Category: Reviews

Fleet Foxes – Helplessness Blues

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Rating: ★★★★★

When Fleet Foxes released their self-titled debut back in 2008, they took the musical world by storm with their folksy, and harmony flooded jams. So when they announced that they would be releasing their sophomore album, much anticipation grew for what this cherished band would do next. Could they potentially follow up their flawless debut with something even better? Or would Helplessness Blues be forever dwarfed in a shadow of comparisons to the album that won you over to the Fleet Foxes side in the first place? Based on my rating, it should be pretty easy to tell where I stand.

This album may be a step in a different direction for this band, but it certainly is the right one. “Montezuma” begins with delicate guitar plucking and the almost too perfectly sweet vocals of Robin Pecknold, joined quickly by the harmonies of the rest of the band, bathing you in warmth. For Fleet Foxes, this is probably the perfect opening song; the simplicity paired with the introduction to a new sound for makes it rightly placed. Whereas their last album relied most heavily on the vocal aspects, it seems as though the instrumentation has become a stronger force on the same level as that as the vocals. This allows for Fleet Foxes to step into that tender climate of being far enough away from their old stuff, but nowhere near unrecognizable.

The rest of the album follows suit in a way that only this band could; you’ll be hard pressed to find a song that you don’t love. On the first half of the album, you have soft at first then earthquake strength of “Sim Sala Bim,” only to be outdone by the climactic “The Plains / Bitter Dancer.” But to me, the real superstar comes on “The Shrine / An Argument,” which has be arguably one of the best songs of the year. Last, but certainly not least, you have the explosive, jangly, single, “Grown Ocean” which serves as the icing on the cake.

So at the end of this masterpiece, it’s easy to be transfigured by the delightful and beautiful sounds that this band has produced. It’s remarkable how they were able to produce two flawless albums back to back, and if they hadn’t already marked a spot on your list of favorite bands, then this should certainly seal the deal. Look for this to make its place atop some end of the year lists.

[audio:https://austintownhall.com/wp-content/uploads/2011/01/FleetFoxes_HelplessnessBlues.mp3]

Download: Fleet Foxes – Helplessness Blues [MP3]

Cass McCombs – Wit’s End

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Rating: ★★★★☆

On his website, McCombs claims that this fifth record is a venture “going deeper into the mania of a man buried alive inside his self-made catacombs,” indicating that this album is a continuation and further explanation of said metaphor. However, even without this tidbit of knowledge from the man, Wit’s End is inclination enough to denote this surge to a more intricate and deeper reaching sound for Cass McCombs.

Wit’s End begins on a nonchalant note: the slow-moving drum beats and Cass’s gentle voice just sort of slips you into to his realm of ambiguity. No moment of anticipation, or calm before the storm, rather, in an instant you’re with him on an adventure to discover, or explore the human psyche. Such is the case with “County Line,” and continues onto “The Lonely Doll,” in which an eerie lullaby tinkling meanders through the song meanwhile you are narrated through a spindly tale of the title character. At this point, McCombs comes off as a Bob Dylan esque figure in getting lost in his own mind. “Buried Alive” describes this feeling as being “in a sea of black” and you can’t help but empathize with this man; we’ve all such a feeling of lost-ness somewhere along the way and Wit’s End makes this feel natural, and even right.

As far as the actual music goes, there is not too much to rave on about. It fits with the overwhelmingly powerful lyrics, and I think that is all that really matters for this album. Yes, there is the softly eroding piano on numbers like “Saturday Song,” that slowly beats you down with every press of the keys. And yes, there is the tender horn-work on the finisher “A Knock Upon the Door,” but there isn’t a reliance on that musical crescendo of majestic beauty. Cass McCombs is unapologetically cryptic and shady because that’s just the way he is.

At first listen, it seems that Mr. McCombs may have gone too far around the bend. The soft plucking of the guitar accompanied by his whisper of a voice sounds akin to that of a jaded old man with several regrets and misfortunes. However, the more listens acquired, the easier it is to ascertain the meaning behind this mans’ madness. Or if no meaning arises to your ears, it is at least devastatingly interesting to listen to the plight of another. It will grow on you.

Girls Names – Dead to Me

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Rating: ★★★★☆

While it may be extremely easy to write about Girls Names, based on the fact that they fit right into the musical landscape as it currently stands, it’s almost impossible to get their latest effort out of your head. Being released by Slumberland, Dead to Me displays a band that’s sharpened their knives, ready to go to work crafting infectious pop you can bounce about to while working on pretty much anything that comes your way.

One of the great things about Dead to Me is that you aren’t likely to get bogged down listening to one particular track over and over again, as only two songs go beyond the 3 minute mark.  “Lawrence” begins it all with that jagged club dance guitar, but the drums themselves sound as if you’re tapping your toes, not like your normal snare work. And that just takes you right along to another track that gives you a little bit of pep in the step, though “I Could Die” has a much more gritty guitar that hammers throughout those hypnotic melodies.  Strikingly, the guitar, at times, has a sunny disposition, which is odd considering the group hails from Belfast, not Cali, but you’ll be glad they’re utilizing such style.

“No More Words” takes a softer approach to the craft of Girls Names, as Neil Brogan’s vocals warmly float over the entire track.  It’s not like you’ll find too much different here, but Brogan manages to off-set the pep by slowly drawing out his vocals, which might remind listeners of early work by Tim Cohen. Still, it’s all done in short time, so you’re sort of taking at shot in the dark at finding various textures, that is until you get to the longest track on Dead to Me, “I Lose.”  There’s a cloudy coat that barely drapes itself over this song, and the guitar’s are furiously pumping through the track, and you can tell that this isn’t just your ordinary stab at rehashing things that have come before the band.  It’s at this point, while noticing the differences, that you can clearly say you see the Girls Names as a fully functioning entity.

There’s likely to be comparisons to band’s like Crystal Stilts, especially after listening to the record’s single “Seance on a Wet Afternoon.”  There’s a darkness to the track, and one that likely permeates from the title Dead to Me, but perhaps it’s not fair to lump the band in with anyone else.  Brogan clearly has similarities to other dark crooners of the pop cannon, but his performance here makes it’s own mark, often feeling a bit unsteady, but in a heartening manner.  Surely by this point, if you’ve made it through all ten tracks as you should have, then you’ll recognize that it’s simply a joy to involve yourself with Girls Names.  They’ve worked hard to tighten up the unit, flesh out the sound, and it pays off huge dividends for both the band and listeners alike.

[audio:https://austintownhall.com/wp-content/uploads/2011/04/10_Seánce_on_a_Wet_Afternoon.mp3]

Download: Girls Names – Seance on a Wet Afternoon [MP3]

An Horse – Walls

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Rating: ★★★☆☆

Hailing from Australia, An Horse consists of Damon Cox and Kate Cooper who give off the impression of more than a two-part band. Two-part they are, and on this sophomore effort they don’t reach much further than that of Rearrange Beds, but as a fan of this band, I don’t see how this is any negative qualm. If anything, Walls has a more mature sound, while holding on to that edge-y pop sound that made them stand out in the first place.

The first song, “Dressed Sharply,” begins this album out with the edge and twang that this band is based around. Hard edged guitar floods the song with the bitterness, and combines with the lead vocals of Cooper, that is only juxtaposed slightly with faint oohs in the background. It gets you started on quite the raw note, but then “Not Mine” follows, slowing things down and changing the sound to somber instead of sharp. It is here that you can feel overtones of recent events in Cooper’s life in her lyrics. Her songwriting reflects her struggles of being on tour while a family member was ill back at home. While it must have been a painful time in her life, the writing feels intricate and mature; probably some of her best.

Some more standout tracks can be found on the title track as well as on “100 Whales.” “Walls” softens up things a little, but the Australian drawl doesn’t let it turn into mushy fest, while “100 Whales” waivers somewhere in the middle of outlandish and minimal, becoming one of the most balanced and even-headed tracks on the whole album.

Up to this point, there isn’t a bad song on Walls; each has been interesting and enjoyable. That being said, the last three songs of the album just dissipate. Something that started out fairly strong withers to a sadly boring end. It feels like this band just gave up and in light of this, the rest of the album is flattened. What could have been something fantastic turns out as something just good. Instead of ending on a high note, An Horse doesn’t go anywhere with their songs that make up the listeners last impression.

Despite being left disappointed, it’s still safe to say that the majority of this album is enjoyable. Have a listen, but perhaps just skip the last bit.

[audio:https://austintownhall.com/wp-content/uploads/2011/01/an-horse-trains-and-tracks.mp3]

Download: An Horse – Trains and Tracks [MP3]

Explosions in the Sky – Take Care Take Care Take Care

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Rating: ★★★★☆

In the days of computers for instruments, and a heavy weight on the vocals of a band, be it gang or solo, where do Explosions In The Sky fit in? Filling neither of these two aspects, they rely solely on the strength of their instruments to weave their listeners into an intricate web of simplistic, stripped down instruments. Known as Post-Rock, this genre of music allows for the music to be left up to your utilization: background music, inspiration for creativity, or something to contemplate.

For a merely six-song album, Explosions In The Sky do not fall short in the field of time for a full-length album. Instead, each song is long and sprawling, providing those crescendos and an abundance of catharsis that this band is famous for doling out. Take the first song, “Last Known Surroundings,” for example. Over the course of almost eight and a half minutes, you are taken to a variety of places by the changing rhythmic cycles of the instrumentation. Squalling, yet controlled guitars dominate the foreground of the song, while explosive drums kick in the background, leaving with the simplistic elegance that any song that this band produces contains.

While one might think that the long songs on this album would make each one stick out from each other as its own work of finesse, the contrary of this is true. Much like the chapters of a good book, each is brilliant, and they weave together to form a collective brilliance as an album. The sound fluctuates from loud to soft, and then back to loud again, giving those rolling hills of depth that are able to be filled with whatever strikes your fancy. Such depth allows for catharsis after catharsis and build after build without tire.

As I said before, one of the best qualities to this band is that they leave it up to you instead of forcing it down your throat. They pick the best possible times to grab your attention. So even if you are using their delightfully serene music as the filler of space while you work or think, they still have the ability to command your attention back to the music so that it can be commended as excellent craft. This is all you can ask from Explosions In The Sky.

The Fresh & Onlys – Secret Walls EP

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Rating: ★★★½☆

If you’ve been following the Fresh & Onlys over the last year or so, you probably saw that the Secret Walls EP lurked just around the corner.  Tim Cohen has been changing his own approach, and with that, so too goes the band’s sound.  This isn’t a bad thing by any means, unless of course you’re against change and progression.

“Secret Walls” feels like the culmination of the last few things Cohen and his friends have released.  Those hazy guitars have dispersed, though you’ll still find a cascading bit of angular guitar soloing coursing through the song.  What’s unique is that Tim sounds like some forlorn crooner, and he does it perfectly.  Such steps are slowly redefining the group’s sound, surely bringing along more fans as they go.

If you listen carefully to “Keep Telling Everybody Lies” then you’ll probably see a bit of a resemblance to a lost recording of some David Lynch movie opener, but Cohen’s vocals here revert to that warmth, something he’s now got great control over.  There’s hints of spaghetti western guitar, and a steady percussive pace keep the whole number afloat. Then the Fresh & Onlys go back to what they do best, progressing their sound, while maintaining their effortless cool.  “Do You Believe in Destiny” definitely rings aloud like a love track, and the Western sway of guitars gives it a bit of that California cool.  While in the past the band have managed to have this darkness coating their albums, this track portrays the sunnier undertones that live throughout the Secret Walls EP.

“Wash Over Us’ provides more of the same, cleaning the guitar sounds, as the group has done over the past several releases, and light piano tinkering continues to show a move towards a more pop-oriented spin for this short collection.  Don’t fret, “Poison Wine” brings back the element of shadowy haunts that the band has always pulled off so well. Cohen’s vocals seem to be hiding, almost creeping behind the rest of the band.  It’s not the most musical of tracks, which is perhaps its drawback, as this appears more as a construction of mood.  If that’s what they’re going for on this number, then they pull it off with great success.

Secret Walls seems like a brief foray into the group’s material, a stop-over while they continue to develop their sound.  It’s a great collection, and one that fans will fall in love with, but what’s more important is that it demonstrates a band that has such diversity in their writing that they can pretty much go anywhere they want to; when they go, I’m sure we’ll all adore it.

[audio:https://austintownhall.com/wp-content/uploads/2011/02/The-Fresh-Onlys-Do-You-Believe-in-Destiny.mp3]

Download: The Fresh & Onlys – Do You Believe in Destiny [MP3]

Title Tracks – In Blank

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Rating: ★★★☆☆

It’s weird to say this, but John Davis finally seems to be finding his own voice, his own way.  After working with Q and Not U, he then formed up the pop-duo Georgie James, then went on to write the first Title Tracks record.  Here, on In Blank, the approach is much simpler than previous works, just giving you straight-ahead power-pop, and in doing so, he’s giving you what seems the best demonstration of himself.

A pounding drum, quick rhythmic guitar and a somewhat spoken lyric begins on “Shaking Hands,” but it’s when John’s voice actually takes on the singing depth that the song begins to take flight.  It’s an energy fueled rush that grinds to a nice sudden stop.  You’ll then take on “Turn Your Face,” a song that really represents the abilities of John, and one of the things that attracts so many to his music.  While the song has a similar, though more rugged, approach to the first track, it’s the ups-and-downs of his voice that make his tunes more than re-hash power-pop.  He finally has control of his distinctive voice with all its little flips, and this is the song where it all seems to come together in perfect pop harmony.

While the first Title Tracks record definitely had a jangling punk troubadour sound a la Ted Leo, In Blank, as previously mentioned, begins to give John a voice that he can claim is his own.  “I Can’t Hide” seems to take the best of his two latter projects and twist it all tightly in a nice little ball of good pop. Sure, there’s that straight pop-punk drumming element, but the guitar work alone begins to take on an attitude of his own.  Lyrically, he’s talking about a lady and his emotions, but the song definitely seems to represent his inability to hide his own musical ideas from the world anymore.  It’s at this point where John Davis has eclipsed all preconceived notions of himself.   More of this follows when you arrive at the next track, “Forget the Ghost.”  There seems to be a hazy little fog floating atop the song, and vocal delivery definitely begins to offer glimpses of a more developed musical palate. If you were looking for more power-fueled pop songs, then John’s here to show you he can do anything he wants, and with great success.

Of course, John’s not one to forget his roots and his early passions, bringing us that punk element in various different forms as In Blank draws to a close.  You’ve got explosive power-pop, you’ve got jangling tunes, and even a bit of pop-swagger by way of “It’s Wrong.” Closing out the record, you end up having a nice little smile upon your face, happy that John Davis has been able to continually push himself, and really happy that there are some exceptional songs throughout the latest in the Title Tracks catalogue.  Good album from a guy that keeps writing his own good story.

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

Download: Title Tracks – All Tricks [MP3]

I’m From Barcelona – Forever Today

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Rating: ★★★★☆

Honestly, I’m not sure how I’m From Barcelona works. Boasting twenty-nine members at one point in time, it seems like there must be a hierarchical system within the band, or else I don’t see how they could ever accomplish something with combining the creative genius of each member. Regardless of the inner-workings on this band, they produce catchy pop songs, despite any amount of time, or any change in membership. Forever Today is no exception.

While their last album was considered a bit of a set back for this Swedish super group, Forever Today is definitely a step back up to the fun sound that this group originally had back when they released Let Me Introduce My Friends in ’07. “Charlie Parker” begins with some classic synthesizer and those sweet and savory gang vocals that you’ve missed. From this first track, it’s evident that I’m From Barcelona has got their spunk back, and this album is going to be a restatement of that glorious energy. If the first song isn’t convincing enough for you, “Battleships,” two songs later brings some killer bass lines and the hint of handclaps, and as we know, handclaps always make for a great time. By the end of this one, you should be tapping your feet, joining together with this giant group of musicians.

One of the greatest qualities of this band is that since they have so much going on, and so many members, it feels easy to sing along and immerse yourself in the music with them, as if you are just hanging out with a bunch of friends. On “Always Spring,” another tasty pop song relies on the twinkling of some keyboard and the for-real handclaps. It’s a mixture of the energy that this band thrives on, with some serious undertones that are emphasized with the horn work pandering somewhere in the background amidst layers of other musical elements. This is perfect example of just the right amount of spirit combined with grace and elegance.

In the middle of Forever Today, it starts to feel like I’m From Barcelona are about to lapse back to their lackluster performance from the last album, but they manage to save it from that sad fate with a boost from “Come On,” which urges us to “let go” and “be free;” exactly what you would expect from this band. They finish things up with another on of those songs that mix their energy with thoughtful music with the title track, “Forever Today.”

As opposed to the all or nothing sound that we have been introduced to from this band’s first two releases, it seems that they have finally found a way to a happy medium, and it is certainly an enjoyable balance.

Federico Aubele – Berlin 13

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Rating: ★★½☆☆

How does one describe the music of Federico Aubele? When I listen to his baritone voice accompanied by sultry electronic beats, it’s easy for me to picture a younger and slightly less debonair version of the Dos Equis Most Interesting Man in the World crooning along to these sinister tracks, but perhaps that’s just me. However, there can be no denying the heaviness of Aubele’s deep voice makes this half electronic half Spanish club music stand apart from anything you’ve ever heard. Whether this is a good or a bad quality is purely up to you.

 As foreshadowed by the title, the time that Federico spent in Berlin certainly affected his music. In addition to the stronger emphasis on the electronic side of things, there is definitely a darker spin for this fourth studio album from Mr. Aubele. On the opening track “Berlin,” swirling atmospherics juxtaposed with flirty acoustic guitar greets you. Loops of echoed electronics adds flavor to the song as it grooves its way along, introducing you into the smoky club atmosphere that has been created. For an opening number, it is surely interesting in its unique sound, and provides that necessary hook for this album; it feels like you’ve been granted admission to a secret and exclusive party, with Federico Aubele as your gracious host. The next standout song comes on “Bohemian Rhapsody Dressed in Blue,” in which some flairs of tango creep their way seductively through the song. Some female vocals shadow that of the leading man at points, and their voices mix to create a strategically sloppy harmony that adds to the feeling of two people enraptured in each other.

However, this unique and special quality doesn’t last as long as one could hope for. After a few tracks of the same coy and mysterious beats, the smoke screen seems to fade away, leaving just a man and his elevator sounding music. Don’t get me wrong, I enjoy this album and its overall sound, but in the end, it gives that vibe of awkward long trips in that confined space. Each song blends together to give off that feeling of a continual loop of similar sounds. In other words, there is nothing to separate this sound from something else.    

While he does change things up towards the end with his featured lady, if anything, it takes away from the fancy façade that was built up earlier. Tracks like “Ojalá” separate from the rest of Berlin 13 would sound refreshingly smooth and delightful, but go missing amongst the culmination of groovy darkness.

Despite my comparison of this music to that heard in an elevator, in the end, Federico Aubele still manages to make you relax through his layers of electronic components combined with that of classic. Although it is not the most exciting of albums, it’s a good way to kick back after a long day’s work.

Low – C’mon

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Rating: ★★★½☆

Low has definitely been around for a while: since 1993 they have been crafting their signature slow core beats for the world to enjoy. Hailing from Duluth Minnesota, this three-part band certainly knows how to spin beautiful tales of whatever they fancy and if nine studio albums wasn’t testament enough to this, than this tenth should seal the deal.

To start things off, Low showcases their most distinctive quality right up front on “Try To Sleep.” Sounding distantly akin to that of some Mott the Hoople song, the album begins with the male/female harmonies of Alan Sparhawk and Mimi Parker. The light percussive tinkling in the background combined with the slow strumming of the thick guitars comes together to make for a killer groovy jam. Despite the predictability of this sort of sound, you can’t help but take comfort in the peaceful elegance that they create. They are able to drift from a grungier kind of sound to that of clear and compact, forming their own kind of musical genre. From the first to the second song you can see this transition fairly well. On “You See Everything,” Parker takes lead vocals, and her buttery voice just coats everything in a golden light of majesty. The song meanders its slow churning way along, with Parker putting her touch of sweetness upon the topmost layer.

For an album that doesn’t have a big change in tempo, it manages to stay interesting until the very end. “Nightingale,” the third to last track, leaps out as dark and formidable, but twists into a peaceful, but still somber lullaby-esque song. Sparhawk has this sour drawl-like quality to his voice that makes everything drenched in emotion; it’s easy to tell that this man puts a lot of himself into his music. His deep and powerful voice is similar to that of Matt Berninger from The National. Like Mr. Berninger, Sparhawk can convey maximum emotion with his minimalist style.

While C’mon does not falter in its strength, it does get a bit heavy after a while. It’s not too heavy that it would deter from further listening, rather, it grows on you. Low leaves with the feeling that this album was a long-term work that this band really strived to perfect. For a group that has been around for so long, this is true evidence of their talent and longevity and it is another great edition to their ever growing catalog of albums.

[audio:https://austintownhall.com/wp-content/uploads/2011/02/01-Try-to-Sleep-1.mp3]

Download: Low – Try to Sleep [MP3]

C’mon is out now on Sub Pop.

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