Category: Reviews

Gold-Bears – Are You Falling in Love

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Rating: ★★★½☆

With summer break looming over us all, it’s the perfect time for a twee-punk band like Gold-Bears to make their debut. As this is their first ever album released, this band is brand new to the music scene and looking to win a spot in your heart as well as your stereo. Surely you have room left for some jangly guitar and hazy percussion in there?

From the very first song, you can hear the clear alternative punk soundings of Gold-Bears. “Record Store” begins with flat sounding drums along with gentle acoustic guitar, and then some raging, yet even-toned, electric guitar streams in. Then the song picks up, and you have the carefully placed cymbal crashes along with breaks in the raging melody to that of the delightfully soft beginning. Meanwhile, the suiting vocals blend together with the instrumental aspects of the jam. After this lovely opening tune is finished, the band moves to “All Those Years.” On this one, some gang vocals continue the energy and are instantly reminiscent to bands like Ted Leo and Pharmacists. They’ve got that crash pop beat mixed together with the percussion of a more punk style band, which is noticeable on the third song.

After a pretty positive and upbeat start for Gold-Bears, they slow things down as they approach the middle of the album. The title track certainly stands apart from the rest of the songs in this body of music, as it is filled with foggy feedback and jingling tambourine that is sure to serve as an appropriate break from the quickness of the fast paced start. It’s the perfect placement of such a song that slows the listener back down for a breather, if only so they can jump back in at double time on the next number, “East Station Attendant.” This one is the direct opposite of its predecessor, fast, short and rocking.

Gold-Bears continue this impressive debut with more standouts like single “Tally,” that relies on gang vocals once more to carry the streaming beat. They close strong, yet delicate, and leave their listeners happy to have taken a chance on this band. For a first album, it is nothing short of appealing. So when you reach the end with them, and reflect on Are You Falling In Love?, you can answer with a yea, I’m pretty sure I am.

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

Download: Gold Bears – Something To Think About [MP3]

Thee Oh Sees – Castlemania

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Rating: ★★★½☆

A bit of time has passed since Thee Oh Sees released Warm Slime, but we’ve not got the first of two 2011 releases from the band, Castlemania.  Apparently the band dedicated a lot of time in the studio to the recording of this record, and while the songs are kept short, the extra layers definitely provide a great deal of depth to the band’s sound.  It’s a record full of twists and turns, all of which leave us asking, what can the band do next?

“I Need Seed” begins our affair with bit of a repetitive stomp from the group, though that’s a good thing here.  Call and response lyrics, make this a catchy ditty, but it’s not too polished, keeping the live element of the band on the studio recording.  Then you’ll move into a bit of a boogie with “Corprophagist,” which blasts off with horns and such amid the cacophonous vocals evident here.  It’s an energetic beginning to Castlemania, and one that sets the tone for the places Thee Oh Sees will go.

Studio effects are definitely apparent by the time you get to “Corrupted Coffin,” which features some sort of organ, atop all the horn work.  Slower pacing creates the space for the band to bring their own noisy style into the area where one might normally place a chorus.  But, this track doesn’t prepare you for the following number, “Pleasure Blimp.”  You can see similarities with Sonny and the Sunsets, using that old barroom country effect to create a sing-a-long melody, though their version is filled with a little less clarity in regards to the sound of the vocals.  Different band, different spin.

Even with all the twists and turns, you can easily follow the musical path on Castlemania, which, personally, contains some of my favorite tracks. “Whipping Continues” shares some style with the opener, providing you with a bit of a stomp, but it’s the melodious vocals, aside from the baritone in the background, that really reach out and suck you into the song.  Wild yelps give you hints at how Thee Oh Sees kick it out live, combining great studio moments with live attributes.  You’ll then find a bit of swagger with “AA Warm Breeze,” which uses varying vocal approaches, not to mention a mean little harmonica soloing in the various spots.  Then the band get as close as they probably ever will to a nice ballad with “If I Stay Too Long.”  Everything about this track should make you a fan of the band, or at the very least the song.  There’s that bit of discordant noise, yet the chorus with its dominating female vocal illustrates just what a bit of focus in the studio can do for an already incredible band. Probably one of my favorite tracks of the year.

There’s sixteen songs on Castlemania, and not a one of them could be considered a bad track. From the minute the whole record kicks off, Thee Oh Sees are taking a new approach; they’re combining quality recording time with their live energy.  At times, you feel as if you’re right there stomping your feet along at your favorite venue, and at other points you’re glad the band had the wherewithal to give a little bit more depth to their powerful sound.  In the end, you’re not going to go wrong spending a lot of time here.

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

Download: Thee Oh Sees – I Need Seed [MP3]

Castelmania is out now on In the Red Records!

Here We Go Magic – The January EP

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Rating: ★★★½☆

The six songs on The January EP are leftovers from the band’s session for Pigeons, and while leftovers might seem like a bad thing for fans of Here We Go Magic, there are definitely tracks on this offering that might outshine some of those featured on the full-length.

While you begin with the psychedelic leanings of “Tulip,” you’ll notice that there are definitely some more upbeat moments that lay in waiting for future Here We Go Magic releases. Luke’s voice still has that boyish quality to it, and while the song moves into a sprawling blend of harmonies before going back to the California-chug of guitars, you’ll begin to wish this had come mixed in with the latest LP.  Similarly, “Backwards Time” has a more upbeat feel than some of the tracks that precede it, but this is where some fans will wish that the group went more often.  It’s clear the drums are pushing the song, but Temple’s vocal delivery really does its best to grab the listener’s attention.  Quite possibly this is one of the best songs these guys have written.

Don’t think that there isn’t a slow burner on this record.  You know, the one’s where Here We Go Magic really work on composing floating pop galaxies where Luke’s voice can carry any note.  They do precisely this with “Hands in the Sky,” and at times, you can almost feel yourself drifting away with the song, while electronic elements provide sounds from those old science videos on space.  Listening closely, the percussive element of the group definitely holds the unit together, as the drumming serves as a tight metronome-like beat.  And you can juxtapose that tight formality with the closing track “Mirror Me,” which has a murky feel to it, perhaps influence by programmed beats that mirror blown speakers.  Hidden inside this track are some incredible moments, but this, like few of the other tracks on the January EP definitely feels like it was one meant to be left over.

Perhaps Pigeons needs a revisiting.  If a handful of incredible songs were left laying around when Here We Go Magic wrapped up their recording, then that album’s got to be full of magnificent gems.  You can tell with the January EP that it has thematic differences from its forefathers, so lets hope it indicates a continued bright future for the band.  If at the very least, we can see a unit evolving into a tight-knit group of melodic songwriting that we’ll all enjoy for some time. So in the end, you’ll surely agree that this doesn’t taste like leftovers.

[audio:https://austintownhall.com/wp-content/uploads/2011/03/02-Hands-in-the-Sky-1.mp3]

Download: Here We Go Magic – Hands in the Sky [MP3]

Psychedelic Horseshit – Laced

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Rating: ★★★½☆

When one is a member of a genre that has been dubbed ‘shitgaze,’ you must know how to walk the tall tightrope between producing music that is entirely listenable and enjoyable, and producing music that sounds like, well, shit. If used simply to add a slight layer of distortion that mostly fades away to reveal solid tunes then it falls into the first category. If a band simply mixes layers of ill-fitting instruments, the result is that of the second. Thankfully, it seems as though Psychedelic Horseshit falls into the first category, for the most part anyways.

“Puff” starts things out in a mildly timid manner. Squalling feedback noises echo in slightly at first, while a grumbling noise builds to execute a groovy first tune of pure instrumental. This beat continues to the next song on which the buzzy vocals of Matt Whitehurst come into play. His addition to the muddled jam is foggy at first while you acclimate to the overall effect, but by the end of the second song there is a general feeling of normalcy to Psychedelic Horseshit. Thanks to his voice matching the instrumental aspects, the first two songs, short as they may be separately, seamlessly combine to create a good introduction to Laced.

As I said before, the majority of this album falls along the line of an enjoyable uniqueness. Some of the highlights of this feat come on numbers like “Tropical Vision,” where the band uses the gritty ambience of the background to set the tone of the song. I mean, when you open with the noise of birds and bongos, you can’t help but feel the waves and sun of the beach. To me, this is probably one of the most enticing songs on this album. The aspects that combine to make-up the ‘shitgaze’ definitely attribute to something, as opposed to just being there to fill empty space on a record. It feels motivated instead of random.

What makes this band able to produce quality albums is the ease of enjoying their sound; I don’t have to struggle to discern the good qualities, they lay them out quite plainly. That being said, there are a few songs that I straight up don’t like for the same reason: they are too plain. I understand what the band was going for on “Dead on Arrival,” with their slow-paced and bleakness, but it doesn’t do much for someone on a listening standpoint, but perhaps that’s just based on my own listening standpoint.

Regardless, I’m still in awe that I could enjoy something within the genre of ‘shitgaze’ so much. It’s the perfect chill record for the up and coming dog days of summer.

The Antlers – Burst Apart

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Rating: ★★★★☆

Back in 2009, this band first made their way to the top of the Indie-scene with the release of their stunning album, Hospice, which graced the sound systems of many with its emotionally progressive lyrics and cathartic sound. With the release of Burst Apart, it feels as though this band has already been around for a long time, despite it only being their sophomore effort. While not as pressing as their last, this second release from the band shows appropriate growth for The Antlers.

On Hospice, they reminded me a bit of another Brooklyn band, The National, in their dark and somewhat dreary lyrics. Now, on this album, they seem to be a tad more focused on the aesthetic aspects rather than just the lyrics. The approach feels more ethereal and vague, giving out the sense of maturity and complexity. I’m not saying this band gave up their narrative writing in exchange for a smoother record. Rather, it’s just not as prevalent on this work. Take “I Don’t Want Love,” the opening song, for example: the sweeping guitars and the half falsetto of Peter Silberman flowing over the top of methodic drum beats. There is still that desire to throw away all emotionally caustic elements, but it simply enveloped inside the wail of the arching guitar; it’s a great opener for The Antlers.

They follow up their opener with “French Exit,” on which the sound transitions to an almost danceable beat. The bass resounds heavier, accompanied by some electronic elements to boot to make for a head-bobbing and foot tapping experience, which is not what one would quite expect from this band. After they follow this with “Parentheses,” the single from this album, The Antlers keep doling out hit after hit.

On numbers like “Rolled Together” you start with some ultra faint guitar drizzling in, and once again the strange, and oddly high-pitched wails of Silberman. They build upon themselves in this one; guitars trade places with the vocals until they mix and become one cohesive wave of elegance. They finish with “Putting The Dog To Sleep,” which sounds as dark as the title denotes. Silberman asks someone to “prove to me I’m not going to die alone,” and you can feel the demons that plague this man transmitted through his captivating lyrics.

Sonically, this band is quite strange. If you separated all of the elements that this band has and isolated them, they would sound weird and moody. However, when together, they weave into a blanket of comfort that is able to convey all sorts of feelings and release. I find it odd that The Antlers would release this now, one the brink of summertime, when it would have been the perfect late fall/early winter jam. Regardless, it’s an excellent work, worthy of listening at anytime of year.

The Felice Brothers – Celebration Minotaur

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Rating: ★★★☆☆

If the rumors are true, The Felice Brothers started their musical careers as a band playing in the New York City subway system, which would explain their vagabond sound. With this being their fourth full-length releases to this date, this band looks to continue their folksy alternative rock on Celebration Florida.

 If you’re someone who has never listened to this band, it may take a little while to acclimate to their scatterbrained style of jams. I mean, it’s nothing revolutionary, but there is a certain looseness that takes getting used to. On the fist song, you can see this creative lack of order. Starting out with “Fire at the Pageant,” the primary sounds that arrive at your ears are that of some percussive elements, which begins the stomper. Transitioning back and forth between explosively loud and then quiet and soft, they seem to be playing a bit with their audience, giving them a taste of the whimsical yet seriousness of their craft.

Despite the jangly start, there seems to be a hint of sinister creeping through the notes on the first number, which continues later on in the album, but is pushed under the rug for the next few songs. The next standout track comes on “Honda Civic.” Despite my affinity for this song, I feel like I would like it about five times more than I do if auto-tune wouldn’t have been used on the chorus. Otherwise, this number is great; horns throughout combining with the prevalent vocals make for a groovy beat.

Some of the melancholy and more serious side of The Felice Brothers is evident on “Ponzi,” which features dramatic and sultry piano throughout. But only serious for a little while, until they break out of the tango-esque mold and into their own jamming style. However, this seems to be the tone of the rest of the album. This band keeps on doing their thing to the very end, whether it’s breaking things down, or keeping them stoic and reserved.

They maintain this balance pretty well on Celebration Florida. Things get a little boring for me at the end, but the great start compensates for this. Overall, it definitely has some songs that are enticing enough to become part of my every day repertoire, but not nearly enough to land Celebration Florida among my list of greats. Regardless, give it a listen yourself.

Okkervil River – I Am Very Far

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Rating: ★★★★☆

Anytime you get an Okkervil River album, you know that you’re going to be in for a quality listen.  Carefully orchestrated songs are wrapped in dense lyrics, though we’ve grown accustomed to some sort of thematic representation on each album–not the case here, though that’s irrelevant in the long run.  You can see sort of a re-imagining of the band’s sound, as I Am Very Far goes much further than the territory previously danced around on earlier works.

You open the record with a bit of noise teetering, but it’s the hard-hitting echo of the snare that brings in the song, just as Will Sheff begins his discourse.  One of the elements that will immediately stick out is how far the production and orchestration has come since the early days–just take a listen to the string arrangements and piano pieces added for textural purposes. As you begin to take your journey with I Am Very Far, you get what seems like a much more playful Sheff, in so far as his vocals hit varying ranges.  He opens with a bit of an off-key croon, which provides a bit of swing to it all, though the greatest quality of the past that seems to return is the raw edge of his vocal, scratching at your ears; this has been a quality he seems to have put to rest with recent releases like The Stand-Ins and The Stage Names.

What’s surprising this go round is how comfortable Okkervil River seem on the gentler tracks throughout this collection.  In the past, they occasionally came across as afterthoughts, or pieces that fit the greater story, but stripping thematic story lines away apparently has allowed for songs like “Lay of the Last Survivor” to take the spotlight.  Here you have a completed song, something where the finer details fill out the empty space, giving more depth rather than just rely on Sheff’s unique voice.  “We Need a Myth” similarly gives the band room to elaborate on the sound of the unit as a whole.  Piano topping strummed guitar with echoed vocals really allows for the song to make its mark, moving the band’s sound further than many have come to expect.

And by this point you’re half way through with your listening experience, and it can only get better, remarkably.  “Your Past Life as a Blast” may not sound entirely like Okkervil River, but that’s precisely what allows for this record to really make a statement as to where the band stands currently.  Even the single from I Am Very Far, “Wake and Be Fine,” has a ferocity to it that we haven’t seen a whole lot from the group, with Sheff’s vocals coming off a lot more forceful, while the rest of the group keeps things balanced.  Be sure you don’t skip the closing moments of “The Rise,” perhaps one of the shining moments in all of Sheff’s writing career.  It all stands to say that this is a band that we thought we knew well, and we thought we knew just what to expect.  But, a few tweaks to the system have created a record that is very far from where the band seemed to have been, giving us all an entirely new Okkervil River to enjoy over and over again, down the river of golden dreams.

Other Lives – Tamer Animals

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Rating: ★★★★☆

Originating in Stillwater, Oklahoma several years back, Other Lives are definitely a band you want to discover, if you haven’t already. Their sweeping and dramatic music was first introduced back in 2008 with an EP that consisted of some demos, as well as a taste of their true form. From there, they had me hooked, but some people are a little more picky about their musical appetite. However, I think it’s safe to say that if Other Lives didn’t have you after their first EP, or even their stunning debut, they should definitely have you at the end of Tamer Animals.

The album begins at a slow creep, as per suit of this band. Musically, the tempo may be slow, but it’s nowhere near boring or banal. Instead, they begin their assault on your being. “Dark Horse” starts with some clicky-clacky percussion, and the song builds on itself quickly to a slight crescendo, strings and all, at just over the minute mark. Then the sound cuts out for an instant, and Other Lives begin again. Jesse Tabish leads the way with his alluringly sinister, yet tender vocals. His voice has a very cohesive quality about it that allows it to coat the space in between the sprawling violin or jangly percussion in an epic light.

Following the opener in the song number two position comes “As I Lay My Head Down,” which picks up the pace, but does not skimp on the beauty that this band is so good at. It ebbs its way between sizzling and then cooled, trading back and forth with strings and pattering percussion. But Other Lives don’t stop their ascent to intense and moving music here. They continue this excellent two-song steak with a third: “For 12.” On this one, you have the gentle guitar pulling at the back of your mind, while the “oohs” combine with instruments to give a spine tingling effect. Whether this band knows it or not, their efforts are extremely goose bump-inducing.

So when Other Lives reaches the fourth and title track, “Tamer Animals,” there is no surprise that it’s love at first listen once again. With its faded and fuzzy drums and omnipresent piano, it’s as close as this band gets to pop without losing their epic-ness. Like the first four tracks, the rest of the album follows suit: cathartic, and mildly explosive.  Highlights include “Old Statues” and “Heading East,” both of which encompass the delicate elegance that is so pertinent to this band. To be honest, I didn’t find a track that I didn’t like; they were all that good.

Despite its name, there really isn’t too much “tame” about this album. Other Lives have evolved into a more confident beast here than that of their previous works, but they still keep a firm grasp on such a swelling sound.

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

Download: Other Lives – Tamer Animals [MP3]

Colourmusic – My _____ is Pink

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Rating: ★★★★☆

Having one of your key contributors stuck in England due to VISA restrictions isn’t ideal for any band, but in the case of Colourmusic, it seems that this unfortunate tragedy led to an entirely different beast.  While their first effort circled around pop hooks with epic jams, this new piece is a fierce animal, forging new ground for the band, making My ____ is Pink their best collection of songs to date.

If there was any question as to what type of album this would be now that the band are primarily a three-piece, “Beard” sets the record straight just a few seconds into the track.  Scuzzy bass blasts straight into your ears, while singer Ryan Hendrix hauntingly wails in the background.  It’s an about face for a band that once dominated the music scene with their theatrics, and clever hooks. My ___ is Pink is in your face all the time.

Despite it’s grittier feel from the get go, don’t think that Colourmusic have released their grasp on playing with pop structuralism.  “Feels Good to Wear” has the group toying with space, letting atmospheric elements ring out, while the bass bubbles in from time to time, and drummer Nicholas Ley keeps everything tight and steady.  Similarly, “Dolphins and Unicorns” uses the band’s playfulness, in both title and craftsmanship, to get a bit funky, twisting out what one can assume is a little pedal work from Hendrix on guitar, and Ley again working the percussion like very few can. Clearly, the band aren’t messing around anymore, as even they’re pop experimentalism is focused.

The meat and potatoes for My ___ is Pink comes perhaps a bit too early, but demonstrates above anything else, that Colourmusic clearly came ready to make a name for themselves. “You For Leaving Me” uses gang vocals and a hint of organ to create this grand emotion, just as Colin F. brings back in that devilish bass line, kicking the song off into some Satanic re-incarnation of the Polyphonic Spree; but it’s not a chorale track, it’s a kick right to your sweet tooth.  From here you jump right into “Tog,” the lead single from the record.  You’ll hear hints of the previous album in Hendrix vocal softly floating atop this track, but Ley’s drumming, as well as the rest of the musicianship give the song a solid backbone. Perhaps one of the greatest elements of this song is the group’s ability to hold back, when easily you can see them letting loose on listeners in a great wall of fury.

You’ll love the epic “The Little Death,” which seemingly serves as a reference point for everything the band holds dear.  There’s hints of industrial music in the opening few minutes, modern avant pop in the vocals, hints of noise-rock and metal, and a nod to knob twiddlers in the end.  While it’s not the finale of My ____ is Pink, it very well serves as a reckoning to listeners, both present and future.  Colourmusic is no longer that cute little band that wrote jam-laden pop tunes, they’re an angry band here to exploit anything and everything they’ve ever loved about music. They’re going to throw it in your face, and the great thing is, your going to see where they’re coming from, know who they are, and you’ll love it, every bit.

[audio:https://austintownhall.com/wp-content/uploads/2011/03/06-Tog.mp3]

Download: Colourmusic – Tog [MP3]

Times New Viking – Dancer Equired

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Rating: ★★★☆☆

If there is be a perfect time for Times New Viking, it’s now. With the rise of so many different jangly pop and lo-fi bands, there could not be a more suiting atmosphere for this album to be released. Already equipped with a significant fan base, this band is here to show the rest of the music world that they are at the top of their game; more defined in their noise pop sound.

Heavily distorted vocals and echo-y guitars fill the first number, “It’s A Culture,” which sort of feels a little mismatched and out of order at its beginning, but develops into a fuzzy toe tapper, with Adam Elliot and Beth Murphy sharing the muddled vocal responsibility. It’s a bit of a foggy start, only to be contrasted by the second song, “Ever Falling in Love,” where the band seems to tighten things up a bit, wrapping overlapping vocals about a steady guitar riff.

A common problem with having an album largely based on short simple songs, is that that some of those little bits become throw-aways, and leave you wondering why they were included into the mess. Songs like this, in my opinion, come on the utmost of shortest jams, such as “New Vertical Dwellings,” on which everything is out of sync. For the most part, the drums don’t match the guitar, which doesn’t match the vocals, leaving the song to sound like a bunch of elements thrown together haphazardly. At only one minute and nine seconds, a song without substance may not seem like that big of a blemish, but it just makes one question the production of this album. Even though a band’s sound is lo-fi, doesn’t mean they can skimp on the quality of music they produce.

But Times New Viking doesn’t completely fail on this album; the tartness of “Fuck Her Tears” gives a taste of the classic sound that this band exemplified on their last album, while “Somebody’s Slave” slows things down for a gravelly slow burner that keeps you hanging on to the rolling drums. Following this is the weirdly distorted and emotional “No Good,” that is a simple and odd way to end the album.

Abundant with its carefree nature and brisk songs, Dancer Equired, feels just right for the increasingly hot weather and sunshine. Despite some less than satisfactory numbers, the fun of the good ones combine to outweigh the bad, leaving you with a pretty mediocre, yet enjoyable album.

[audio:https://austintownhall.com/wp-content/uploads/2011/04/Times-New-Viking-Ever-Falling-In-Love.mp3]

Download: Times New Viking – Ever Falling In Love [MP3]

Dancer Equired is out now via Merge Records.

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