★½☆☆

Those of you familiar with Wooden Wand will surely recognize the work of James Jackson Toth, but it’s possible that his early project as Golden Calves might have slipped under your radar.  Luckily for you, Woodsist has run a small reissue of of his two releases, combining them into one double LP collection.  While there’s definitely some enjoyable moments on places, many listeners will find the tinkering a bit too much at times, and seemingly self-indulgent.

I’m not going to sit here and praise Toth and his Golden Calves for some incredible creation, as a great deal of this album seems like meaningless dribble.  In fact, there’s barely a completed four songs on the first half that is comprised entirely of Money Band.  That record comes off as an elementary attempt to create something artful and completely off the beaten path.   That being said, there are some elements that clearly come through on that side, such as “Seraphim Radar Rallies.”  It’s still a bit basic and experimental, but there’s an endearing quality in the composition, much like the early works from Elf Power.  By and large, however, the first half of this record can be wholly discarded. It’s a specialty collector’s piece for fans of JJT, which is understandable, but no more than that.

What’s interesting is seeing the evolution from Point A to Point B, which comes through in the Century Band 12″ recordings.  There’s a bit more of a conscious effort to compose structures, albeit in the slightly confounding manner that Toth’s early work took on.  Still, Toth’s comments seem to acknowledge his faults in the compositions, as he clearly realizes that this was a starting point for a budding musician.  You’ll find a song like “Mod Bacteria,” however, a pleasurable tune; it’s one you can actually find yourself listening to again and again, including the faint haunting vocal in the background.  “Atrium 5: The Absinthe Labyrinth” is another such track, with carefully picked guitar and Toth carefully plodding along with his vocals. These are where we hope his talents began, as clearly there’s a background for a strong future in these songs.

All in all, I’m not going to lie to you and tell you that I hate this.  There’s just enough of an oddity within that really grasps the young indie rock listener in me, shaking him awake again.  Back in my early days when I was blown away by things just because they were weird and different, I was on top of the world, and that’s sort of the sentiment you get from Toth in these recordings.  He was young and ambitious; he just wanted to put it all on tape.  For what its worth, you’ll find some gems, and you’ll find some trash, but mostly you’ll find a special recording that you should be able to enjoy if you remove your blinders and get lost in the experience.

Sonic Avenues – Television Youth

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Rating: ★★★★☆

Over the last decade or so the United States has been flooded by wave after wave of Canadian bands, with a great deal coming from Montreal.  While the majority of Montreal’s exports have predominantly dwelled in the artistic pop spectrum with the likes of Arcade Fire at the helm, it’s not all the city has to offer.  Sonic Avenues are an energetic foursome kicking out power-pop/pop-punk on Television Youth the likes we’ve all been missing.

“Givin’ Up On You” jumps you right into the brash affair with a furious drumming and the ghost of Chuck Berry’s guitar being played at maximum speed. You’ll do more than just stomp your feet or tap your toes with this number; if, like me, you’re versed in the old school, you’ll surely be pogoing around your office cubicle or dorm room. A few minutes away lurks one hell of a single, the one that gives the album its name, “Television Youth.”  There’s not just one thing that makes this track stand out; you can pick between the drumming, the “oohs,” the gang vocals or the guitar playing.  Regardless, songs like this deserve to be played by everyone, loud and in close proximity to your annoying neighbors.

Sure, there’s been a handful of other bands banging away such Exploding Hearts influenced pop, but I don’t really feel as if any one has turned the volume up quite as loud as Sonic Avenues.  “Late Summer Goner” and “Fadin’ Luv” both bear a small resemblance to Gentleman Jesse and His Men, but these Montrealers hit it just a bit harder, giving them a much more punk sounding monstrosity of a record than many of their peers.  Perhaps it’s just a little bit more of an unabashed approach to kicking out the classic sounds; whatever it is, it works throughout Television Youth.

You can’t help but find every little touch on this full-length slightly more than infectious.  Pushing through the album is easy, as its brief, allowing you to put all your energy into ransacking your room in joyous abandon.  Even if you start to think that it all blends together, even a bit, you find exciting tracks like “Back Up Back Down” hiding at the end, assuring listeners that no matter how much you think you love your power-pop, you can never get enough of it when it sounds this good.

Admittedly, Sonic Avenues haven’t broken any brand new ground with their latest effort for Dirtnap Records, but they’re execution of the craft revitalizes the genre just a touch, bringing a faster more ferocious variety than many of their predecessors or peers.  Each time I press play on Television Youth, a smile lights up my face, ready for my body to contort spastically as I flail about.  You can’t ask for much more in a record than that; proof that these dudes are on top of the game.

[audio:https://austintownhall.com/wp-content/uploads/2011/11/TelevisionYouth.mp3]

Download:Sonic Avenues – Television Youth [MP3]

Standard Fare – Out of Sight, Out of Town

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Rating: ★★★★☆

Recent years have seen a reemergence of power-pop, which really just adds up to kicking out hard-rocking tunes with a whole lot of sheen.  Sheffield’s Standard Fare definitely have an affinity for the purity of pop, and their newest album Out of Sight, Out of Town, will have you applauding for both its simplicity and quality.

Trickling guitar lines introduce you to Out of Sight, Out of Town by way of “The Look of Lust,” just as you meet the attractive vocals of Emma Cooper.  For a few moments, the band shows some restraint, softly approaching the main part of the song, which features a certain sharpness in song composition.  Little flares, such as changes in the vocal delivery and the addition of strings make this a track you’ll listen to years from now. As they move into “05 11 07” the pace is picked up, but the plot’s still the same, using the charming lyrics of Cooper to unite splendid guitar play.

But, just as you start to fall for the pattern, Standard Fare throw in a little bit more of a jangle your step, and theirs.  Clearly Emma is the star of the show on “Suitcase,” with an underlying bit of sexuality lurking beneath her vocals, reminiscent of Victoria Bergsman in a much more playful manner. However, the band isn’t content to just give you bubblegum pop from the female sort, as Danny How takes over on “Kicking Puddles.” This track has a real familiar feel to it, just with a heavier dose of guitars; it’s like Beach Fossils crashed into the UK pop museum. How also takes a lead role on “Bad Temper,” a song that definitely hits furious and fast.

While there’s a nice straight-forward pop theme on Out of Sight, Out of Town, it’s the band’s playfulness that really gives them the extra step above many of their peers.  The reggae rifts that permeate “Half Sister” demonstrate that the band’s still working on fleshing out their sound as a whole, especially with a small dose of catchy hand-claps.  And while they’re willing to push the envelope a bit with their music, Standard Fare can also kick out traditional ballads like on “Early That Night.” It’s the slowest track on the whole album, but one you all the hip kids should definitely play while their hosting the next hip dance party…you know, just so you can actually get to touch the opposite sex.

One of the best thing about writing record reviews is finding a record you can repeatedly go through from start to finish, wanting to write about every single song, and that’s precisely what Standard Fare have accomplished here. Out of Sight, Out of Town is an effort that’s sharp, clever and ultimately enjoyable for all fans of pop music.  It’s the best type of record there is, so have fun enjoying this wondrous gem for some time to come.

[audio:https://austintownhall.com/wp-content/uploads/2012/01/03-Suitcase.mp3]

Download:Standard Fare – Suitcase [MP3]

Vincent Moon and Lulacruza – Esperando el Tsunami (film)

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Rating: ★★★★☆

In a modern world where impatience, mass trends and uniformity seemingly reign supreme, sometimes we, as a collective international community, forget to slow down and observe the very things that make us human, as unique individuals or as collective cultures. In the latest filmEsperando el Tsunami (or visual album, as the group dubbed it), by French filmmakerVincent Moon (of La Blogotheque fame) in collaboration with Colombian/Argentinian musicians Lulacruza, the trio examined in detail the diversity and strength of community through music (and sound in general) in its wide array of indigenous forms over a period of a month and a half through various spontaneous adventures in Columbia. Cultural extinction is a wide spread phenomenon in the increasingly modern world via a variety of means including food source elimination in particular. Moon and Lulacruza capture the very essence of the vanishing Columbian culture and natural environment on film which in many ways seeks to educate the international public to harbor, protect, or at a minimum, just highlight the people and places the camera captured, even if only for a fleeting moment.

As mentioned above, this “visual album” bridges the gap between music, film, and spoken-word in a fluid, infectious statement. Field recordings in collaboration with local folk music makers highlighted the spontaneous nature and strength of music to bring people together towards a common interest including healing, religious rites, and joyous celebration. Overall, the film is about communication in its various forms and the beauty, diversity, and uniqueness of each style and its relationship to its region and the people which inhabit its ecosystem. The group noted that, “Columbia is the country with the most flora and fauna species by square km in the world.” Considering the lush and diverse environment, it’s not surprising to find just as wide an array of rich musical and cultural styles as we travel along with the band.

Criscrossing around the country, from the mountains, desert, and the sea, Lulacruzadeveloped soothing and invigorating musical journey in collaboration with the locals as Moonhighlighted the essence of each place in detail; the ever patient ‘Man with the Motion Picture Camera’. Those unfamiliar with Lulacruza’s musical style should be well initiated through the film within the first few moments, as Alejandra Ortiz’s spellbinding chanting and singing paired with natural noise-makers, electronic or formal percussive elements via Luis Maurette create an all-encompassing control over the viewer. In addition to this, Moon and his sound team incorporated a wide-array of natural soundscapes to aid the depth of auditory field and highlight the given place’s mood and soul.

In addition to the inspirational overall objective of the film, the release itself follows up on the ground-breaking marketing style as first debuted on Moon’s last film, An Island featuringEfterklang in 2011. The film is available to anyone in the world willing to open their homes or spaces to screen the film in what the director coined Public/Private Screenings. (You can find out more about the screenings here, including how to hold or attend one.) This project in particular gained strength through a Kickstarter fund, which allowed supporters a wide array of benefits in return for donations which provide d the group with travel and equipment funds. Considering the widespread interest in indie film and music in an international objective, the project was, not surprisingly, heavily supported through donations.

As for the film itself, Moon’s eclectic visual prowess, methodical timing, and patience are often the substance of the film, while these visual albums more or less are deprived of a true narrative or formal plot. More so often we are held in flux as a viewer in the back seat of the journey with no idea of our next adventure. The slow, brooding style asking the viewer to slow down in order to travel along is certainly a risk; though the tone of the film requests our acceptance and presence in the moment and respect for the subject matter. Visually speaking, the scenery and cinematography are striking and beautiful and we would expect of one of the Earth’s most vibrant ecosystems. Moon’s ability to use color and light sparingly as a highlight whether as a contrasting bird in nature or a bracelet on a child in an urban setting and capturing the simplistic elements of place are certainly well executed and add visual depth and interest. Asking for forgiveness, welcoming, and acceptance, Lulacruza’s obvious deep connection to the earth is touching and inspiring.

“There in the most profound darkness is where light grows and shines strongest”

As we see in the film, sometime the only way we can find out who we truly are as individuals is to listen to the place that surrounds us, gives us life, and feeds our energy. Opening our hearts to the world around us and patiently listening is the only way to absorb it. In the end, we must realize that we are all connected to this place we call home. The overarching theme of the film focuses strongly on respect: respect for the Earth, respect for culture, respect for musical diversity, and the respect for silence. If this film achieves one thing, it forces the viewer to slow down, breathe deeply, and truly pondered the place they call home. Listen to the sound of the earth, let it grasp you, and teach you its story.
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