Category: Reviews

Cymbals Eat Guitars – Lenses Aliens

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Rating: ★★★☆☆

Hailing from New Jersey, Cymbals Eat Guitars are a four-person band with one album, Why Are They Mountains, under their belt already. Released in 2009, that album rewarded this band with comparisons to bands like Modest Mouse, and Pavement. On this new effort, they looked to work on it more collaboratively, and the effect of this is a band that sounds more controlled, and the instrumental parts feel tightly knit and well thought out on Lenses Alien.

The first song is “Rifle Eyesight (Proper Name),” which is an eight and a half minute long track, but it’s really just two songs pushed together with the help of some atmospheric guitar feedback noise in between the two. For roughly the first three minutes of this track, you have this lovely bouncy and jangly alternative rock song, complete with the harsh vocals of lead singer, Joseph D’Agostino, whose voice reminds me a bit of John Paul Pits, of Surfer Blood, due to its ability to turn ragged and grungy in an instant. You get a chance to see this switch to grungier on the second half of the first song, in which the guitars are fiercer, the cymbals crash more, and the pacing is faster. D’Agostino gets his chance to command the song with his vocals that are exasperated and rough at first. However, as the song calms down, so does the raspy nature in his voice, softening, if only for contrast as the song resurges to its final height.

After this monster of a song, it would be easy for the rest of the other tracks to pale in comparison, but each brings a lovely new element to the table. On “Shore Points,” you have a nice little surf rock jam, complete with angular guitars and enticing backing vocals from the other band members. Following immediately on “Keep Me Waiting,” there’s a killer bass line just bubbling under the surface, waiting for your ears to pick it out and move your body to it.

 While there are softer songs on here, like “Wavelengths” toward the end of the album, Lenses Alien does seem to fall a little one dimensional upon the inaugural listen. Perhaps there is too much of a good thing on this album; the heavy guitar and nasal vocals seems a little grating by the end of the ten song album. Maybe, with much repeated listening, there is more to this sophomore release, but as of now, it’s a pretty middle of the road album.

Blood Orange – Coastal Grooves

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Rating: ★★★☆☆

Dev Hynes changes names like most of us change pants, you know, once or twice a week.  First there was Test Icicles, then Lightspeed Champion, and now Blood Orange.  While names may come and go, Dev will always be the same, and Coastal Groove, his new record, finds him sort of running in place, albeit a more 80s influenced place.

When “Forget It” hits your speakers, those familiars won’t find too much different than the most recent Lightspeed Champion record.  But, the slightest nuance can change things; you’ll notice a more electronic beat driving the track, but Dev’s sultry voice is always front and center.  Moving right into “Sulphin Boulevard” will have you catching the essence of the entirety of Coastal Grooves.  There’s a delicateness to every musical note, breathing sexuality over electronic down-tempo tunes a la Twin Shadow.

It’d be real easy to throw lots of Prince allusions throughout this first record by Blood Orange, especially if you catch the vocal performance on “Instantly Blank,” but that’s probably selling Hynes short, as he’s always had this odd combination of indie rock and R&B; this is one of the reasons I’ve always adored his work. But, for the majority of the record this sort of feels like his attempt at mediocre bedroom pop, and that might not be his foray; if you strip him of his orchestration, he seems less dramatic, less artistic even.

One of the saving graces about Mr. Hynes is that he’s always been fairly open about his projects, willing to do pretty much anything he’s asked, just for the sake of it.  That being said, there are some successful tracks that I’ve found myself jamming to throughout the day, such as “The Complete Knock” with its steady stuttering guitar line kicking off a nice little groove throughout. “Are You Sure You’re Really Busy” seems like the track where he could take off into a different level, as the drama in his voice, wavering ever so slightly gives this track an extra step above the rest of Coastal Grooves.

For what it’s worth, this isn’t a bad record at all; I’ve heard much worse (from the Foo Fighters) this year alone. Yet, having followed Dev for quite some time now, I can’t help but be a little let down by the entire Blood Orange project.  He’s missing something here, such as his orchestration or his flare for spinning words into new melodies mid-word.  Coastal Grooves seems to lose a bit of focus, turning out the same guitar line over and over, but I’m still going to get into it over time because that’s just what Dev deserves.

Am & Shawn Lee – Celestial Electric

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Rating: ★★★★☆

Originally a solo artist, AM hails from America, bringing the diverse sound that you would expect from someone who was raised New Orleans. Producing music steadily built upon the mixture of Americana folk pop as well as various R&B elements, he already had a whole lot of genre conglomeration going on before he decided that he would collaborate with London acclaimed groove master, Shawn Lee, on this album. What one would think is far too many different kinds of sound to be packed into one album, but the result is surprisingly refreshing.

First, let me just say, do not be intimidated by the size of this album. At fifteen tracks, with the medium range time around three and a half minutes, Celestial Electric comes in at around an hour total, which to me, sounded like I was going to be bored by the final track; I mean come on, how much electronic beats can you dish out without repeating yourself? However, I was stunned at the variety and these two’s ability to keep things fresh pretty much consistently through the fifty four minute long album.

With any preconceived notions about electronica, or anything else out of the way, let’s get to the actual music. Celestial Electric opens on an instrumental track, “Dillon’s Song,” which is by no means brief, but also by no means boring. It’s a lovely little groove, which builds the whole way from a funky bass line. The next track is “I Didn’t Really Listen,” another groovy beat that will make you sway in the verses and party dance in the choruses/breaks from the normal serene beat. Overall, it sort of sounds like a mellowed and more electronically driven Phoenix, which is a connection probably made on the vocals, which are most similar.

So, introduced to this massive mix of genres, you continue your trek through these waves of chill, each track inducing some head bobbing, and maybe a little shimmy-shaking—if you’re feeling it especially. For me, someone who doesn’t normally get along too well with dancey music, this feels different. Each song pulls me in, making it hard to skip a song. Sure, there are some real standouts, like the early “City Boy, ” which combines a sweet guitar base with a falsetto chorus that will have you crooning right along. Or even “Promises Are Never Far From Lies,” which is perhaps the grooviest track on here, bringing those handclap sounds and the made for dancing synth meanderings.

All in all, Celestial Electric is as its name would suggest—a stunning and ridiculously enticing slew of electronic beats. Give it a try before you knock it.

[audio:https://austintownhall.com/wp-content/uploads/2011/06/04_Dark_Into_Light.mp3]

Download: AM & Shawn Lee – Dark Into Light [MP3]

Total Babes – Swimming Through Sunlight

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Rating: ★★★☆☆

When press first came out for Total Babes, a lot of attention was given to the fact that it featured a member of Cloud Nothings, and to a certain extent, that’s a fair association, as the similarities are definitely visible. However, Swimming Through Sunlight, the band’s debut on Old Flame Records isn’t just a re-imagining; it stand up on its own merit.

If you’re looking for a catchy lo-fi hook, you won’t have to look beyond the first song, as “Like They Always Do” features a chorus that grabs you while the noise distortion swells in the background.  It’s a quick hammering, not staying around too long for fear of giving you a little bit too much sugar. But, while this shares that affinity for noisy-garage pop a la the aforementioned association, the next track, “Be So Sure” shows resemblance to another lo-fi pop band, The Thermals (it’s not just me is it?).  Perhaps the vocals could be cleaned up a bit more on the recording, but it definitely has that sweetness mixed nicely with a bit of excessive noise, just like Hutch would want it.

One of the best things about listening to Swimming Through Sunlight is that you can see various touches of the modern musical landscape, but the inherent melodies and songwriting enable to group to move beyond pure mockery.  “Someone to Blame” sounds an awful like Wavves at their best, even featuring a similar lyrical style, using simple words to convey a message.  I suppose that various sources can knock the group for a lack of originality, but you can easily look beyond that once you get to the core of the songs.  They’re not too long, giving you just a taste of their glory, then moving on, asking you to revisit at a later point.

Personally, I would like to see Total Babes revisit the studio with a bit more of a polish and sheen.  For instance, there’s a brightness to the opening guitar line in “Without Your Heart,” but that clarity eventually parts for a grittier sound.  This isn’t entirely a bad thing, as it serves its purpose in a great deal of the tracks featured on the record, but a certain sharpness could really propel these songs to the next level.  Even in the closer, “Tip of My Tongue,” there’s this incredible element of pop, but it’s buried so far beneath the mix that it comes off sounding more like a demo than a final product.  It’s the slightest difference between an incredible song and just a really good one.

All in all, Swimming Through Sunlight is full of bright spots, and its clear that the songwriting is far more than just your moderate fare, but Total Babes still have a bit of work to do in the finished product.  Clear vocals here, bit of distortion removed there, and you’ve got a wonderful record full of memorable hooks, sing-a-long moments, and enough power to kick the rest of the genre in the face; looking forward to that day!

[audio:https://austintownhall.com/wp-content/uploads/2011/07/02-be-so-true.mp3]

Download: Total Babes – Be So True [MP3]

Beirut – The Rip Tide

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Rating: ★★★½☆

Although Beirut first stepped onto the musical scene five years ago, front man Zach Condon had been making music for much longer. In fact, Condon had been writing and producing music since he was a wee lad, holed up in his bedroom. So it was no real change to his life when he started producing music that others would hear; all the songs on his debut just felt like the hundreds of other songs he had already furnished. Audibly, this means a certain intimacy from the start, one that caught the attention of a large number of fans of this band, and one that continues to hold the attention of indie music aficionados with The Rip Tide.

The first song, “A Candle’s Fire,” starts off with some quiet accordion and then jumps right in to the horn’s ablazin’, jangly, folk pop that they do so well. After a brief instrumental interlude, Condon’s deep, yet alluringly nasal tones chime in, and the song carries on, backed by the rolling, marching band-sounding drums. It’s a good opening number, but it is no “Santa Fe,” or “East Harlem,” the two songs that follow it, which happen to feel like the singles for the album, as they stand out from the rest of the tracks on The Rip Tide. “Santa Fe” has synth backing that weirdly fits in with the classic instruments that Beirut introduced you to on their recent EP’s. “East Harlem,” the third track on the album, plays with the cohesive elements of Beirut’s normal sound, by having choppy percussion and constant piano carry the song.

Sadly, as this record progresses, it does not climax as all good records should, but simmers to its mediocre end. When I say mediocre with this band, it does not really mean the classic definition of boring and blegh that may apply to other music. For Beirut, a mediocre track means one that is still significantly better than what most bands produce, but with the expectations that I have for them, the tracks fall a little flat. There just isn’t that explosion into new territory that will blow a new or old listener away.

If you’ve listened to anything that Beirut has produced prior to this record, and liked it, then you will find that you will probably like this just as much. Sonically, this band doesn’t really go anywhere that far away from previous efforts, but this should not be a deterring factor; the group doesn’t go in a negative direction either.  The result is a collection of songs, some better than others, which should fit nicely into your regular listening queue.

[audio:https://austintownhall.com/wp-content/uploads/2011/06/Beirut-New-Harlem.mp3]

Download: Beirut – New Harlem [MP3]

Devon Williams – Euphoria

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Rating: ★★★★☆

Devon Williams has gone seemingly unnoticed, or he’s lived just below the lines of indie success.  Now, however, he seems poised for a breakthrough; Euphoria just might be that perfect blend between bedroom sensitivity and blissful pop.  If not, then perhaps things weren’t meant to be, but you can tell that Williams has perfect control over his craft with his latest release for Slumberland Records.

As if the cover art wasn’t enough, “Revelations” willingly sets the mood, bringing about the central theme of euphoria, musically speaking.  There’s a cleverness to the song’s construction, that’s both playful and, dare I say, pretty. “Your Sympathy” continues along the note, but the guitar sounds definitely will find a home with fans of the bedroom-pop of today.  That guitar will ring throughout the song, but it’s the “ooohs” of Devon Williams, not to mention solid drumming that move it beyond the recordings of your average boy and his four-track.

While “Dreaming” furthers that bedroom pastiche, “Sufferer” takes it even further.  There’s fantastical elements all throughout, with various effects on the guitar crafting the soundtrack one would find in a land such as that on the cover.  It’s bright, yet there are dark hues and hidden patches only close listeners might fine.  For the most part, Euphoria really sticks in this musical vein, not straying too far off.  That is until you get to “Right Direction.”

In this tune, you’ll find an entirely different guitar sound, one that’s much warmer in tones, rather than slightly angular.  It’s sort of the middle ground between Euphoria and his Williams’ last record, Carefree. There’s a more moving pace, but there’s definitely that affectation for sweeping sounds.  It comes at the perfect time, breaking up the possibility of monotony that stems from too many like-minded tracks.  Which is precisely what this track seems to do, as the rest of the album is more of a mix of sounds and styles, making it the more exciting half of the album.

“How Is There Always Room” seems intent upon reliving various soundtrack moments from 80s movies, yet Williams has a different vocal approach, allowing the song to evolve beyond cliche.  “Tired of Mulling” is more of a casual ballad, accompanied by lush string arrangements.  It’s a track that stands out on its own, in so far as it doesn’t sound remarkably like anything here, though it easily fits into the collection.  And as Euphoria draws to a close, everything seems to have fit, falling nicely into the theme defined in the very title of the album.

Devon Williams didn’t always sound like this, but he always possessed the talent and the songwriting to make such huge leaps and bounds. It’s an album that refines the bedroom-pop of today, adding forceful percussion, lush arrangements and, honestly, solid production.  While at times it may blend together too nicely, it’s an excellent effort, making Euphoria worthy of accolades from this writer, and surely many more.

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

Download: Devon Williams – Your Sympathy [MP3]

Stephin Merritt – Obscurities

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Rating: ★★★☆☆

For some, Stephin Merritt probably ties into their lives at every corner, as he seems to craft brilliant tunes at almost every turn.  Yet, despite his work with Magnetic Fields, the 6ths, and various other projects, he remains largely a cult hero to most, and an oddball to dissenters.  That being said, fans of his work will probably find endless enjoyment in Obscurities, while other will, sadly, continue to look the other way.

“Forever and a Day” begins the record as only Stephin can, offering up a solemn bit of ukulele, meant to accompany many on their way to the altar.  It’s easily one of the standouts on this collection, demonstrating how delicate his songwriting can be.  If you wished for someone to write the perfect love song for you, the odds are Merritt has it stored away somewhere.  Even those longing for the love of nature will find their needs met with “The Sun and the Sea and the Sky,” an ode to the remarkable powers of the environment to shine into our lives.

Perhaps one of the things that has kept the masses from adoring Stephin Merritt is his tendency to amuse himself with either his writing or his instrumentation.  Take, “When I’m Not Looking, You’re Not There,” for instance, which seems to have sort of a glitch approach to Merritt’s typical construction, filled with beeps and blips, oddly uniting to fit the song’s goals.  Even the touches used on the out-of print 7″ track ” I Don’t Believe You” seem to disjoint the song, but I suppose that my own love of the later version that appeared on I, which is one of my favorite works by The Magnetic Fields.

Still, even when he’s crafting mock numbers, such as “Plant White Roses,” which alludes to the works of Patsy Cline, he’s successful.  Yes, there’s a female vocal here, but Merritt’s always employed that touch in parts on his work, so it truly is the crafty melody that warms you over.  Or you can take a look a listen to “Rot in the Sun,” just to see what he’s been able to accomplish, using electronic sounds oddly reminiscent of “Eye” by Smashing Pumpkins.  For me, it illustrates his ability to start somewhere, either a bar or his bedroom, using the melody to build the song, and using whichever instrument fits the melody the best.

In the end, Obscurities, is definitely a collection piece.  It’s not nearly as thematically cohesive as the majority of his work tends to be, so this, in my opinion, is not the place to start your love affair with Stephin Merritt.  However, those who adore him will find pleasant things, was nostalgic, and revisit his entire collection.  Merritt’s one of those musicians who you can’t ignore, and even here, on a haphazard collection, you’ll find him sinking beneath your skin, finding his way to your heart.

[audio:https://austintownhall.com/wp-content/uploads/2011/05/Stephin-Merritt-Forever-And-A-Day.mp3]

Download: Stephin Merritt – Forever And A Day [MP3]

Chelsea Wolfe – Apokalypsis

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Rating: ★★★★☆

More often then not in this day and age of music, bands will go for what I like to call ‘the single approach,’ or perfecting one of their songs so that it attracts the ears of potential listeners, and then failing to provide an album that matches the excellence of the single, or culminates with the other songs for a thematic approach. Regardless of what the rest of the music world is doing, Chelsea Wolfe seems to be dedicated to doing things her way, which means an album Ἀποκάλυψις (pronounced apokalypsis) themed around darkness.

If the album title wasn’t enough, or even the track titles, to prove that this is a deeply sinister work, then the first noises you hear should do the trick. The first ‘song’ on the album, or the twenty-five second screeching noises entitled “Primal/Carnal,” sounds exactly like the title entails; an animal coming to life, but not just any animal, more specifically going off Wolfe’s outwardly dark themes. After this introductory track, “Mer,” the first real song kicks in and instantly Wolfe’s vocals hook, oozing with haunting qualities. It is much akin to that of Jenn Wasner from Wye Oak, which is obviously not a bad thing, as the female powerhouse vocal is never something to sneeze at, especially when its sweetness is juxtaposed against grungy instrumentals. Meanwhile, in the background, you have simmering cymbals and slowly effervescing guitar parts that provide a dark ambient folk/rock/pop vibe.

As aforementioned, Ἀποκάλυψις doesn’t really follow the pattern of one song standing apart from the others. Rather, it is the opposite, in that in order to absorb the rich, heavy and blackness of Wolfe’s gothic rock, you need to listen to the whole album, all the way through. Sure, like most records, you’ll pick out your favorite song, but there is a general sense of atmosphere required on all of the songs that makes it difficult to really immerse yourself in this kind of music without some preface or transition into. In effect, this phenomenon is probably the most unique and alluring factor of Chelsea’s work, and its cohesiveness is a lovely break from the banality of albums that just sit as a collection of similar sounding songs.

I won’t lie to you and say that this is a light effort, in the slightest. Instead, it is one of the more solid pieces of music that you will find these days. However, if you are ready to sit down and just soak up all of the darkness that Chelsea Wolfe is doling out, then this should be a beautiful album for you to relish in.

[audio:https://austintownhall.com/wp-content/uploads/2011/05/A01-advice-and-vices.mp3]

Download: Chelsea Wolfe – Advice and Vices [MP3]

The War on Drugs – Slave Ambient

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Rating: ★★★★☆

While some may say to ‘never judge a book by its cover,’ I will forever judge an album by its artwork, or at least base my idea of what the band behind the cover art would possibly sound like. Sometimes, this theory proves faulty and none of the visual clues match up with the sound. Others, however, like with this release, fit perfectly; the ethereal pinks and purples mixed with the overall fuzziness match the lush waves of guitars and hazy pop/rock sounds of The War On Drugs.

The first track, “Best Night,” is one that should blow you away, as it did to me. Upon listening the first time, I was pleased with it, but after repeated listens, it began to grow to something much more. Soft, muted drums echo demurely in the background, easing into the meandering guitar parts until the scraggly vocals of Adam Granduciel chime in and you’re instantly hooked. Steady guitars feel confident and omnipresent, creating a flowing wall of background sound that is always buzzing in your ears. It’s a killer track to begin with, but then The War on Drugs throws in some extra minute details that just sets this above most common tracks; there’s something about the way the guitar part matches the little stretch out of a word that has me swooning over this track. To top it all off, the song transitions to the next with a sensational instrumental groove that is sure to have you grooving along with each riff.

Even though the first track is a big deal in itself, the rest of the album is nothing to turn your nose up at.  There isn’t a song that you’ll want to skip, and there are certainly more to treasure than just “Best Night.” “Come to the City” is a four minute and thirty second drum-driven party number, complete with buzzy guitar break. “Blackwater,“ the ending track, loses the drums for the most part, and takes a leaf out of the acoustic book, allowing you to appreciate the strength in such a powerful voice. Unifying all these great numbers is some stellar songwriting and the thematic waves of serenity.

When comparing this band to others, names like Bob Dylan and Springsteen tend to crop up, leaving big shoes to fill. However, it seems like this band has taken comparisons like these in their stride and not looking back. While this may not be a revolutionary album, filled with a dramatic and entirely unique sound, Slave Ambient is still a constant and confident effort from The War On Drugs.

Her Space Holiday – s/t

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Rating: ★★★½☆

It seems like just yesterday that Marc Bianchi began his Her Space Holiday career, when in fact it was 15 years ago.  Finally, the sun is setting on the project, and with this close, Marc’s releasing his final album with the moniker, Her Space Holiday.  It’s perhaps his most complete work, leaving us all with one final album, but so many memories.

“Anything for Progress” begins with a soft-spoken Bianchi singing over light instrumentation; it’s a solemn beginning for a farewell.  But, as the drums march in, arrangements rise and fall, giving us a splendid pop venture fitting for our goodbye as Marc sings “this is all I know.”  Even with the sadness of giving up Her Space Holiday, the explosion of joy and melody at the end of the track is evidence that Mr. Bianchi has come to terms with his decision, aiming to go out with one last momentous affair.  He even follows this up with “Black Cat Balloons,” a song that seems to follow with similar construction.  Gentle beginning, exuberant chorus, wash, rinse, repeat; well played sir.

Despite the bright beginnings, there are some more somber moments throughout Her Space Holiday, though they eventually evolve into well-crafted pop.  “The Candle Jumped Over the Spoon” offers up lightly strummed guitar, Marc’s quiet singing, nice female accompaniment, but it really takes off with the influence of accordion, turing the quiet affair into a piece of swinging good fun.  It’s interesting, as none of the tunes on this record completely give into one style or genre, even with prolonged entries.  Like the aforementioned tune, “The Bullet, The Battle, The Trigger, The Barrel and Me,” presents us with some quiet time with Bianchi, but it can’t last forever, can it?  Well, in short, the song ends with a burst of light, stomping until the sound has subsided.

Perhaps one of the best things about Her Space Holiday is the attention to detail; every sound is purposeful, being used to flesh out each song.  It’s made Bianchi one of the stronger songwriters, oft-overlooked by his peers.  Hopefully as the curtain closes on this chapter of his life he’ll finally receive some recognition for this characteristic.  “Death of a Writer” employs subtle touches of string arrangements, and while it would be easy to see this as fanciful fleshing out of bare tunes, it’s clear that Marc left space in the music for such bursts of accompaniment.  It could be horns, strings, backing vocals; it could even be empty space, but it’s there for a reason: that’s craftsmanship.

I’m sure that somewhere in the future we’ll hear from Marc Bianchi again, and we’ll all be grateful for his return.  That being said, it’s sad to say goodbye to something that has been a part of our lives for so long, especially when it’s executed as well as we find on the last proper release of Her Space Holiday.  We bid you a fond farewell, and we hope to see you soon.

[audio:https://austintownhall.com/wp-content/uploads/2011/06/01-Black-Cat-Balloons.mp3]

Download: Her Space Holiday – Black Cat Balloons [MP3]

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