Category: Reviews

The Mountain Goats – All Eternals Deck

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Rating: ★★★★☆

For years, The Mountain Goats have been wooing you with their cryptic and lyrical masterpiece songs that are poetry set to various tunes. You’ve fallen in love with their endlessly complex yet simple bank of songs that just keeps on getting bigger. So I’ll save you the introduction to a band that has already made itself a staple in a whole lot of hearts, and I’ll get to the review.

Much of this review and the perception of All Eternals Deck is determined by your current state of affairs with this band. If you like the Mountain Goats already, then this album will be just another reaffirmation of your love for them. If you don’t like the Mountain Goats already, this should be a step in the right direction towards your newfound affection towards them. If you hate them already, stop reading this.

As I’ve mentioned, this album is just another great addition to the overwhelmingly large catalog of songs that this group has already produced. From the first song “Damn These Vampires” begins with the familiar half spoken-half sang vocals of John Darnielle, who never fails to impress me with his delivery. A brilliant voice he has not, Darnielle still manages to convey the raw emotion that is needed for poetry. Despite the title, the first song comes off as an empathetic and encouraging tune for an unknown protagonist. As the tale is spun, you feel encompassed in the lyrics of this band and it’s as if you have been transported into the world of fiction of the Mountain Goats; a place where you will remain for the duration of this album.

Like a great novel, the songs that make up this release all wrap you in their cloak of deception at first, but after some thought, the words begin to make sense and add up to something that cherishable. Early tracks like “Age of Kings” draw you into their cryptic world, with dramatic strings chipping away at the underlying belly of the song. Other works like “High Hawk Season,” incorporate “ohs,” “ahhs,” and harmonies in the chorus from a juxtaposed deep voice that takes some of the nasal from Darnielle. The songs work together to lead you to areas that you never thought a song could, potentially becoming a new favorite work of fiction.

Overall, it’s a really well written work from this group. It warrants many listens trying to decipher just what those words mean. More importantly, what they mean to you as the humble listener.

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

Download: The Mountain Goats – Damn These Vampires

Craft Spells – Idle Labor

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Rating: ★★★½☆

It’s not that Craft Spells are necessarily a new band, nor are they one bringing you anything particularly new in the way of bedroom pop, but that isn’t going to devalue their version, or your likelihood of unlimited enjoyment.  Captured Tracks has just released the group’s record, Idle Labor, and like similar artists coming off the label, it’s chock full of shaking percussion and darkly tinged lyrical affectation, leaving listeners spinning about their bedrooms or dingy clubs, whatever works.

One of the first winners from Idle Labor is going to be “You Should Close the Door,” which has a hint of jangle to the guitar work, though it leans more towards a certain lo-fi affinity along coastal regions.  The bright hues of the chords are juxtaposed with the baritone vocals of JP Vallesteros, providing a haunting effect for those with their ears tuned in closely.  But, while the guitars play an underlying role in the sound of Craft Spells, it’s the percussive element that definitely influences the band and fans alike.

“Your Tomb” really has a steady pacing to its drumming, which gives a pleasurable pace to a track that otherwise appears quiet.  Gentle touches of percussion dictated the movement in your feet, and you’ll know after a couple of spins precisely what I’m talking about here, as your feet will grow weary.  Okay, perhaps the sharply ornate guitar sound coming from tracks such as “After the Moment,” probably contradict the idea that guitar sounds are meant to service the drumming here, but that’s precisely what seems to make Idle Labor ultimately successful.  You’re enjoying the groove of it all, then comes a track that encourages the swaying of hips and possible twee two-stepping on the dance floor.

However, it’s not all pseudo-angular dance moments, as there’s definitely a subtle new-wave vibe you’ll find featured in various tracks.  “Given the Time” begins with a darker intro than almost all the other tracks, yet it quickly picks back up into the 80s vibe of swirling melodies surrounded by somewhat monotone vocal displays.  Sure, you can probably do a nice stomp of the boot if you’re sticking to the bass groove on the track, but it definitely has an underlying pop element that’s buried, more so than on other tracks. “Party Talk” has the same mannerisms, once you consider some programmed percussive elements being added here, which don’t dominate Idle Labor, as much as one might think, not noticeably at least.  It also features a great deal of experimentation, when you compare it to some of the more minimalist songs.

It’s easy to say that Craft Spells have crafted (see what I did there) another bedroom gem for Captured Tracks, but the more you involve yourself in a close listening process, the more other elements slowly begin to leak out, making this more than just a casual listen for fans of the style.  Idle Labor, while stylistically similar to other acts on the label, and in the scene in general, eventually moves itself out from beneath its peers, leaving you with a deeply personal listen that’s fitting for play at home, at the office or at the club…what a trifecta of pop magic.

[audio:https://austintownhall.com/wp-content/uploads/2011/01/After-the-Moment-1.mp3]

Download: Craft Spells -After the Moment [MP3]

Secret Cities – Strange Hearts

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Rating: ★★★★☆

Just last year it seemed like Fargo’s Secret Cities were pleasing us with their album Pink Graffiti, but it’s been a little over a year, and they’ve already got a new one, Strange Hearts, being released by the great Austin label Western Vinyl.  Not a great deal has changed on this run around, but you’ll definitely hear the sounds of a band sounding a lot more confident with their sound, not to mention their ability to create varying nuances in their writing.

While you can easily say that album opener “Always Friends” is reminiscent of Grizzly Bear‘s work, this isn’t mimicry by any means.  Guitar sound is a lot cleaner, almost light-hearted tropicalia in nature, and the vocals have a bit of an echo, though not that occasionally overbearing choir sound.  You see, the band have stepped up their game, expanding on what we knew them to be, allowing them to be more playful when they wish (listen for the whistling) throughout Strange Hearts.

Coming on as a great surprise is “The Park” where Marie Parker takes bloom.  Her appearance is loaded with gentle piano and a nice little shaker used for percussive elements, just before the songs blooms into pure chamber ecstasy.  Interestingly, the Secret Cities even mix it up mid-track, as the pace of the song jumps up.  All in all, it’s one of the most successful tracks, and one that many people will surely put on their latest mixtapes. You can match it up with the sweet, but short, “No Pressure,” which again utilizes the strengthened voice of Parker, showing a definite maturation in her performance.

Coming upon “Strange Heart” you’ll find the band really working to fill out the various textures within a singe track.  Instruments and harmonies seem to be working against one another, yet conceptually the idea comes together masterfully, providing a delicate lushness to the group’s sound.  And, if you’re going to look into keys that make such tracks successful, you have to give it up to the production, which almost allows for listeners to hear the exact strumming of strings just as sound hits your ear; it’s an oft-overlooked affect, and one you’ll hopefully find endearing.  But amidst Strange Hearts and the depth emphasized in the band’s growth is one gem of a track that seems to play over and over again, “Forest of Love.”  Perhaps its due to the upbeat nature of the track, similar to the album’s opener, or the entire arrangement, but whatever you find hiding for you in this record, surely this song is going to have something for everyone.  And, it walks right into “Portland” in such a powerful way that you’re left reeling from the emotion that comes with listening to such an enjoyable sequence of song.

Having put out Strange Hearts in such quick succession to Pink Graffiti definitely could have had it’s downfall; the band might have rushed too fast, and not given attention to details, as one would want. Such is not the case here, as you’ll see when you go pick up the most recent outing from Secret Cities.  It’s filled with clever arrangements and the care of creativity that makes moderately good albums, great.

[audio:https://austintownhall.com/wp-content/uploads/2011/01/04-Love-Crime-1.mp3]

Download: Secret Cities – Love Crime [MP3]

Brown Recluse – Evening Tapestry

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Rating: ★★½☆☆

Despite the creepy implications of their name, Brown Recluse is far from such dark arachnid qualities in their music. Instead they rely on pop, and at that, psychedelic pop laden with airy vocals and crisp instruments. Ironically, many happy and jubilant sounds are produced from this band on Evening Tapestry.

Starting off with “Hobble To Your Tomb,” Brown Recluse begins on a high note. As one of the more interesting numbers on this album, it serves its pertinent job of making me want to see where this band is going to go for the rest of the album. It builds gradually, with short spurts of organ-like synth, and stop and go styling. The horn work at the end creates such promise. Seriously who doesn’t love horn work? However, the song doesn’t really go anywhere; much like the rest of the songs as a whole.

 While this album is chalk full of groovy pop tunes, it just won’t make the transition between good and great to me. Perhaps it is the blandness of the lead vocals; they suit the music, but at the same time there isn’t that disparity that allows for some noticeable separation of instruments and singing. It doesn’t command your attention, but lets you wander a little ways off, and it’s easy to get distracted from the tunes that are brightly playing away. The same goes for the shortness in each of the songs, which, sadly, but inevitably causes them all to sound similar.

Despite it’s one-note-nature, Evening Tapestry still has its moments. Such moments occur on numbers like “Impressions of a City Morning,” that starts with some quick, yet soft drums, and follows with the jingle-jangle of a tambourine. At some points during this number, I get the feeling of some old Belle and Sebastian song, chalked full of that story-telling diction and delicate vocal qualities that Stuart Murdoch does so well. Another stand out comes on “Monday Moon,” that relies on jangly guitars and the slight wail of some funky synthesizer to spin a poppy tune.

To be honest, most of the songs on this album are likable; there just isn’t enough variety in general to warrant excellence or even longevity. As I listen to this over and over, I just can’t latch onto hardly any of the songs. They run their course and then are done, becoming forgettable. Instead of falling in love with Brown Recluse, I feel more so like being their friend; I’m not quite ready to spend all my time with them, but hanging out every once and a while could be alright.

Evening Tapestry is out now on Slumberland Records.

Those Darlins – Screws Get Loose

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Rating: ★★★★☆

Despite releasing an album back in 2009, Those Darlins are still a band that has been flying under the radar. However, I don’t see them staying in that predicament for long after this work catches fire.

If the album art wasn’t enough of a clue, the instant you press play on this album, it’s clear that this is a playful, blunt, edgy and full out rock and roll fest. “Screws Get Loose,” the title and opening track is probably the best song that you’ll come across when things are all said and done. While normally it’s not necessarily a good sign for the best song to come first, it doesn’t hurt Those Darlins because all of the songs are decent. Its appeal begins with the jangle of the opening procession and continues to the classic garage punk sound. The grit of the feminine lead vocals is perfect in that it doesn’t fall into the sugary category that everyone else seems to be going for these days.

These punk vocals are also vital in convincing listeners that all the female narrator wants to do is “Be Your Bro” on the second number from Those Darlins. On this track, this band establishes themselves as people who could very well be your friends. Their songwriting (not just on this song) is simple and relatable; since it’s easy to discern what the band is discussing it quickly becomes like an inside joke between you and them. However, their lyrics aren’t oversimplified, they still manage to cover a wide variety of topics, from only wanting to be friends with a desiring male, “Be Your Bro,” to discussing and giving a testament about the evils of money, “$.”

The same can be said for the sound of the group; it goes a variety of places while still staying under the giant umbrella of garage, be it the pop, rock or punk variety. On “Let U Down,” there is a poppy vibe in the beginning that carries through the 70’s guitar riffs spliced though the tune. Later on comes “Tina Said,” whose guttural guitars and bobbing bass lines twist it to a darker, yet still jamming beat. “Fatty Needs a Fix” is a start to finish punk race that is molded by its quick-witted words and precision drumming, but don’t forget to stick around for Dutchess & the Duke—esque “Waste Away.” Such diversity will allow Those Darlins to bridge the gap between forgettable and kick ass.

At the end of Screws Get Loose, there is a bit of silence and then a guitar solo layered upon the melody of the first song, prompting you to go back to the beginning and start again. As the band intended, I suggest you do the same; this will surely be an album that you will play over and over.

[audio:https://austintownhall.com/wp-content/uploads/2011/03/Those-Darlins-Screws-Get-Loose.mp3]

Download: Those Darlins – Screws Get Loose [MP3]

Hunx and His Punx – Too Young To Be In Love

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Rating: ★★★★½

It’s a shame that people tend to associate Hunx and His Punx with some sort of gay punk movement, though he doesn’t do much to do distinguish himself from that image.  However, Too Young To Be in Love is probably one of the most enjoyable releases that should be on everyone’s radar, yet somehow it still seems to be sort of a small blip. Shame on us, as I haven’t had this much fun listening to a record in some time, not to mention the fact that it was produced by one of the Voidoids!

When you jump into “Lovers Lane,” you better be ready to grab a hold of the nearest person to you, swing them in your arms, and spin spin spin.  Hunx has that spoken word delivery you’ve heard from the 50s soundtracks of your parents, then you add in the gentle growl of Shannon Shaw of Shannon and the Clams; you’ll want to play this track at your next barbecue.  And it just walks right into “Hes Coming Back,” which has a similar appeal, but here you’re going to have a bit more of a stomp going on, as the groovy drumming definitely has the toes a tapping.

Perhaps there is an innocent nostalgia in everything Hunx and His Punx does, but that’s precisely why we’re all going to have so much fun listening to this record this year.  Listening to the title track, “Too Young To Be in Love,” you have the absolutely perfect song to close out the night, if your night happens to be some giant hipster-laden prom-type affair.  These are songs where you can roll your window down and tap your fingers to the rhythm on your steering wheel, or perhaps you’d rather just have nice gentle dance around the living room with your significant other while dinner cooks on the stove.  Everything you’ll find on Too Young To Be in Love is full of vibrant tracks that warm your heart, and it would probably do the same for your parents, not to mention their parents.

If you’re looking for faster paced songs, you’re likely to find what your looking for on the latter half of the album, in so far as Hunx can only speed it up so much.  Tracks like “Bad Boy” and “Tonite Tonite” definitely have a more forceful approach to the sheer joy of this record, though there’s an ability to slow it down amidst a heavier footed drummer. As these songs jangle and Shannon adds oohs and ahhs in the background, you’re caught up all over again.  It’s hard, however, to even differentiate these songs from those on the earlier half of the LP, as the whole thing sounds so cohesive, so well put together.

It’s hard to really say who will fall in love with this record, though Hunx and His Punx clearly have made one of the most enjoyable releases of the year.  Perhaps Too Young To Be In Love will get overshadowed as too nostalgic for its own good, or too this or too that.  But, one thing is for sure, you’re not likely to find so many catchy songs lined in a row that are going to make you fell young and innocent all over again, or keep you feeling young if that’s the case. I don’t know, but if this is the gay punk movement, I think it’s time I join.

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

Download: Hunx and His Punx – Lovers Lane [MP3]

The album is out now on Hardly Art. Hunx comes to Austin on 4/12 at Emos.

The Joy Formidable – The Big Roar

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Rating: ★★★★☆

Coming off of an eventful SxSW, the Joy Formidable is trying to carry momentum into the year and the summer festival season by bringing their powerhouse live show to new audiences.  Their latest release, The Big Roar, is one helluvan album to tour behind.

It starts with an epic 7 minute long track that builds to crescendo and serves as a warning that the trio means business. “The Magnifying Glass” starts with some odd samples, feedback and random banging.  I love it, it sorts out into awesome understated verses and transitions to power choruses that I love about this band. Just to keep the averages proper, the next track is short and sweet; “The Magnifying Glass” is all of 2:19 long.

Track three is a personal favorite, “I Don’t Want To See You Like This”. Ritzy Brian has the job of providing the haunting back vocals during the loud moments that creates tenderness in noise.  The following track is likely the most recognizable and popular track; it is the first of four that appear on A Balloon Called Moaning. “Austere” starts with the falsetto cries of Ritzy and transitions for a level of disorder to power chord bliss.  One of their best live tunes, loved it all the way.

“A Heavy Abacus” is a “slow track”, evolving without being a jam song and a bit noisy at times with a clean finish.  I am a bit curious why the Abacus is watching her. “Whirring” is the next of the Balloon tracks and again, you should recognize it immediately if you know of this band. “Buoy” has a very cool climbing and descending chord structure that draws you in and bridges the first verses beautifully.  Again, a bit of a slower tempo to this new track, but not any weaker, light breaks, heavy drum track finish, *chirp*…

“Maruyama” serves as an intermission before another old-new song called “Cradle”.  “I can see he says what he means, We’ll deal him sticks and stones and apologies, I wish…it was through”. “My vicious tongue cradles just one”.  Love it.

“Llaw=Wall” is the departure track.  Rhydian Dafydd sings lead on this one, nary a guitar for the first half until the track erupts.  “Chapter 2” returns to a more punk progresson and Ritzy belting over bass lines and a strong drumming from Matt Thomas.

To close things out is the final track from the previous release and if you don’t love “The Greatest Light Is The Greatest Love”, I don’t even know you anymore.

The Big Roar is an interesting mix of the best tracks from “A Balloon Called Moaning” and new material that is more complex in some ways, a complete departure in others.  Being a best of old and new, it should to be limited to a 3.5 IMHO, but the recent sets at SxSW push it to the 4 star status.

Generationals – Actor Caster

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Rating: ★★★½☆

On their 2009 album, Con Law, the duo known as Generationals sort of left their mark by being all over the place, touching on various genres of modern indie pop.  For their second album, Actor Caster, the band sounds a lot more confident, clearly having spent loads of time developing their sound into a cohesive gem of an album, ready for mass consumption by anyone and everyone.

Kicking off the party with “Ten Twenty Ten” seems like as good an option as any for the band, as it definitely has this rootsy pop-rock guitar bubbling through it, ready to boil over with melodic pop momentum.  Here the band sounds really steady, and instead of hitting you over the head with hooks like on their last release, those moments slowly build beneath the songs on Actor Caster, making it more infectious the more you listen.  Similarly, “I Promise” uses this jangling sunny guitar line to reach up and grab you and carry you swinging arm in arm out the door. A slight piano track in the background adds to the jangling, giving more texture to the band’s sound, again making lasting impressions.

Of course, the band will definitely find themselves compared to other groups with some of the tracks present here, namely comparisons to The Drums.  But, unlike the latter, Generationals have something stronger in their summery swagger, such as “You Say It Too.”  It’s got that clever little surf-rock guitar hook here, and vocals upon vocals, some oohs to boot, but it’s got more substance than other like-minded groups.  In “Goose & Gander” you’ll find yourself sitting at your desk, or wherever  you are, tapping your feet.  You can try all you want to avoid it, but once a hook inserts itself in your subconscious, there’s nothing that will get you away from happily swaying moments from left to right.

You’ll still be able to find bits of pop experimentation on this record, so don’t go thinking it’s all same-old same-old.  “Tell Me Now” is probably one of the more distinctive songs on this entire collection, and it’s the vocals that seem to take hold of you here, as opposed to the overall hooks of guitars and melodies.  That’s probably one of the greatest things about listening to Generationals, they just have an arsenal of hooks and pop wonderment that will instantly win you over; there’s no fighting it folks, so you may as well just let yourself get absorbed in it all.  Whether you want a jangling guitar, or a piano-laden track or even a sing-a-long chorus, you’re going to find it here.

In the end, their ability to harness that exuberant energy into a more confined sound is going to be greatly beneficial. Actor Caster is just chock full of hit after hit, begging you to open up the windows and share these joyous listening moments with anyone, and everyone, who is willing to open their ears. At the end of the day, Generationals have constructed yet another record full of tracks that you can, and should, take anywhere, as they’ll be around for some time, destined to bring you every bit of sun your heart desires.

[audio:https://austintownhall.com/wp-content/uploads/2011/02/09_Greenleaf.mp3]

Download: Generationals – Greenleaf [MP3]

Noah & the Whale – Last Night on Earth

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Rating: ★★½☆☆

It’s pretty easy to label Noah & the Whale as sort of a bipolar band; their first release was loaded with sunny twee pop, while their sophomore effort was trenched with deeper, folksier tunes. While this is forgivable, c’est la vie, it’s still nice to bring about an even-tempered album, and that’s exactly what Noah & the Whale attempt to bring about Last Night on Earth.

It opens on “Life is Life,” which shows exactly the progression of this group on its opening line, “You used to be somebody and now you’re someone else.” The drum machine percussion and the drawl of Charlie Fink seem a little hollow at first, when the song begins. However, as the groovy little tune continues, it opens up to more of a sprawl. The overlapping of Fink’s vocals with that of the rest of the gang vocals of the band creates a stylistic motif for this band. It’s not a bad start, it’s just a bit “middle of the road.”

The motif of those gang vocals continues all the way up to “L.I.F.E.G.O.E.S.O.N,” which is the band’s best bit from this album, despite it’s tedious to type title. It’s a catchy narrative of characters that may find themselves in bad situations, but still manage to carry on. It’s a universal theme of life, and is easily identifiable with the listener, so it is not hard to find yourself spelling out the chorus with the rest of the band, agreeing with the sentiment. This song is a reminder of why you love a band like this; the empathetic and simple qualities that live in their music.

If I could tell you to listen to any three tracks from this album, it would be the previous described, “Wild Thing,” and then “Give it All Back.” On “Wild Thing,” there is a bit of transport back to the last album. The five-minute song begins with a bit of feedback and echoing synthesizer, and then slowly swells to its chorus. This slow-mover is the deepest that Noah & the Whale will delve; the sugary gang vocals are cut from this track, and replaced by a climactic and distant “ooh.” Following this is mellowness comes another pop tune with “Give it All Back,” which salvages the mood from before and entertains with another narrative.

For the most part, they achieve their goal. They put “Wild Thing” next to a simple song like “Give it All Back,” which emphasizes their need to move back to a balanced album. It’s not a bad work and there is sure to be a song or two that suits your fancy. However, this album is exactly that; a few exceptional songs coupled with a lot of mediocre ones.

The Strokes – Angles

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Rating: ★★½☆☆

You might remember the Strokes as the saviors of rock n’ roll who quietly disappeared into the night, only to form several side-projects, hinting that they might never return.  Well, they’ve returned now, and while there are definitely bright spots, Angles isn’t the album of triumphant return that we all pined for during their absence.

“Machu Picchu” is a reserved album opener, with half-hearted guitar lines opening up the entire affair.  Julian Casablancas’ voice still sounds familiar, enough to give the song some credence, although the continuing trickling guitar work just holds the song back.  But, “Under the Darkness,” the second track, is that gem of a Strokes song that we’ve been missing for quite some time.  It’s filled with those sharp guitar cuts and fantastic bass work, just a bit more polished than earlier works off Is This It.  Julian has a great performance here, getting gruff and angry during the chorus.  In fact, this might go up the charts as one of the better tunes they’ve recorded, in one man’s opinion. Then, they recover back into mediocrity.

“Two Kinds of Happiness” is a cheesy little number, reminiscent of a band trying to break into the MTV culture of the 80s; it’s lacking creativity and sharpness, with Casablancas coming off as disinterested, more so than his usual stance. “You’re So Right” doesn’t do too much to change that, although the middling section is a lot more endearing than that buzzsaw guitar churn that serves as the backbone of the track.

Still, this album goes back and forth between being catchy and boring, which makes it a hard record to really get your head around. “Taken For a Fool” features Julian providing some charming vocals, and that bass line is something that they’ve always done well, so it’s no surprise it sounds so good here.  And the chorus of this track is probably one of the brightest moments present in all of Angles.  “Call Me Back” reminds me of the tracks off First Impressions of Earth that seemed more like a place for Julian to prove doubters wrong in regards to his voice, as it’s nothing more than an exercise for him, with the rest of the band just sort of standing in the background while he takes the lead.

Then comes a track like “Gratisfaction,” which definitely has a bit of swagger to it, something we all appreciated about the band, though it has a more modern pop twist. It will make you yearn for similar tracks, the kind that could have easily saved Angles, making it more than a sub-par effort. Toss that in with Angles’ closer, “Life is Simple in the Moonlight,” and you wonder if the band does indeed have more to offer us, as these are some of the better tracks on the collection.  The last track, especially, sounds like the band’s natural progression, something we might have been able to foresee after all this time.

You see, the problem with The Strokes is that a lot of us probably feel like have a lot invested in the band; we might even believe that it helped bring us back to rock n’ roll back in the early 2000s.  All of this makes it harder to digest Angles, as clearly there are some solid tracks, but overall, it just doesn’t live up to our expectations of what the band should sound like in our minds.  With that, many listeners will find themselves disenchanted, losing faith in the band that helped us believe all over again.

[audio:https://austintownhall.com/wp-content/uploads/2011/02/01-Under-Cover-Of-Darkness.mp3]
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