Category: Reviews

The Rosebuds – Loud Planes Fly Low

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Rating: ★★★★☆

After five full-length studio albums, it is safe to say that The Rosebuds have shown you the various things that they can do. Be it dance tunes, grounded indie rock, or wispy pop, this band has done it all. With such a wide range of capabilities, it is hard to predict where this band will go next, which contributes to the delight and spontaneous feel to Loud Planes Fly Low.

Things start out strongly on the first song, “Go Ahead” where listeners are greeted by the mellow voice of lead male singer, Ivan Howard and the sweet echoes of female singer Kelly Howard. As far as pop tunes from this band goes this has got to be one of the more solid ones. Faded percussion rises then falls to meet the serenity developed by soft “ooohs” of the background, creating a head bob worthy beat. By the time it builds up to the end at four minute twenty seconds, it’s hard to resist the urge to skip back and repeat.  The Rosebuds make it difficult to move on from the bluesy, yet breezy appeal of this first number to the second song, which is always an excellent sign of things to come.

The breezy pop with deeper set roots continues on the second song, “Limitless Arms,” as well as the third, “Second Bird of Paradise.” However, on the fourth song, you have a pop track with a basis in a sort of disco groove. On “Come Visit Me,” Kelly explores the feeling of throwing away future consequences for an instantaneous gain (“Even if it fucks me up”), while maintaining a stellar 70’s feel with it’s string work. It’s songs like these that serve as reminders to the versatility of The Rosebuds; they can deliver danceable tracks that have substance as well.

“Worthwhile” ends things in a softer, acoustic light. Ivan leads the way once more with his soothing voice, and delicate strings join him and the guitar plucking towards the end of this little number. It’s a delightfully tender moment, and is the perfect finish for The Rosebuds.

Honestly, I can’t find a song worth complaining about on this album. With its limitless diversity, there is definitely something for everyone to enjoy. So find your own favorites on Loud Planes Fly Low and cherish a band that brings so much to the musical table.

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

Download: The Rosebuds – Woods [MP3]

The Wooden Birds – Two Matchsticks

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Rating: ★★★☆☆

It’s not like Andrew Kenny is new in town, so if you haven’t heard of his work before, you better get back to your homework.  But, that being said, his work with American Analog Set has seemed to dominate discussions, at least in comparison to his other projects.  While he made small steps away from that with the first Wooden Birds release, Magnolia, it appears he can clearly put the past aside, as Two Matchsticks is his best work date.

The meandering guitar line, softly walking across your speakers on “Folly Club,” is something that has come up often in Kenny’s work, as he’s really simplified his compositions of late.  What does stand out upon the first track is Leslie Sisson, who has spent time with Matt Pond PA (Matt is also all over this album).  Her voice is the perfect accompaniment for Andrew’s gentle warmth, providing almost a folk aspect to the minimal indie rock sound. Listening to the title track from Two Matchsticks, you continue to immerse yourself in a bit of folk, with the group giving what might just be a small nod to Iron and Wine.  This should come as no surprise, as the recording was done in a small bedroom in Austin, as Sam B. used to do in the golden years.

While the proper pacing might lack at times for The Wooden Birds, it’s the differentiation of presentation that really appeals to you on this LP.  For instance, Sisson takes control of the lead vocal on “Baby Jeans,” which provides a different dynamic, though the music sounds similar.  But, that’s the thing this round that makes the album a new step for Kenny and his mates, they share in the songwriting/singing duties fairly equally, giving the record a wider range than what you might have found on Magnolia.

Still, there’s something classic to the way the lyrics are being written on Two Matchsticks.  In a time when many are likely to shirk literary responsibilities in favor or obscure references or “carefree” (read careless) lyrics, things go differently in this land.  While I have no idea about the narrators in the songs, at least you can see story lines,  and personable notes within the lines, allowing listeners to make those connections with either the band, or themselves.  This isn’t to say this Oxford English here, a la Colin Meloy, but the crafting of the phrases and the stories within the songs should definitely be something that piques your interest.

You know, the first dozen listens to this record, and it might be fewer for most, may not strike you as anything breathtaking or otherworldly, but give Two Matchsticks just a bit more time.  Just as you begin to find things rather drab, you discover lyrical gems, drawing yo closer into the landscape of the songs, such as “Too Pretty to Say Please,” laying in wait for you near the end of the record.  If anything, those extra listens will lead you to see the careful little touches made by Kenny and The Wooden Birds, leaving you with a fairly remarkable listen.

[audio:https://austintownhall.com/wp-content/uploads/2011/06/02-Two-Matchsticks.mp3]

Download: The Wooden Birds – Two Matchsticks [MP3]

Country Mice – Twister

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Rating: ★★½☆☆

You don’t tend to think of Southern rock when you think of the musical influences of New York City, but that doesn’t seem to affect the kids in Country Mice.  They’ve been building a name for themselves slowly, and Twister has the band poised for bigger horizons.  It’s a little scattered here in there, in regards to over all sound, but don’t let that be a detractor, as there are really special moments inside.

When “Ghost” breaks into its stride to begin the record, those of you who’ve listened to the few singles from the band might be surprised to find a heavier version of what you remembered.  Sure, there’s those sprawling country effects, but it’s definitely a heavy-handed song.  “Festival” takes hold of the same theme, and if anything, it steps up the Southern rock repertoire even more.

Just as you thought you were getting a feeling for the band, they offer up what is easily one of the best songs on Twister, if not one of the best of the year.  The vocals of “Morning Son” seem distant, as if Justin Rueger recorded his vocals from the back of a barn.  Still, there’s this rolling movement to the song, guiding you along, as if following a trail through some wooded land.  And, this is the ground where Country Mice seem to be so comfortable.  “Rabbit on a Leash” follows a similar pattern, though you’ll find this number fueled with various guitars cutting back and forth across the background of the sound.  It’s the simple country approach, and in that, you’ll find joy and comfort for during your listening.

Despite its softer moments, Twister, definitely can’t escape the leaning towards alt-country and like-minded Americana outfits.  “Clover” is an example of a track that seems to wear the influence of My Morning Jacket.  It’s not quite a rocker, but it has the influence of bands that have come before Country Mice.  It’s a good song, but not one that is exceptional, which may weigh on the ears of the listener.  It leads right into a bit of a misstep for the band too, as “Worn Hearts,” a track that seems to venture too far into the pop-country medium for the liking of most.  But, they return with the very pleasant “Bullet of a Gun,” showing that they still have what it takes to win over any listener, crafting another joyous moment that culminates in a rise and fall melody.

So you come to the end of Twister, and my bet is that you’ve found several tracks that really stood out, whether you like your Southern rock or your more country-balanced pop.  That’s the good and the bad about Country Mice, at least up to this point in their career.  They seem to be walking the line between the two, and those two are vastly different, but that’s a decision we can expect to see the band make as they come more into their own.  Let’s label this effort a good starting point, with great moments, and hope there’s more to come in the near future.

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

Download: Country Mice – Morning Son [MP3]

Death Cab for Cutie – Codes and Keys

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Rating: ★★★☆☆

I feel like I’ve been waiting for Death Cab For Cutie to step up to the plate and produce a record that blows me away for the longest time. It seems as though they have produced some really grand songs, but have not necessarily excelled at making a cohesive album that strikes listeners with hit after hit, at least not for a long while. On Codes and Keys, it’s not a total wash, but it certainly does not fit the gripping and fantastic album that I’d hoped for.

While it is disappointing that this band did not miraculously intensify from their last release, it is still comforting to know that they know how to craft some good songs. If it’s any consolation to those long time fans of Death Cab, there isn’t much drastically different on this album. You have the bleak yet ever enticing vocals of Ben Gibbard, which serves as the distinctive quality for this band. The album starts with “Home Is a Fire,” on which you’d think that they’d begin with one of those knockouts, but instead you get a slow, crawling start, as if the band is reemerging from the depths of the three years since their last release. However, it comes across as a bit of a boring song for those who are fairly educated and familiar with the band’s sound.

Things don’t really get going until you reach “You Are a Tourist.” It’s classic Death Cab from the start: loops of Gibbard’s vocals echoing in the background, pragmatic and dignified drums and the semi-serene, on the verge of edgy, guitar. As I mentioned earlier, there is no doubt that this band knows how to make a killer pop song, and it is proven on this song, as well as later on “Monday Morning.” This track divulges the tale of a muse that Gibbard admires and then marvels at the simple events by which he met this darling female. It’s little gems like these songs that make me hold onto this band.

There are other tracks as good as these, some that are throwaways, and others that lie somewhere in the middle, leaving it up to you to make the decision whether they linger in your listening catalog. Such is the tradeoff of having a front man with such a distinctive vocal quality: it allows for some numbers to run together, or sound akin to another track that the band has already produced.

I don’t think that Codes and Keys is by any means a step back from their last record, but by no means is it a step up. Death Cab For Cutie seems to be fairly content with this ratio of excellent songs to mediocre, and if that ratio is cool with you, then listen away. After more than a decade it’s impressive that I am still drawn to their subtle indie-pop, which is a feat in itself.

Seapony – Go With Me

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Rating: ★★★☆☆

Jen Weidl and her posse in Seapony definitely have something wonderful going on in their debut for Hardly Art, Go With Me.  After lots of critical acclaim on the net, it would be easy to throw this band aside as just another band making bedroom pop, which they do for the most part.  But, if you can discard similarities to various other bands, you’ll find that lay in wait, waiting to carry you off.

“Dreaming” begins the entire affair with what is probably the most energetic you’ll find the band, and at times, the guitars emulate Mike Sniper and Blank Dogs.  Those pounding drums, twanging guitars, well, they’re all nice and clean, but what will really get you is the pop sensation.  You can forget about comparisons, as Weidl’s voice definitely gives a new spin on things here.

There are easily a lot of tracks on this record that one might identify as ripping off various other acts, or at least being easily influenced, but a special song is a special song, regardless of whether it was made by Seapony or various other bands out there.  “Into the Sea” is one such track, with guitars maneuvering along the sunny coastal region, and the hazy Jen warmly singing atop it all. In all honesty, Weidl is the savior of Go With Me.  She does it again on “Go Away,” which sort of sounds like a cross between Best Coast and Girls Names, but her girl-group approach to vocal delivery, not to mention the nod to such things with her lyrics, makes tracks standout beyond the masses.

There’s tons of comparisons that can be made all over the place when listening to Go With Me.  You might find a Best Coast reference here, or even a Wild Nothing allusion, but what probably sticks out the most is how similar Seapony comes to sounding like a happier version of Blank Dogs.  The recording of the angular guitars in songs like “Always” or “Where We Go” almost plays like a Sniper remix, but perhaps that’s why it’s so easy to dig this record.  Everything sounds familiar, and yet it doesn’t sound familiar at all. Lyrics aren’t typically this adorably put together, and girls usually don’t work well, at least not as of yet/late, in this genre.

Even with all these noticeable nods to the indie landscape of today laced across this album, I’ve found myself spinning it again and again.  Part of me has a soft spot for any music of the ilk, part of me finds some odd connection between Camera Obscura and bedroom pop of the now.  It’s precisely the kind of record you can listen to while swinging your significant other around the living room instead of hitting up the bars. For that alone, Seapony and Go With Me deserve a nice little spot in your collection, not to mention the fact that you can include any number of tracks all across your summer mixes.

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

Download: Seapony – Blue Star [MP3]

White Denim – D

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Rating: ★★★½☆

Long the darlings of the Austin music scene, White Denim are now on their fifth full-length studio release since their debut, and have adopted the chameleon-esque style since their origin, changing ever so slightly based on what works for the band and as well as for the live setting. Notorious for their excellent live performances, this band looks to project their skills into the bedrooms of their listeners, becoming more than just a great live band. On D, it seems like they have got a handle on this task.

Things get rolling on “It’s Him!” and they certainly start they way that you would expect: in the jamming, cymbals crashing, bass throbbing and those psychedelic guitars wailing. As always, White Denim brings that explosive energy to their craft, but this time, it’s with a distinct change for the better in vocal clarity. James Petralli’s odd yet endearingly high-pitched voice serves as the glue factor to piece together the explosive instrumentation. On this first track, it serves its purpose quite well; with the swirling beats, Petralli’s voice keeps the song from whirling out of control.

“Burnished” keeps things going in terms of the psychedelic guitar parts, which welcome you into this second track. On this number, you can definitely tell that this would be a treat to listen to live because the second half of the song is a break down from the band, filled with riffs and head bob-inducing sound. It’s also a pretty good song on this recording in that the cut to just instrumentation didn’t turn into a takeover of self-indulgence. Sure, the same jam continues all through the next song “At the Farm,” but nowhere does it turn boring and banal. It retains those intriguing qualities and you are left with a solid five minutes of pure instrumentation that doesn’t fall flat when played through your bedroom speakers.

But White Denim isn’t just about the jamming, as they slow things down on numbers like “Street Joy” and mildly on “Drug.” These numbers show their diversity and competence to craft deeper set songs. That being said, these two tracks are the extent on their diversity, which makes for a pretty straight set album. D gets a tad monotonous towards its end; you can only take so much fast paced and furious guitar shredding and rolling drums before things begin to sound repetitive.

Regardless, this is still a good direction for this band to strike into. They keep making those vital changes so that their studio music can match what they play live and D is certainly a pretty decent effort.

David Bazan – Strange Negotiations

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Rating: ★★★★☆

David Bazan has a long list of accomplishments and releases, be it with Pedro the Lion, one of his other bands, or alone. With this as his third full length under his own name, Bazan adds another notch to his belt of alternative indie rock achievements, and with it he brings the same in-depth songwriting and deep man voice as before.

For fans of this bloke, you’ll be pleased to hear that not much has changed sound wise; he didn’t feel any urge to suddenly mix things up with electronic beats. It’s classic Bazan, profound lyrics that delve into personal subjects, urging you to do the same as you listen. Records from this man have always been personal, and Strange Negotiations is no exception (not that you would want it any other way).  The album begins with “Wolves At The Door,” which kicks things off a little faster than one might except from this gentleman. You get more of a grasp of a pop tune as opposed to a deeply rooted and meditative slow jam that you would expect. Nevertheless, the implications of this man are not to be missed, especially when he plainly states, “You’re a goddamn fool and I love you.” It begins the motif of acceptance through faults and Strange Negotiations.

As you move down the track list, song after song strikes with the same deep resonance, none of which fall as too vague or intricate. Each and every song has aspects that push it up to Bazan’s level of intimacy, adding to your relationship with this man, as he confides in you his innermost sentiments and stories. Whilst doing this, he is able to build up such a relationship to the point where he can give some epigrams to his audience, but it doesn’t feel like he is preaching, but rather mentioning something to a close friend over a drink. On “People,” one of my favorites, Bazan nonchalantly iterates words of solemn truth like “When you love the truth enough you start to tell it all the time / when it gets you into trouble, you discover you don’t mind.” It’s the little lines like that, that increase my love for this man and his writing.

Much later on the album, when you reach the title track “Strange Negotiations,” it only feels right that it is a long, drawn out reflection. It feels like this whole album has been building up to this point, and at six minutes and ten seconds, you can let his voice sink into the recess of your mind, touching something, hopefully evoking some sort of emotional response. The finisher, “Won’t Let Go,” which is as slow and provocative as its predecessor, follows, to end on a serious note.

In all, Strange Negotiations is a ten song work of carefully crafted lyrics and melodies that are sure to strike companionship into those who choose to listen, if companionship with David Bazan had not already existed.

[audio:https://austintownhall.com/wp-content/uploads/2011/05/01-Wolves-At-The-Door.mp3]

Download: David Bazan – Wolves At The Door [MP3]

Let’s Wrestle – Nursing Home

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Rating: ★★★½☆

In a year’s short time, it appears that Let’s Wrestle has come a long way. After releasing and impressive debut in 2010, they’ve worked hard over the past year to push for another stellar alternative rock album. They stick to their guns on Nursing Home, using the formula for success that they accumulated on the past record.

Things start off with “In Dreams Part 2,” which gives a preview as to what this band can bring to the table in raw form. It begins slowly for the first few seconds, and then Let’s Wrestle kicks you in the face with their raw guitars. Then Wesley Gonzalez begins the iteration of his dreams, which seem strange, but it is only fitting, as they are someone else’s dreams. It’s an interesting and intriguing start off typical of this band. On the next song, “If I Keep On Loving You” they keep up their furious brit-punk stylings, but crank up the catchiness. I mean, you start off with some throbbing bass, add in the matted drums of the slight shriek of Gonzalez, and it’s love at first listen. For such a valid start, it’s easy to feel like the only way that Let’s Wrestle can go from here is up, and, it’s a pretty valid conclusion to come to.

This band goes on in their common fashion, but the songwriting feels a tad more complex on Nursing Home. They tackled dreams on track one, love on track two, living in the suburbs on track three, taking care of a mother on track six, the list goes on, etc. “For My Mother” comes as a bit of a standout for this band, both in the songwriting sense and in the typical sound of Let’s Wrestle. It’s a song without the classic raw guitar and the blasting cymbals and an emphasis on the delicacy of such a slow punk tune. There still are the perfectly imperfect vocals and the edginess, but it’s channeled into the soft plucking of the guitar along with the faint drums.

The only problem that I have seem to come across on Nursing Home is that there are a few, and I mean a few, songs that I can see myself passing by on future listens. On the last album, every track was a good pop-rock tune, destined for repeated listening, but there are a few that fall flat when you reach the end of the album. Perhaps it is just the nature of this style of brief songs, but overall, it’s a fairly decent album that will have you tapping your toes and clapping your hands to the fast paced beats.

[audio:https://austintownhall.com/wp-content/uploads/2011/03/dearjohn.mp3]

Download: Let’s Wrestle – Dear John [MP3]

Chad VanGaalen – Diaper Island

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Rating: ★★★★☆

Without a lot of prior  knowledge in regards to Chad VanGaalen, I pressed play on this album with the notion I would be hearing cheeky punk beats. When an album is named Diaper Island, I can’t help but feel like there is supposed to be edgy and not-so-dramatic tunes to be listened to. I was shocked upon listening to hear the beautifully meditative craft that has been spun for us. Perhaps I’m jumping on this man’s bandwagon a little late; he does have other album releases dating back to 200, but still, this Shins, yet darker, sound is really enticing.

Despite the first two songs being all right, the one that got me hooked was “Burning Photographs,” the third track. It starts out with some cloudy ambience, and then jumps right into that catchy guitar and soft percussion that has me classifying it as jangly pop/rock and will have you bobbing your head and tapping your feet. VanGaalen’s voice is perfectly sharp and produced to fill the space not already taken by the groovy beat. At this point, I started to listen with extra-keen ears, hoping that more songs like this would grace Diaper Island. Luckily, I was right.

“Heavy Stones” follows, slowing down the album after the last song. While “Burning Photographs” was explosive and sharp, “Heavy Stones” is contained and meditative. On this one, the vocals remind me of those of Tony Dekker from Great Lake Swimmers, but that may just be due to their shared Canadian origins. Regardless, it is a song that presents its calm-sounding self to listeners, luring us into the peaceful sounds, only so it can break our hearts when VanGaalen croons, “I can’t remember your name” during the height of the song. “Sara” continues this calm spin on things, but the vocals have taken more of front spot for this number, becoming the main aspect.

After being introduced to two very different styles this early on the album, you can’t help but wonder if it is going to be a continuation of variety, or if the artist will pick a side in their styling’s. This man is different in that he does not; Diaper Island becomes a culmination of jangle and soothing, with “No Panic / No Heat” serving as the song that ties both sides together into one. The rest of the album continues in this fashion, and at the end, I was quite impressed; there are a lot of stunning qualities that I was missing out on in Mr. VanGaalen.

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

Download: Chad VanGaalen – Sara [MP3]

Snowmine – Laminate Pet Animal

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Rating: ★★★½☆

If you haven’t heard of Snowmine, and odds are that you haven’t, sadly, then let’s just say that you’ll probably fall in love with listening to Laminate Pet Animal.  It’s got references to all sorts of sub-genres beneath the indie umbrella, with each demonstrating the unique craftsmanship of this Brooklyn group. This record has the band poised to start their introduction to the masses.

“Beast in Air, Beast in Water” has a really ornate approach, using a dark percussive skeleton to kick off the entire affair, met with ghostly group vocals.  As the vocals quicken, your anxiety is met with a sweeping harmony of a chorus, including a nice little symphonic arrangement to provide extra depth.  Seriously, just let this chorus warmly wash over you.  And if you thought the band would only stick to one direction, their intentions to mix things up are made with “Penny,” the second track on Laminate Pet Animal. There’s a bit more of a driving momentum to this number, though it has a similar, though more melodic, vocal approach.  Again, you’re greeted with a gorgeous rising pitch vocal in the chorus.  Songs like these are easily appreciated by all.

Perhaps one of the more gratifying things about Snowmine is their willingness to explore the outer spectrums of indie rock.  “Danger in the Snow” has sort of a tribal beat that runs through it, and the rest of the song feels as if you’re meeting the more spastic younger brother of Grizzly Bear.  Once again, arrangements of horns and what not strengthen the sound, providing a more distinct sound for the group, rather than allowing them to live as pure mimics. But all this barely holds up to what the rest of the collection has in store for you…just wait for more direct pop joy.

Perhaps too much of the first half of Laminate Pet Animal is dictated by experimentation and lush arrangements, for once “Let Me In” breaks in, there’s no turning back.  This is perhaps the best song on the record, and perhaps one of the best tracks of the year to date.  It’s such an unassuming track, mingling along with trickling guitar lines, rim shots on the drum, and a wondrous melody that captivates you time and time again. Similarly, “Hologram,” closes out this effort from Snowmine with a slow-paced, piano-backed ballad.  Emphasis here is definitely placed on the craft of each harmony, making sure it coincides with multiple vocals tracks and various entrances and exits of instruments.  More than “Let Me In,” it delves a bit further into the creative side, but near the four minute mark, the speed picks up, carrying the song to a triumphant close.

Listening to this record is something everyone should participate in this week.  The songwriting is magnificent, as well as the emphatic touches of careful accompaniment.  Putting it all together perfectly is the key that makes Laminate Pet Animal such a success, and you’ll walk away from the effort wishing you had more from Snowmine to take with you.

[audio:https://austintownhall.com/wp-content/uploads/2011/05/05-Let-Me-In.mp3]

Download: Snowmine – Let Me In [MP3]

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