Category: Reviews

Thee Oh Sees – Carrion Crawler/The Dream

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Rating: ★★★½☆

If you already found yourself enjoying this year’s Castlemania, you might want to preview the newest release from Thee Oh Sees, as it’s not quite the same animal, but equally as important in the band’s catalogue.  Carrion Crawler/The Dream is really comprised of two EPs, and while their most recent work focused on short psych sprints, this one definitely has a distinguished jamming quality, akin to their live setting.

“Carrion Crawler” begins this affair with a brief exercise in strutting about, musically, before the band moves into their psychedelic wiggle, with chords being strummed rapidly as Thee Oh Sees find themselves getting into their groove.  While previous efforts, at least in 2011, placed emphasis on the vocals, this time around they just come off as part of the mix.  It might not be the most convincing recording, but it definitely gives you the image of the band’s phenomenal live show.  You’re pretty much going to find Carrion Crawler/The Dream revolving around this realm for the first few tracks of the album, that is until you get into the night-tinged instrumental, “Chem Farmer.”  From here, you’ll find yourself getting into the classic sound, if we could call it that, of the band.

“Opposition” is a furious bit of jangle pop, with a catchy vocal delivery, similar to the works on Castlemania, though there’s a bit more grit to this one.  Still, you can’t help but hear the influence such songs have on the group’s live performance, with bits of guitar meandering in contrast to the rest of the group, providing that ramshackle joy Thee Oh Sees bring to the stage. Similarly, “Wrong Idea” has a stomping rhythm that seems to bounce the listener in the right direction, before the rest of the track sort of goes into a sort of psychedelic haunting.  But, what’s important is imagining the band banging this one out, as those guitar lines are clearly made for audio destruction.

Personally, I find the latter half of the record to be the most appealing, at least when putting this record on repeat for continuous spins.  Songs like “Crushed Grass” display the band’s vibrance, with John Dwyer’s enthusiastic yelps blasting through the speakers.  Even as the feedback fills your ears and the chugging guitars cut through on the back side of the track, you can still hear what makes this band so enjoyable, on record or at the local club. They’re dark, yet playful, which owes to what we must be led to believe is an exceptional amount of work  honing their skills.

Carrion Crawler/The Dream definitely provides listeners with an entirely different view point than what was offered up earlier in the year with Castlemania. That being said, it seems to fill the gaps between studio album and live show, bringing those with careful ears the knowledge that Thee Oh Sees are on the track to surpassing all their peers.  Just another step in the right direction for one of my favorite groups.

Gringo Star – Count Yer Lucky Stars

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Rating: ★★★½☆

For around five years now, Gringo Star has been bringing you buzzing, guitar driven rock music. If you have yet to discover this band’s jamming style, then Count Yer Lucky Stars is an excellent place to dive right in. If you’ve already relished in this band’s ability to make you air guitar and sing right alongside the gravelly vocals, then Count Yer Lucky Stars will be a lovely edition to your listening catalog.

The first song on this album is, “Shadow,” which kicks in with some choral yells in the background and some cutting guitars riding on top. The vocals step in, distorted at some points, yet still the familiar grit and sting that makes the overall sound so buzzy. Meanwhile, the steady force behind this song comes from the drums, ever knocking away. Upon first listen, you may be a bit underwhelmed, as this band doesn’t have a super unique and distinctive sound, but after a few repeats, it’s a solid start to the album. Next up is a simple jam band anthem on “You Want It,” complete with gang oohs and aahs, along with some drum builds into the chorus. This songs simplicity contrasts with the first song and lightens things up a little for the listener.

Sixth up on Count Yer Lucky Stars is “Come Alive,” whose chorus makes you smitten with this group. The stark guitar part aches for air guitar mimics and the simple vocals are easy to join in, and soon you’re with Gringo Star in their jamming. On the very next song, “Esmarelda,” the band takes a sultry, and borderline sinister flair with the song; you still have the same buzzing guitars and the raw tones that are the cruxes of this bands sound, but they show that they are not afraid to step beyond the norm. This band does a grand job at delving into all aspects of their genre and this allows for the songs to avoid redundancy.

However much merit this album has to offer to you depends most heavily on the amount of time you spend with it. If you are one of those people that is a firm believer in judging an album based on the first track, then stop being one of those people and give this album a few listens all the way through. You will find that there are some morsels of goodness that Gringo Star has waiting for you inside this fall release.

Wax Idols – No Future

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Rating: ★★★½☆

It seems like a lot of bands are really channeling a nice mix between garage and punk, especially the bands coming out of California.  You could probably toss Wax Idols into that, but you’d be amiss if you just lumped them in with the rest of those groups, as the band, predominantly the work of Heather Fedewa, goes beyond just rehashing the hits on No Future.

Listening to the opening track “Dead Like You” you definitely can feel a bit of Cali guitars blasting through, but Fedewa’s delivery, as well as the call-and-response backing vocals are a bit more than that, harkening back to more innocent punk rock days, sort of like a more ballsy version of the Donnas.  For me, the biggest differentiating factor is the amount of heart and soul you can clearly see shining through the music on No Future.

“Dilno” is a fast paced track, almost ending before the track even gets going, but that’s where a lot of the Wax Idols tracks are so successful, giving you a simple, no frills approach to the middling ground between punk rock and garage music.  And come on, who’s not going to enjoy the sporadic shouts in the background.  Of course, there’s more than just nostalgic girl-punk leanings.  Just one listen to “Gold Sneakers,” the record’s phenomenal track.  It’s got everything you could ask for from a band: great hooks, catchy lyrics, and some distorted guitar to go with precision drumming.  A lot of cliche girl-core tracks just don’t ring as true as this number.

You’re also going to enjoy some of the variance throughout No Future, such as the semi-Blondie homage on “Bad Future.”  Fedewa definitely maintains a bit of that sex appeal, but you can tell she’s a touch more bratty, in the most endearing way, of course.  It’s a pleasure to see that not everyone comes off sounding as tired and bored.  Punk was supposed to be fun, and it seems that’s just what we’re hearing here.  “Grey Area” similarly takes off in the same fashion, giving a bit of grit to great pop tradition of bright guitars and pounding rhythms.  Seems like these tracks were made with a youthful vitality only achieved through spinning around in your bedroom with the stereo on high.

Perhaps Wax Idols doesn’t have the brand recognition that you’re looking for, but that’s sort of sad, as you’ll have twice as much fun jamming to this record as you would if you just picked up the run of the mill garage girl-core album.  No Future has twists and turns, and most of all, it has fun.  It’s a reminder that music can have serious tones, but doesn’t have to be tired and banal.  Let’s put the fun back in rock n’ roll, and jam to this record all night.

[audio:https://austintownhall.com/wp-content/uploads/2011/11/04-Gold-Sneakers.mp3]

The Spits – Volume V

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Rating: ★★★½☆

The Spits are technically five albums into their career, but the odds are they’ve written more than that, with limited edition pressings and such.  If you’ve followed the group, then you’re accustomed to their sound; it’s pop punk if you washed it with fresh sewer water.  Yeah, I said it, and I’m going to say I love it.

“All I Want” blasts out from the beginning, bringing you a bit of dark edged punk, though the lyrics lean towards a bit of a love song.  It’s the great dichotomy of The Spits brand of rock n’ roll. They’ll take you on an even more furious ride with the next track, “My Mess,” which definitely has a sloppier feeling to the vocals.  Don’t get stuck on this one too long, as it’s pretty much over almost as quickly as it started, closing out with steady machine gun drumming and odd bits of telephone noise.

Perhaps one of the things that seems to differ on Volume V is the steady inclusion of this slacker, or subdued vocal.  It’s as if singer, Sean Spits is relaxing while the rest of the group blasts through each track.  Lead single from the album, “My Life Sucks” see the band pushing forcefully towards the end, while Sean seems to lackadaisically lay his stories atop the tune.  It’s not so much the lyrical content that does well to break up the monotony of typical punk fare, but the overall delivery, pushing a different spin on punk rock.

For me, it’s tracks like “Fed Up” and “Acid Rain” that grab at my punk heartstrings.  They’ve got a much more traditional feel, not that I necessarily need that, but that’s definitely where nostalgia and appreciation for modern punk meet.  I even feel as if I hear a bit of The Riverdales in “Fed Up,” but perhaps that’s just wishful thinking on my part.  It’s everything a good old punker needs: simple and fast–the perfect recipe.

Interestingly, The Spits never seem like they’re willing to settle in one place, which is perhaps why they’ve attracted me so much over the last several years.  Closing number “Last Man on Earth” has this Ian Drury approach to the songwriting, all placed over what seems to be a synthesized drum beat. This isn’t the sort of thing you’d expect from a band such as this, but its successful because it never grows stale, always giving you something to look forward to, or at least talk to your friends about in the end.

Regardless of whether the group is up your alley or night, you’ve got to appreciate the fact that they’re not settling for your run of the mill punk rock.  They’re pushing the boundaries, even within their own group, making Volume V as in enjoyable, if not more so, than all their previous records.  You’ve gotta love the Spits, and if you don’t, you’re missing out.

[audio:https://austintownhall.com/wp-content/uploads/2011/10/07-My-Life-Sucks.mp3]

Download: The Spits – My Life Sucks [MP3]

Surfer Blood – Tarot Classics

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Rating: ★★★★☆

If you haven’t heard of the riffy surf rock of Surfer Blood, where the hell have you been? No really, these guys have been to at least two SXSW’s and put out a killer first album. Well, if you haven’t heard of them before, they are a four part, all male band hailing from West Palm Beach Florida, who pack all the balmy weather of Florida into a neat sound package to be sent all over the world. I guess if you’re still a stranger to this band, Tarot Classics is an excellent place to start.

The first song, “I’m Not Ready,” comes out kicking and rocking, with hooking guitar parts and the gravelly vocals of John Paul Pitts’s familiar yells. Instantly, you’re bobbing your head along with that bubbling bass underneath and grooving along to the playful matching of vocals with guitar. At 4:24, this first song does go other places than what makes up the first minute of the song, which is excellent. Surfer Blood refuses to fall into that realm of already-done-before, and somehow manages to keep things fresh. Towards the very end of the song, they drop into this old-time swoony, beat, complete with backing ‘oohh,’ that brings the track out of, and then back into, its hazy garage rock zone that this group are the kings of.

 “Miranda,” is up second on this EP, and it comes across as Surfer Blood’s stab at a track devoted to a lady, and the chorus consists of just her name repeated over and over. While not as interesting as the first track, it does provide for a change in tempo. This second song explores more of a classic rock jam, one that you could hear echoes of from other bands. Yet, while it does go places other bands go, Surfer Blood manages to put their own flair on it, with the backing vocals giving it that extra dimension.

 The third and fourth songs are also excellent jams that add to Surfer Blood’s listening catalog. Both of them, well all of these songs, serve exactly as an EP should: as a lovely appetizer. These tastes of new material from this band make me hungry for their next full-length release album and if this is any testament to the merit of the next album, we should not be in for a disappointment.

Comet Gain – Howl of the Lonely Crowd

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Rating: ★★★★☆

For years I felt like my adoration for Comet Gain was unjustified, as very few, if any, of my friends had even listened to the band. But, with the release of Broken Record Prayers, their singles collection, the group slowly seemed to gain ground with the masses; I say rightfully so. Now, we welcome the newest recording, Howl of the Lonely Crowd, which appears to have a two-sided story–one filled with jangling pop of the usual sort, the other slowing it down just to spread some introspection.

As a new listener, you can easily breeze right into the opening three tracks of the record, fueled with the usual bit of jangling pop and David Feck poetry.   Depending upon where your allegiance lays, you’re either going to adore opener “Clang of the Concrete Swans,” or its successor “The Weekend Dreams.”  Personally, I’m going with the former, as I love Feck’s affecting vocals, not to mention the stuttering guitar/vocals just before the 2.5 minute mark.  However, Rachel Evans has a sweet melody behind her occasionally raspy vocals, so “The Weekend Dreams,” will definitely get your attention.  What’s interesting in both tracks, and many that follow, is the production quality, which still sounds busy, but so much more clear than previous works, allowing the true spirt of the band to prevail.

Of course, Howl of the Lonely Crowd has that bit of forlorn love to it; it’s the kind of thing David Feck seems to have perfected.  It’s first appearance via slow jam comes in on “She Had Daydreams.”  For me, it’s the storytelling and the lightly brushed female vocal accompaniment that allows this track to excel, giving Comet Gain a new dimension they haven’t delved into thus far in their career–not much anyways. “Some of Us Don’t Want to Be Saved” is another such number, but Feck takes more of a spoken word for this track, allowing the guitar playing, which is lighter than usual.  The fact that such a song can win you over without ever really taking the typical approach this group has displayed speaks loudly to their fans, and hopefully to newcomers as well.

You’ll find that listening to all of Howl of the Lonely Crowd might paint two different pictures. You’ve got the pure pop moments of the opening tracks, not to mention the power-pop of a song like “Working Circle Explosive” (reminds me of CG circa Realistes), and then you’ve got these somber closers on the latter half of the record.  Knowing Comet Gain, as I think I do, you’ll have to realize they don’t take the typical approach to songwriting, especially when it comes to album construction.  For all I know, Feck and friends could have jammed out and recorded the first half, which is likely since songs featuring Herbert Huncke have been floating around for some time, then gone back and recorded the second half at a later date.  But, none of it really matters in the end, as no one’s going to write a better indie pop record than this group.  The more you listen to the lyrics, the more they suck you in, and the more you fall in love–which is how it should be with your favorite bands.

[audio:https://austintownhall.com/wp-content/uploads/2011/07/03-An-Arcade-From-The-Warm-Rain-That-Falls.mp3]

Download: Comet Gain – An Arcade From The Warm Rain That Falls [MP3]

You can grab this from What’s Your Rupture now!

Still,

Twerps – s/t

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Rating: ★★★★½

For those of you just meeting Twerps, you’d be surprised at the evolution of their sound.  When we first heard them via the folks at Chapter Music, they were a pretty basic lo-fi group, spinning tape loops and coming off a bit lackadaisical on songs like “Good Advice.” On their self-titled record, you’ll get a much more focused group bringing it all home.

“Dreamin” begins Twerps, giving you cascading guitar chords that cut through the careful jangle-pop, even tossing in some backing harmonies from female member Julia MacFarlane. It’s as tight as the band has sounded since they were introduced, and such songs only solidify their presence in our musical world. But, you’re still going to find that carefree spirit within this album.

On “Don’t Be Surprised” Marty Frawley just tosses his lyrics atop a much slower paced jingle, sort of like you’d expect Dan Treacy of Television Personalities to do, that is until mid-track where they just kick it off with this beautiful bit of noisy pop, only to return to their melodious bit of fun.  Twerps use a similar tactic on what is not only the record’s best song, but perhaps one of the top songs of the year, “Who Are You.”  It embodies everything magical in a song: catchy bit of guitar playing, a cool bit of vocal delivery and relatable lyrics.  When Frawley goes into his “who are you/to be actin the way that you do,” it’s all perfectly fitting, and it leads up to the playful “we’ll get drunk/we’ll get stoned/we’ll get high/we’ll get drunk” line that accompanies each chorus. Simply put, there aren’t many songs from this year better than this.

One of the best things about this entire record is that Twerps simply keep you interested, going places you can easily see, but didn’t necessarily expect from the group.  “Jam Song” sort of fills the middle of the record with a rambling bit of ballroom stomp, always keeping their groove.  Or, you could skip a few ahead and find yourself at the simple spoken-word track, “Bring Me Down,” which is joined by a polite little bit of guitar strumming.  There’s pretty much moments for every type of listener out there, be it jangling pop moments like “Dreamin,” or a more-subdued Wavves feel like the closer “Coast to Coast.”  It all fits in with the band’s aesthetic, and it never seems to grow stale.

Twerps have been around for some time now, but this self-titled record is going to be one of the dates that you’ll want to remember, as a band that puts it together this well is very rare.  They’ve got hooks, they’ve got creativity and they even have a bit of attitude (or essence), all making Twerps one hell of a ride.  Mark my word, everyone is going to be talking about this group and this record for some time to come.

Currently you can listen to the whole album HERE. Or jam the opener below.

[audio:https://austintownhall.com/wp-content/uploads/2011/09/The_Twerps_-_Dreamin.mp3]

Download: Twerps – Dreamin [MP3]

Forest Fire – Staring at the X

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Rating: ★★½☆☆

Since the release of their album, Survival, it seems everyone has gotten behind New York’s Forest Fire, though they haven’t quite broken into the top tier.  Staring at the X is supposed to be the record that gets them there, propelling them into our speakers for repeated spins.  For all intents and purposes, it’s a good record, just not quite sure it’s that record.

“Born Into” begins the record with a bit of a trickle, as Mark Thresher takes to the vocals, barely speaking them as atmospheric blips jump in and out.  But, then the song takes flight, going further into the noise spectrum, as Natalie Stormann joins in backing vocals.  It’s fairly noisy, in comparison to the rest of the record, but it just doesn’t go anywhere before the track ends. However, this is a complete contradiction to “Future Shadows,” the following track on Staring at the X. There’s a bit of a quiver in Thresher’s vocals, sort of like our old friend Devandra.  Ringing guitars eventually flesh out the track, fusing with the melody Mark brings to the table.  It’s definitely a stand out.

One thing that seems to hold Forest Fire back on this release is a lack of a true musical identity.  “The News” has this great feeling of folky-stomper fused with machine/guitar tampering that definitely provides a uniqueness you’ll struggle to find elsewhere.  Even the sax solo fits perfectly, but then the band goes somewhere completely off the map.  “They Pray Execution Style” follows with a haunting number, one fueled by a sense of impending musical doom.  Natalie Stormann takes the lead here, and while her voice does well in this realm, the song itself doesn’t really have a place in the whole of the record, which ends up being a problem–on the whole, it’s skippable.

As you move along into Staring at the X, there are some fairly decent songs, such as “Mtns are Mtns,” a number that surely will appeal to those who appreciate decent slide guitar, piano and sprawling guitars.  It’s short enough to be pleasant, but not long enough to really establish itself as a winner.  Similarly, the album’s title track, “Staring at the X,” approaches more of a singer/songwriter approach than any of the other tracks, relying mostly on Thresher and lightly strummed guitars.  On any other record, you’d love this track, but it comes off here as a rather mundane tune.

Hardly a song on here could clearly be stated as disposable, so that’s a good thing I reckon.  However, having spent the last few days listening to Forest Fire, the whole recording doesn’t seem that remarkable to me.  Songs seems out of place when looking at Staring at the X as a whole, and the album suffers because of this inconsistency.  I can where we’d all enjoy some tracks as piecemeal collections, but united, it falls short of the lofty goals I think we all had in mind for the band. Better luck next time I suppose.

[audio:https://austintownhall.com/wp-content/uploads/2011/08/Future-Shadows.mp3]

Download: Forest Fire – Future Shadows [MP3]

Real Estate – Days

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Rating: ★★★★½

With the release of their self-titled album, Real Estate practically made themselves a household name among the indie rock cognoscente.  Not that their second release, Days, is upon us, things look even brighter, with a more refined sound filled to the brim with such pristine pop moments that it’ll be hard not to give the group recognition.

Opener “Easy” instantly brings the jangling guitar lines to the surface, leaving room for sailing melodies to burst through.  But, the ensuing track, “Green Aisles,” which is a bit of a long jaunt, really emphasizes the inherent warmth in the sonic craftwork of Real Estate.  Guitar lines gently glide, as if the band’s dialing in sunshine from within their recording space.  It all seems so effortless, as if the group’s been doing this for years…and they probably have.

“It’s Real” might have won over fans immediately upon its release as the lead single, but it’s just another sign that Days was perhaps designed with the longevity of the tracks in mind.  Soaring “oohs” might be a bit over-utilized by musicians in this pop spectrum, but there’s a hardness to the steady drumming that makes it more than just your average fare.  Still, other tracks are equally as successful within this recording, clearly willing to be played through your stereo for years to come. “Out of Tune” is perhaps my personal favorite, seeming to resonate in the past of California popsters of years gone by.  Despite two solid verses, this track holds onto a bit of guitar noodling, which, having listened to it on repeat a dozen times or slow, still sounds incredible (and not like “jamming” at all).

I’m sure that someone’s going to call the band out for creating a sound that doesn’t offer enough differentiation for your modern listener, but “Wonder Years” is a track that breaks out of the mold.  For one, it seems that Alex Bleeker might have taken over the vocal duties, giving a new quality to Real Estate. The more you let this song unfold, with its “doo-doo” humming and odd background solo, the more you just fall in love with the track.  It’s be nice to see more such moments coming from the trio in the future.

All in all, it’s hard to say anything truly negative about the entirety of Days.  Yes, it doesn’t grab you by the throat forcing you to fall in love, but it does more in being an unassuming collection of some of the most endearing pop tunes we’ve heard.  That alone should be enough to encourage you to pick up this latest release from the group, but if not, then the fact that Real Estate is sure to continue to be on everyone’s radar/blog/podcast for some time will eventually force your hand; give in now; you’ll be grateful you did.

Geoffrey O’ Connor – Vanity is Forever

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Rating: ★★★★☆

Long have we lauded the sounds of Crayon Fields, the wonderful Australian pop group, but now we have more reason to cheer, as singer Geoffrey O’ Connor steps outside the band, releasing his first album under his own name.  If anything, Vanity is Forever, establishes O’ Connor as more than your average songwriter; his apparent gifts are too great to label him anywhere near average.

From the moment “So Sorry” takes off you can clearly see that Geoffrey O’ Connor is concerned with the arrangements surrounding his songs.  There’s a bit of sweeping ambiance that coats his cool vocal delivery, perhaps giving a nod to popsters of the 80s. But, it’s lead single, “Whatever Leads Me to You,” that combines modern tones with hints of nostalgia, crafting one of the year’s best tracks.  Geoff has this frivolous crooner personality, at least in the vein of his vocals, as if he’s somewhere between whispering in your ear and serenading you at a club.  The guitars are subdued, with emphasis on the string arrangements, building a wall of around the internal melody.  Simply magnificent.

You might label some tracks on Vanity is Forever as throwback-kitsch, such as “Proud,” which clearly revolves around the keyboard driven moments of yesteryear’s club hits.  Yet these tracks offer more in the way of his lyrics, which are always extremely personable, allowing O’Connor to present himself to his audience in a way that no longer seems in fashion.  In what I personally find to be one of his best penned lyrics, he sings “I hope my friends don’t all get married/that they leave some part of themselves for me,” on “Like They Say It Does.”  Perhaps one might find it a tad self-indulging, but one cane easily relate to the sentiment of longing to live a life filled with friends and accomplishments.  There’s nothing abstract in the presentation, and the sincerity is quite refreshing.

While there’s definitely a bit of pace to the majority of the tracks, in so far as you can swing your hips a bit, there’s a few wonderful slow burners that show Geoffrey O’ Connor in a reflective state that benefits the listeners, and we hope the songwriter as well. “Surely,” the album’s closer, is built on a slow-moving piano, and even it’s basic construction, cleared for the most part of the record’s arrangements, shines a light on how much confidence he has in his writing and delivery.  What may appear banal in most circumstances, shows its inner beauty under a different microscope.

As much as I’ve fawned over The Crayon Fields since I came across them years ago, Vanity is Forever is a different animal altogether.  It shows Geoffrey O’ Connor crafting gems that seem to fit in any time period, filled with melody and a bit of sensitivity that often escapes your run of the mill indie affair.  It’s an album that’s affecting on a personal level, even for those unfamiliar with his previous work, making the whole ordeal a timeless piece of beauty.

[audio:https://austintownhall.com/wp-content/uploads/2010/11/07-Now-And-Then.mp3]

Download: Geoffrey O’Connor – Now And Then [MP3]

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