Category: Reviews

Young Montana? – Limerence

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Rating: ★★★½☆

Long is the laundry list of beat makers via the UK, but one of the rising stars of the scene, Jon Pritchard aka Young Montana, is a ripe 20 years old. Following in the footsteps of renowned veterans such as Prefuse 73, FlyLo, and Madlib, Young Montana? has just released his debut album, Limerence on Alpha Pup, with some fantastic artwork to boot. Emerging from relative obscurity in Coventry, a smallish town in the UK, Pritchard has managed to bottle up some of the most fluid beats of the year with a strong down-tempo style perfected in his own backyard.

While the flow is intermittent at best, the release works as a host of independent sketches comprised of a multitude of ideas, much like Prefuse’s Apexian. The overall theme varies widely from the soulful to the askew to the more gathered bass-driven tracks, but when Pritchard hits the right chord, the sound is rich, interesting, and energetic. In many ways, Pritchard is on the forefront of the next wave of beat makers trying their hands at the game after years of study dominated by the masters. While Limerence is not entirely ground-breaking, the release more than makes up for it in sheer jam-ability, on tracks ‘Sacré Cool’, ‘Suchbeats’, and ‘Repetition’. While most vocals are reserved in snippets thrown in for an added texture, the release is more or less instrumental. Utilizing his full arsenal of techniques and tricks, nearly every track holds a recognizable pattern worthy of a head bob. ‘Legwrap’ however, is where Pritchard is certainly pushing the boundaries, incorporating the pinnacle of his off-kilter, wonky, and plain off the wall trips and ticks before emerging as one of the more killer beat structures found on the album. Such is the way Pritchard directs his listener, always keeping us wondering what may come next.

The final track ‘Connct’ once again thrives on the bass heavy, but throws in a music box to keep the listener always guessing. While it makes what begins as one of the most enjoyable tracks less so, it’s still interesting enough in its own right to justify a listen. For such a young mind at an essentially old man’s game at this point, I predict good things from Coventry and a multitude of small towns throughout the world in the years to come in the wide open world of beat-making.

Pure X – Pleasure

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Rating: ★★★★★

At this point in time, it would be difficult for one to ignore Pure X (formerly Pure Ecstasy) based entirely on the amount of press that has seemed to surround the Austin trio over the last few months.  After listening to Pleasure over and over (and over and over) again, you’ll soon realize that the group is no joke, and they’ve crafted the slow-burning record of the year, if not just the straight up record of the year.

The instrumental “Heavy Air” begins the record with sort of the ominous feeling one would associate with bloated oxygen, weighed down in trickling bits of guitar reverb and harrowing sounds that fill every inch of space necessary.  It’s the perfect precursor to “Dream Over,” a track that begins with a little bit more light, as “oohs” gently float you through the intro.  Once the vocals come in, the echo effect of created by the band refraining from polish stains the track with every inch of passion Pure X possess, especially clear as vocals strain in the background to wrap up the song.

You’re going to be hard pressed to discover such a one-two punch as “Twisted Mirror” and “Easy.”  The former slowly builds with discordant guitar sounds carefully cutting through the space, all before we’re presented with even a hint of vocals.  Honestly, while the depth of the vocals on this track, and on Pleasure for that matter, elevate each song, the craftsmanship of the sound itself doesn’t even require singing at all.  With “Easy,” the appeal for the masses is immediately noticeable as drums mellowly pound the rhythm, vocals uplift you, and squalls of noise filter in and out of the song.  If you play it on repeat, you’re bound to get lost in the simple beauty expressed here.

Every song on Pleasure is a listenable gem, each with twists and turns of its own.  The seemingly instrumental “Surface” fills out a void in the record, with Pure X providing you a sense to further allow immersion into their dense sound; oddly, it’s not dense at all. The use of sound and structure fills every inch of recording space, creating the juxtaposition of hollow, yet dense; it’s a sensation you must have for yourself. There’s short tracks like “Stuck Livin” that seem like heartfelt laments about life, yet much like San Francisco’s Girls, there’s a bright light glowing beneath the stark reality of our world. Even the single “Dry Ice” is worthy of every inch of praise its received.  It’s quiet at times, yet the group’s approach swallows you whole, forcing you into some sort of melodramatic trance from which you never want to escape.

People will always be skeptical of bands with great hype, but there’s absolutely nothing wrong with any second of this record, though the band would probably disagree.  Pleasure is, to me, reminiscent of Spiritualized, utilizing the band’s creativity within the studio to extract every bit of sound possible, yet not filling it with indulgences.  Like Jason S., Pure X has crafted a delicate listen, one that whole-heartedly enthralls you track after track.  If there’s such a thing as modern classics, this one might well be on its way.

[audio:https://austintownhall.com/wp-content/uploads/2011/07/08-Dry-Ice.mp3]

Download: Pure X – Dry Ice [MP3]

Son Lux – We Are Rising

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Rating: ★★★★½

Son Lux (AKA Ryan Lott) is still relatively unknown despite a strong underground following and well-established name in the music theatre production circle. Even his stops through SXSW in 2008 and 2010 were less than minor blips on most blogger’s radars. However, after a solid debut in At Wars With Walls and Mazes via Anticon in 2009, Lott is front and center in the outsider music world. That stunning, yet polarizing debut consisted of randomized yet painstakingly set, modern classical arrangements and chopped hip-hop blended into a striking pattern of delightful vocal imagery.

After taking note of that record, NPR decided to up the ante and proposed a pseudo-dare. Could Lott, whose prior methods of creation consisted of long, drawn-out thought processes, complete his follow-up in 1 month (February no less)? Surely, you jest. Like most musicians, Lott scoffed at the thought of modifying his creative process so blatantly. Especially considering his new material was already taking a general form.  By listening to his gut, Lott tossed that work aside and stepped up to the plate and hit a home-run. The finished product in the NPR RPM challenge, We Are Rising is a subtle wave at the meticulousness of his prior release, but with a strong foothold in the spontaneous and improvised.

What emerged is a record that takes the listener on a ride traveling multiple directions and varying speeds. ‘Flickers’ begins the voyage by the literal and metaphoric lighting of the candle. It’s the first glimpse of the light and dark, contrasts used intermittently throughout to great effect. The pseudo-title track ‘Rising’ is a powerful modern classical piece with pounding rhythms and playful winds. This dichotomy of contrasts is viewed has become more or less a signature of the young songwriter. What has also remained is a wonderful way with words, as seen on ‘Leave the Riches’. Toying with the idea of attachment, ‘Claws’ is a turn back to the slower drive, employing a rich bass heavy soundtrack contrasting with Lott’s airy vocals, while ‘Let Go’ is a direct shout out to his debut in the same vein as ‘Stand’ in tone and structure.

When an artist fully emerges themselves in a project and produces at a rapid pace, the result are often striking, if not unrecognizable. Such is the case here. The creativity that flowed in this month long session shows a deep rooted discipline, passion, and mental fortitude, not seen today in many artists. I find that refreshing, especially from such a relatively new artist. Son Lux took the best of his creative process and composed what many will argue is the best album of the year.

Handsome Furs – Sound Kapital

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Rating: ★★★½☆

Electronically driven, but vocally backed, is what Handsome Furs have shown us their sound consists of on their past two full-length records. It seems on Sound Kapital, they chose to put an even larger strain on the electronic elements of each song, nixing the guitar somewhat completely. Although an interesting choice, this heavy electronic sound is one that works stylistically for Dan Boeckner and his wife, and follow member, Alexei Perry.

This album starts out somewhat misleading on “When I Get Back.” Sure, there is the lovable drawl of vocals, but there is also this backing dub-esque beat that throws the number off a tad bit. Despite this underwhelming start, Handsome Furs progress as the album moves along. After the pace increases on “Damage,” they follow with “Bury Me Standing,” which is the first real standout track, complete with raging synthesizers, a hint of electric guitar and quickly iterated lyrics. Here, you also have the introduction of a mechanical feeling emoted from the songs. The repeated lyrics turn into a motif, feeling similar to a machine doing the same thing over and over.

This proves to be a bit of a double edged sword for this band. For some, this may prove to be simply too much because of the doubly repetitive base in synth. However, others may be allured by the gripping intensity of Boeckner’s vocals that Handsome Furs has not previously been known for, as exemplified on the power double of “What About Us,” and “Repatriated.” As I mentioned before, it seems like as this album moves along, the songs get better and better, and these two are no exception; they don’t contain the redundancy that the earlier tracks seem to have. Or perhaps the band’s sound just grows on you with more exposure.

But the most impressive song for me comes at the very end with the seven-minute stunner that is “No Feelings.” The exact opposite of its namesake, this song is packed with head bob inducing beats, but is also driven intensely by the power of Boeckner’s vocals. He successfully takes over the song, as opposed to letting the electronic aspects have the lead, and it does not feel longer than any of the other songs on Sound Kapital because it is so enjoyable. The track itself ends with the repetition of “no feeling” over and over, contributing to the overall theme of the growth of industrial behavior, in the most careful way possible.

With the large focus on electronic beats, I was pleasantly surprised with this album. The prevalence of Boeckner’s vocals draw away from heavy synth, creating nostalgia for those who love his power in his other works, and furnishing a new love for those who haven’t delved into his catalog.

[audio:https://austintownhall.com/wp-content/uploads/2011/05/07_Repatriated.mp3]

Download: Handsome Furs – Repatriated [MP3]

Centro-matic – Candidate Waltz

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Rating: ★★★★☆

For close to two decades, Will Johnson has been all over the map, crafting songs under his own name, with various co-writers, and of course, with Centro-matic.  For the most part, his music has always had a sort of country-shade to it, and his voice has always made it heart-wrenching, no matter the lyrical content.  But, on Candidate Waltz, there’s more of an uplifting construction to the songs, giving you an album that could be considered his most widely accessible work to date.

You can easily discern that there’s going to be a sharper, polished sound on Candidate Waltz the minute “Against the Line” drops in with it’s sharp guitar chords.  Of course, the fragility in Johnson’s voice remains, creating an interesting juxtaposition that allows the song to be absorbed by your soul on multiple levels.  Jagged guitar lines cut through the following track, “All the Talkers,” with the group sounding a bit like a more rocking version of Lucero, but the interesting aspect of this song comes in near the final two minutes.  The track switches from a gritty rocker into this carefully crafted pop lullaby ending, created by the melodious backing vocals; this is perhaps one of the brightest moments on the record.

If you’re looking for that classic Centro-matic sound, with Johnson’s voice pulling at your gut strings, you’ll find that those songs, too, live within the confines of this latest effort.  “Estimate x 3” relies upon a time-keeping drum beat, quiet guitar lines, and Will.  The gruff quality of his voice always makes him seem so vulnerable, and that has consistently made his tracks seem tragic, yet towards the end of this number, as he repeats “give me what you want/don’t tell me” you can sense a softer side emerging in his work.

It’s going to be difficult to find something that allows you to disregard Candidate Waltz.  There’s sweeping melodies, great song arrangements, and really, there aren’t any misstep songs.  “Only in My Double Mind” has a banging piano and drum to start it off, while Johnson’s vocals do a great job carrying the melody throughout, giving you a short glimpse at just how powerful his voice can be, even when the music doesn’t appear to be the most innovative.  There’s a gentleness to the way he croons “ooh ooh,” providing those mono-syllabic moments with bits of depth you typically don’t see.  And the record finishes off with much the same fashion as it begins, bringing a warm rocker to your ears by the name of “If They Talk You Down.”  It shouldn’t cease to amaze you how emotionally charged Will’s vocals come across, even when he’s just using his voice as an instrument.  Personally, the gentle strings in the background make this track another standout.

There’s not a bad thing to say about Candidate Waltz, no matter how many times you listen to it, unless of course, you wanted more songs.  But, the brevity of the experience, combined with Will Johnson’s powerful voice provides listeners with more than enough to swoon over, just before Centro-matic wraps it all up.  The best thing is that as soon as it ends, you’ll want to start if all over again. And again.

[audio:https://austintownhall.com/wp-content/uploads/2011/05/05.-Only-In-My-Double-Mind.mp3]

Download: Centro-matic – Only In My Double Mind [MP3]

Jeff the Brotherhood – We Are the Champions

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Rating: ★★★★☆

Very few duos really seem to pack a punch, the last one I recall that really killed was DFA 1979, but the latest release from Jeff the Brotherhood is definitely a record that will lightheartedly kick you in the teeth.  This is a good thing, as summer needs some rock n’ roll, and that is precisely what We Are the Champions gives it listeners.   Want to have a good time, then run out the door, pick this up, and blast it as loud as you can!

Like various other bands taking this arena rock approach, namely Free Energy, you can feel the studied past of classic rock and punk flowing through the veins of the Orrall Brothers. But, what seems to put Jeff the Brotherhood far ahead of their peers is that they actually seem to be enjoying their portrayal of the sound.  “Hey Friend” spends the first half of the opening track giving you one hell of a gritty rock jam, but then it sort of breaks into something entirely different; its part Weezer, part Ramones, part arena ready rock.  It’s just plain good.

Sure, you could take a knock at the band for giving you some fairly juvenile song titles, and possibly lyrics, but occasionally, the execution matters far more than the actual thought process; such is the case on We Are the Champions.  “Cool Out’ speeds through, with a pace that would probably force Joey Ramone to think twice, but it’s got sort of a power-pop-punk feel, like early Queers albums.  Perhaps it’s the fact that the band is just a duo, forcing them to focus on their simplicity when it comes to songwriting, giving their sound something rather refreshing and clean.  “Bummer” has buzz-saw guitars and just a steady drum beat keeping time, but it’s the “whoa-ohs” and vocal harmonies that make it such a killer track. The louder the song gets, the more you just want to have fun.

But, it’s not all fast-fueled punk-ish sounding arena rock, but there are some momentary allusions to stoner-rock as well, or sludge-rock, like “Ripper.”  It just opens with this filthy jamming moment (one of the few times I like a jam), and of course it blasts off into a furious energetic blast, but the sound of the guitar definitely is filled with dirt and grime, unlike some of the cleaner sounds on earlier tracks. Really, these guys are all over the place throughout the entirety of We Are the Champions, but in an endearing fashion that makes you want to pump your fists and sing out loud.

Album highlights for me include the heavy hit “Mellow Out,” or the oddball psychedelia-hints from “Health and Strength, and definitely the closer “Wastoid Girl.”  Once you give a listen to this release from Jeff the Brotherhood, you’ll be thumbing through lyrics sheet, or pressing play over and over again, as the band has crafted an entire record full of sing-a-long hits that are sheer fun.  You’re looking for the perfect record to blast loudly while you get ready for the night? You need look no longer, as there’s nothing better today than listening to We Are the Champions.

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

Download: Jeff the Brotherhood – Shredder [MP3]

Bon Iver – s/t

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Rating: ★★★★½

If someone were to tell me that a band with falsetto, auto tuned on occasion vocals, and folk music backing was one of the most soothing and beautiful sounding groups they had ever heard, I would probably scoff at them and laugh. When describing Bon Iver, it seems as though this band should not fundamentally sound as lush and gorgeous as it does, but I’m not complaining. After their first album, For Emma, Forever Ago, was released back in 2008, Justin Vernon and company have been gaining praise, as well as attention, and this sophomore effort certainly seals their place as giants of the Indie world.

From their last album, there is certainly not that much immediately different to the sound of Bon Iver. You have the faded and distant sounding drums, the swells and builds in sound, the delicate ferocity in Vernon’s falsetto voice. It’s all there, but now it sounds a touch more refined and practiced than that of the previous release, as though the band went the extra mile to make these tunes sound polished and pristine. On “Holocene,” the third track, the intricacy in the layers of sound is especially noticeable. Gentle guitar floats upon subtle waves of synthesizer, the ever-graceful vocals leading the song at a meander. Such is the kind of song where you just want to close your eyes and let the music hit you like a gentle breeze; it’s simply beautiful.

One of the more noticeable changes of this group is the distancing of lyrics and the focus on the sound of their wispy music. The instruments do not overpower the songwriting, but they share the space coming out of your speakers rather than the words riding above. This does make it a bit more difficult to discern exactly what words Vernon utters, which is only a drawback if you don’t have the luxury of looking them up in the album booklet. If anything, this vagueness makes me want to listen to this collection of dramatic songs more, in attempts to ascertain the meaning behind them.

The bottom line is that this album is simply magnificent. Whatever you want to call it, folk, drifting soft rock, it is beautiful in every song, in every note, and capable of pushing you emotionally. It is the perfect anthem for anything: driving, walking the dog, bedroom listening, and I can see this becoming a staple in a large number of listening catalogs. Rightly so.

[audio:https://austintownhall.com/wp-content/uploads/2011/05/08-Calgary.mp3]

Download: Bon Iver – Calgary [MP3]

Cults – s/t

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Rating: ★★★½☆

For a band that basically came out of nowhere last year, Cults have gathered quite the following in the past year that they have released music. Be it praise from various musical critics, or just growing popularity of fans, this band had a lot of hype. However, upon listening to this self-titled debut, it is clear that this excitement and attention is well deserved; Cults have crafted a gem of a summer album here.

The band opens with “Abducted,” an explosive and energetic entrance. For about the first thirty seconds, you have the muted and echoed version of Madeline Follin’s angsty vocals, playing the role of heartbroken female. Then things get turned up to full volume for the chorus, and the song takes off, xylophone raging right alongside Follin’s voice whist she screams the pain away. She hands the vocals over to the male perspective of the two-member group, Brian Oblivion, who assumes the position of heartbreaker, giving the song the edgy tradeoff between the two of them. After this song fades away, the single that got everyone talking about this band, “Go Outside” follows and keeps the energetic and sinfully sweet pacing for this band.

A big part of this album is the large youthful presence of several elements of the band. For starters, you have the valley girl esque, high pitched, and extremely female vocals. Accompanying this is a Fisher Price sounding xylophone, which only adds to the childlike feeling of Cults’ sound. It reaches an all time kiddy feeling on the song “Oh My God,” whose chorus sounds akin to a little girl taunting one of her playmates, which is ironic in that lyrics reach farther than that. It’s a cute little number, one that stands out from the others on the latter half of the album.

That being said, the extreme amount of energy that makes it enjoyable is also what makes it sound a bit too juvenile and grating after repeated listening. For this reason, this album becomes one that needs the right mood to be listened to, as opposed to an all day every day kind of release. But when you’re in that youthful and happy go lucky mood, there are a slew of great tracks to dance to and enjoy. As a first release, it’s a decent start for Cults and I look for interesting future albums from this duo.

Ty Segall – Goodbye Bread

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Rating: ★★★☆☆

Admittedly, I was worried when I first heard that Ty Segall was going to take his ramshackle approach to California garage-pop and slow it down a notch or two.  Now that I’ve given Goodbye Bread a thorough fifty times over, I’m still a bit at odds with his new approach, though there are gems thrown about that really get to me.  In the end, I like this record, and only months of non-consecutive playing will truly indicate my feelings as to the longevity of his newest record for Drag City.

“Goodbye Bread” is actually a solid opening track, and one that immediately states the purpose of the album.  You’ll get Segall’s hazy croon, accompanied by minimal guitar for the most part, but it does pick up a bit, which makes this effort pretty solid, though longtime fans will surely wish more time was spent on carrying out the latter half of the track itself.  Like the opener, the lead single from Goodbye Bread, “You Make the Sun Fry” has this slow burning quality that definitely will appeal to fans of a grittier guitar sound, but perhaps this is where the execution of the record seems to sort of fall off for Ty, as the heavier moments seem sort of like after thoughts for him, especially when you look back over the course of his work.

There are songs on the record that illustrate a different approach for Ty Segall, and one that sounds remarkably refreshing.  If you take a listen to “I Can’t Feel It,” you can hear a more pristine guitar sound lurking in the background.  Pacing on this track doesn’t really fall off, or fly into the typical Segall approach.  It’s a wonder why he didn’t just completely go off course and write more songs like this, as it’s definitely a gem of a track.  It’s weird, but the noisier tracks on Goodbye Bread, such as the monotonous stomping of “California Commercial” don’t seem nearly as strong as the finer tracks on Melted, but the one-two punch at the end of the album makes everything worth it, and should restore every listener’s faith in Segall as a writer.

“I Am With You” begins the closing statement here, and it should be noted that it’s probably the most interesting, in regards to Ty’s approach on writing this bunch of tunes, as there’s switches in pacing, almost hurrying at times; there are also various changes in the overall dynamic of the song, even as he goes off into his ghoulish howl near the end. And, then you have the album closer, “Fine,” which serves as almost a infomercial on the ability of Segall to actually sing; he does a fairly decent job, at least to my ears.  Perhaps it kind of struggles to end, but in the end, I think its going to be one of those songs I’ll come back to time and time again.

Depending upon your interest in Ty Segall, you’ll probably land in various places with your own final consensus.  At times, it seems like he’s stuck in the middle of the road, unable to commit one way or the other to a certain style.  But, as the album draws to a close, you can see him hitting that proverbial stride, and those songs definitely benefit.  Goodbye Bread makes for an enjoyable listen through and through, just not sure where it fits in Ty’s catalogue, or where he’ll go from here. Until then.

[audio:https://austintownhall.com/wp-content/uploads/2011/05/Ty-Segall-You-Make-the-Sun-Fry.mp3]

Download: Ty Segall – You Make the Sun Fry [MP3]

Vetiver – The Errant Charm

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Rating: ★★★½☆

As soon as you come across The Errant Charm by Vetiver, there will be two things that stick in your mind, at least if you approach things in a certain way.  For one, the color scheme of the album sort of seems to hint at finding a warm place in a cold background, or even a sterile one for that matter.  Two, the title reflects finding one’s way by not going the traditional, or expected path.  After spending hours with the record, surely you’ll see where this all fits into the motifs of the record.

Everyone seemingly uses the acoustic guitar nowadays, stripping the sound of on-stage performances in favor of more intimate feelings.  Such is the way you’ll begin on “It’s Beyond Me,” which begins by wrapping the acoustic guitar in hints of atmospherics, but just after the 1 minute mark, things lift up, albeit just a bit.  The gentle shift in mood of the song matches that of the cover, going from one point and blending it into the next.  You’ll really have to spend time with the details here, as they definitely hold a great deal of the musical meaning. For instance, “Worse for Wear” tramps on, with its hollow drum beat, muted strumming, but again, the melody shifts, going in what one can assume is a bit of an unexpected change.  The Errant Charm is full of such moments, making it a joy for those who listen closely.

There’s even some peculiarities in Vetiver‘s approach this round.  On “Fog Emotion” there’s evidence that the group have responded to current themes, kind of giving off that faux-80s groove, but, like the fog mentioned in the song, a mellower meandering track finds its home, moving the song away from known cliches, as the band clearly intends to make the sound their own.  All this moves into what one can deem as the orange area of the album cover, offering up The Errant Charm‘s two hottest tracks.  “Right Away” is a short and simple track, with really nothing special to it, other than the fact that the harmonies presented have a tendency to hang in your mind long after the song has ended. Even more special is the way it tails off, changes a bit, but maintains its lasting impression. “Wonder Why” has a bit of a moving stomp to it, so it’s easily going to find itself labeled one of the more upbeat tracks present, but it’s the momentary touches that grab you, such as the female vocal accompaniment during the chorus, or that piano kicking in and out of the track. This is the type of track that makes you want to go back again and again.

Just as the press release reads for The Errant Charm, it’s clearly a piece constructed for wandering off on your own path, finding your own place in the musical landscape of your soul.  Whether you want that color to be bright or warm, you’re bound to find the songs Vetiver has put together as fitting for your own travels about, even if those travels only take place in your mind.

[audio:https://austintownhall.com/wp-content/uploads/2011/06/9542.mp3]

Download: Vetiver – Wonder Why [MP3]

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