Category: Reviews

Math and Physics Club – I Shouldn’t Look as Good as I Do

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Rating: ★★★★☆

Seattle group Math and Physics Club have one full-length and a few EPs under their belt, but after a short break it seems that they’re ready to continue their foray into the world of perfect pop tunes.  I Shouldn’t Look as Good as I Do is not power-pop, nor is it twee, instead its just crafty pop rock of the best sort.  It’s straightforward, and in being so, you find you’ve enjoyed the entire album without even being aware of why it sounds so good.  There’s no hype, there’s just great songs.

“Jimmy Had a Polaroid” opens with a swirling guitar line, but in a few short seconds the band bounces off on the backbone of great drumming.  Guitar chords battle between sharpness and gentle strumming, all the while commenting on the good times shared in relationship.   The idea of relationships is quite often a theme on this record, especially when you step into songs like “Trying to Say I Love You.”  Singer Charles is doing his best to prove a point, trying to win back the one he loves.  His efforts don’t seem to be effective, but the understated song just wins your heart time and time again, as often the simplest lyrics are often the ones that we connect with the most.

From here, Math and Physics Club take a bit of a divergence from their clever pop, going in the direction of The Decemberists.  In fact, its exactly what you wish The Decemberists sounded like, as banjo and horns are accompanied by well-crafted words, but of the overly verbose sort.  The only other song that slightly shifts away from the group’s sound on I Shouldn’t Look as Good as I Do is “I’ve Been That Boy,” which is just vocals and quiet guitar strumming (a touch of tambourine).  Oddly, such basic songs are often the hardest to write, and pull off successfully, yet I keep coming back to this tune time and time again.

Including upbeat numbers on this record really has paid off for the band.  “Will You Still Love Me,” which features guest vocals from Jen Garrett, pushes the pace, while still retaining the infectious pop sound of the group.  Adding a female vocal to balance the male counterpart pays off huge dividends, making the song one that lasts in your memory.  Even the inside joke of “We’re so DIY” has a faster pace, all the while carefully mocking the present state of indie rock music.  If it weren’t for an amazing melody, and the hint at putting fun (created by the “oh yea” chorus)  into the song, people might take offense; it’s hard to dislike a song so enjoyable.

In the end, I Shouldn’t Look as Good as I Do draws to a close before you even know it.  Ten songs in under thirty minutes, and yet you’ll turn right back to your stereo and press play.  While some may seek some sort of artistic virtuosity, it is often the band’s like Math and Physics Club that make the most delicious records.  They’re not trying to win any awards, they just want you to enjoy great pop tunes, and on that basis alone, this record is a huge success.

[audio:https://austintownhall.com/wp-content/uploads/2010/05/mapc07.mp3]

Download: Math and Physics Club – Jimmy Had a Poloaroid [MP3]

Here We Go Magic – Pigeons

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Rating: ★★★½☆

When we first heard from Here We Go Magic on their self-titled album, the work was largely the product of Luke Temple.  On Pigeons, we find Luke extending the olive branch to his bandmates, collaborating on the collection of tunes, which leads to a more complete sound for the group, and one that shows a great deal of cohesiveness.

A crazy little bass line opens up the album, coated by the usual layering of the rest of the group on “Hibernation.”  More construction seems to be the biggest difference here, as details are fleshed out in every bit of space.  Temple’s vocals are really soothing, almost warm, which makes the vocal more of just another way to fill out the sound.  It all leads into one of the band’s best songs to date, “Collector.”  Temple’s vocal delivery when he says “I got a mild fascination” just gets me every time, and its not even the best vocal performance of his on the song.  Furious pacing by guitars and drums alike barely give you time to breathe, and before you know it you’re blasting on towards the end.

Some weird moments pop up throughout Pigeons, and perhaps this is just a personal thing.  By weird I mean there are some odd influences, that may not be conscious ones at all.  “Casual” really has a Stereolab feel to it, using electronic beats to build gentle melodies, with very soft vocals barely sitting atop the mix. “Bottom Feeder” is one of those sneaky tracks that doesn’t seem to fit quite into the entire album, although the Nada Surf feel might not be too far fetched for these NYC kids.  It’s a gem of a pop song, though it doesn’t fit the mold of the rest of the songs, but just focus on the fact that its a killer track.  Let’s not forget the quirky “Old World United,” which just feels good to listen to it.  It’s got a throbbing bass line and key use of electronic touches allows for maximum amounts of listening pleasure.

While the latter half of the record seems to largely be constructed of more jamming pieces, such as the fast paced “Moon,” the variance softer numbers are some of the more rewarding upon repeated listens. “F.F.A.P.” moves really slowly, and its one of the few songs of the set where Here We Go Magic seems to let Temple’s voice shine through, which it should do more often.  His voice holds this track in place while the music is secondary, used more as filler.   But, while those bright moments have all shown greatly during Pigeons, the album end sort of anticlimactically.  Two of the shortest songs close it out, and they seem more likely to be moments of tinkering and studio downtime than well thought out tracks one would include on a record.  It’s the one disappointing thing about the entire group of songs because up until this point in the album, it appeared that the group was really hitting their stride.  Alas, those weak moments aside, you’ll find growth and depth in the sound of Here We Go Magic, and no one can complain with artistic progress.

[audio:https://austintownhall.com/wp-content/uploads/2010/03/02-Collector-1.mp3]

Download: Here We Go Magic – Collector [MP3]

Ty Segall – Melted

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Rating: ★★★★☆

Garage rock has made quite a resurgence in the last several years, and it’s been enforced, or heralded, by one torch bearer or another.  In the resurgence era we had King Khan, Jay Reatard and now we’ve got Ty Segall.  His new album Melted, on Goner Records, is just a dirty rocking party fueled by catchy choruses and pounding rhythms, so let’s get to it.

Ty has a style all his own, and its first apparent when he opens the album with “Finger,” just slowly strumming and lightly howling for a few extra bars.  Then the garage rock power fuzz kicks in.  There’s nothing clean about the sound on this track, and yet there doesn’t need to be, as Segall’s changing vocal delivery powers us through, right into “Ceasar.”  Bobbing bass lines bounce you through this number, as the percussion sort of bangs away haphazardly. Beneath the grit here lies Segall’s ability to carry melody, which he treats you to about midway through the track.

Melted doesn’t just pound away at your ears graciously, as the band can add a little bit of a jangle and swing to their numbers.  “Sad Fuzz” allows room for the vocals to sort of place around, and yet the chorus provides listeners with the impression of a young man slinging his guitar about, which you’re likely to catch live. Album closer “Alone” also demonstrates Ty Segall stepping outside of the scuzzy barroom brawl, doing his best to pull every bit of melody out of his words as possible.  While it might seem like a it of a drone, it definitely accomplishes its goal, closing the record with an appropriate breather.

Soft points aside, make no mistake that this album is stocked full of straight ahead power and energy, of that disastrous sort. After getting lost in the meandering feedback of “Imaginary Person” your caught up immediately in a bouncing number that powers along, much in the way Jay Reatard did prior to his death.  It’s the arena that brings about the best in Segall, combining his interest in modern garage rock with his desire to provide a little bit of a hook for the audience.  This is perhaps one of the best numbers on the album, almost bringing about the inner Danzig in the singer.  And you can’t ignore the forceful “My Sunshine,” which bangs around with remnants of late 60s garage.  Nothing on this track sounds clean: not the vocals, not the drums, not the guitar.  All the while, you’re tapping your feet, waiting to see what’s coming next, only to be side-swiped by a nice little guitar solo to end the song.

Ty Segall is keeping himself busy right about now, working on his own stuff and recording the works of others.  One would think that this wouldn’t leave time for much creativity, but rest assured, there is nothing boring about Melted. It’s loud and boisterous when it wants to be, and it can be a little bit gentle in spots.  Such a combination packs the perfect amount of punch, and just racks up another successful record from Ty.

[audio:https://austintownhall.com/wp-content/uploads/2010/04/Caesar.mp3]

Download: Ty Segall – Caesar [MP3]

Suckers – Wild Smile

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Rating: ★★★★½

For over a year, people (including us) have been salivating at the thought of having a full-length album from Suckers.  Finally, the time for Wild Smile is upon us, and it will go down as one of the top records of the year, fulfilling on all the promises and praise.  There’s no way around it; this record is fantastic.

“Save Your Love for Me” opens the album slowly, almost dragging out the melodies while the band introduces you to their gang-vocal approach that will woo you throughout the duration. Around the 3+ minute mark, the band bursts into a little bit of a yelp and high pitched squeal, offering up another dynamic to listeners.  Then it fades softly away, bringing you into “Black Sheep.”  As soon as the hi-hat is kicking, and those guitar chords cut in, your bobbing your head, tapping your feet, ready to memorize the words so you can sing along.  When Quinn Walker goes off, you get a sense of the wildness that goes along with their tunes, and their live shows.

Suckers aren’t just a group intent on blasting you away with in-your-face melodies; they can offer restraint at times.  You’ll find “You Can Keep Me Running Around” builds the groove in a rather slow manner, and still the dynamic of the band’s vocal approaches keeps your focus on the enjoyment at hand.  Similarly, “King of Snakes” has a sharp guitar line that slowly walks itself through the song, while various layers slowly build themselves into the song.  Careful listeners of Wild Smile will appreciate the variance in the song sequence, as the moments that let up slightly, allowing you room to breathe, certainly serve their purpose, all the while offering great music for your ears.

Although the entire album is superb, there will always be a standout track or two that simply rise above the rest.  “A Mind I Knew” is one of those songs, building slowly from the start until the rest of the song starts to catch up with the vocals.  It sort of stays there for a minute or so, but the band is intent on providing the maximum listening experience, as the gang-vocals rise in the middle creating an enjoyable sense of cacophony that grooves and bangs all the way to the end.  Personally, the one-two punch of “It Gets Your Body Movin'” and “Martha” are my favorite recorded moments of music to come out this year.  Part of me attaches that with the incredible live performance of the former I’ve witnessed on several occasions, and the fact that the recorded version aligns itself with my memories make it a wonderful piece of pop.  “Martha” is nothing short of exuberant fancy.  If you can refrain from bobbing your head and tapping those toes here, then you’ve won some sort of promise.  This track attaches to every happy muscle in your body, encouraging you to use them all at once.

One could go on and on about how amazing Wild Smile is as a complete album, but then again, those are just the words of an obsessed scribe.  Suckers have constructed album that you must absorb on your own, create your own reactions and be carried away by its power.  Rarely do we get to experience records like this that push boundaries and encourage exploration that will differ from person to person, but rest assured, all reactions will be positive, as these songs ask for nothing if not positivity.

[audio:https://austintownhall.com/wp-content/uploads/2010/05/05-A-Mind-I-Knew.mp3]

Download: Suckers – A Mind I Knew [MP3]

The Drums – s/t

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Rating: ★★★★☆

The Drums have been on everyone’s radar for a little under a year now, but their star has continued to shine all the way up to the release of their self-titled album.  Their combination of surf guitar hooks and 80s electronic beats is destined to make this record the smash of the summer.  It might possibly be too sweet, but this is the kind of fun we should all have as we sit in our kiddie pools drinking beers with our friends this summer.

Opening with “Best Friend” you’ll find that bouncing groove of the bass moving you right into your first dance movement of the album.  Jonathan Pierce’s hip little croon will keep you swaying, just as it should.  It’s possible that this might not be the most artistic work, but there’s no denying that from the moment The Drums begins, it’s catchy as all get out.

First single from the group “Let’s Go Surfing” was one of our favorite Songs of 09, and it still has the same charm it did when we first heard it. Beach guitar sounds fused with whistling and a charming lyrics make it hard to ignore this song, and no matter how long you listen to it, it still has the kick you ask for in a great single.  Then you come into the beneficial “Book of Stories.”  While it retains the same surf-dance sensibility of early tracks, it definitely slows things down, turning the album in a different direction.  It’s pleasing to see such a variance here, as too much straight lo-fi pop might have put listeners in a sugar coma.  Similarly “Down by the Water” does the same thing, just a few songs later.  It provides a nice contradiction to the infectious pop moments, and Pierce’s voice rises high in the most charming way possible.  Personally, it gives The Drums more in common with bands like The Church rather than the surf version of New Order or The Smiths.

“Forever and Ever Amen” is accompanied by a killer video, and the swirling melody within this sound, despite a redundant bass line, really makes you swing your arms in pure ecstasy.  As the chorus goes “forever, baby its forever,” you feel as if you’re being sucked into some perfect John Hughes montage.  In fact, you can see the Breakfast Club dancing about the library here, at least in my mind, which is perfectly fitting.  It’s a reminder that the album is filled with a certain sense of innocence and frivolity that, when done in good taste, reaps marvelous rewards for listener and songwriter alike.

Time will surely tell how important The Drums self-titled debut actually is.  But, one thing is for sure right now: their intelligent pop tactics combining summer sounds with electronics is the perfect music for kicking off summer in the right way. This album is full of melody, hooks and just simple fun, and while that might not always be my cup of tea, it surely seems to be working with this record.

[audio:https://austintownhall.com/wp-content/uploads/2009/06/02-lets-go-surfing.mp3]

Download: The Drums – Let’s Go Surfing [MP3]

Villagers – Becoming a Jackal

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Rating: ★★★★☆

Villagers is the namesake for Irish songwriter Conor O’Brien, and the release of his album Becoming a Jackal is every bit as glorious as early hype might have lead us to believe.  While the backing band for this project relies upon subtleties, Conor’s voice serves as the key instrument from which you will fall in love with his work.

Album opener “I Saw the Dead” begins your journey with a haunting piano line whilst O’Brien recounts his visions of seeing the dead.  It’s your first glimpse of his storytelling, which definitely has a more poetic leaning than a lot of modern lyricists.  You immediately find yourself immersed in his visions, precisely as the songwriter wants.  Then you find yourself at the title track following the frailty of O’Briens voice, and at this point you can’t help but to recall similar tonality shared with Zach Rogue.  It’s the proper choice for a single, although it might not be the song that portrays all of Conor’s strengths.

Entering “Ship of Promises” you start to notice a bit of a waiver in the vocals, something that should remind you of early Bright Eyes works (Fevers and Mirrors in particular).  Villagers succeeds in this arena due in part to the steady percussion that lines almost all the tracks on this collection, but you’ll find the vocals wrapping you up in Becoming a Jackal.  For instance, the fragility exposed during “The Meaning of Ritual” when O’Brien claims “my love is selfish/it cares not who it hurts” allows you to forgive the emotions being expressed here.  Not many songwriters can still accomplish that feat by voice alone.

Those of you looking for variance in songwriting will surely appreciate the juxtaposition of styles throughout the record, allowing you to move amidst the songs without finding yourself bogged down by monotony. “The Pact” has sort of a rollicking guitar line that lends itself to the more modern side of singer/songwriter genres, though careful orchestration places emphasis in precisely the right place, especially the organ that seems to grown for the duration (ed.-I’d love to see what Mike Mogis could do with this guy).  Yet its placed alongside “Set the Tigers Free,” a song that relies more upon the effect of barroom crooners.  There’s a slight bit of swing to the song, perhaps aided by the tropicalia accent in the guitar work.  One must surely appreciate the movement within Becoming a Jackal, as many songwriters have succumbed to the pitfalls of the profession.

“Twenty Seven Strangers” probably is one of those tracks that I’d include on mixtapes for the rest of the year.  It features a polite strumming, and a bit of an echoing hum serving as a semi-chorus.  O’Brien’s vocal delivery is so calm and focused that encourages you to sneak inside yourself in order to appreciate the narration.  And, when his voice finally rises in the middle of the song, its clear that he’s constructed another wonderful track. Such is the work of a great songwriter.

You’ll find yourself pressing repeat often during your listening experience with Becoming a Jackal.  It seems that each song has something different to offer, whether that be the approach to songwriting or to the emotional reward for the listener.  Villagers debut reminds us all that occasionally someone gets it so right that we can’t ignore their work.  Conor O’Brien’s promising (and ultimately rewarding) album will surely serve as that reminder in 2010.

[audio:https://austintownhall.com/wp-content/uploads/2010/05/Becoming-A-Jackal.mp3]

Download: Villagers – Becoming A Jackal [MP3]

Television Personalities – A Memory is Better Than Nothing

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Rating: ★★★½☆

Following the career of cult band Television Personalities you’ll see that the band never seemed to eclipse the work on their debut And Don’t the Kids Just Love It.  All that aside, the band has continuously put out clever off-kilter pop albums since their inception, and their newest, A Memory is Better Than Nothing, is just par for the course.  The thing is, par for the course for this group never creates run of the mill pop album; they’ve always seemed one step above, despite failing to receive critical acclaim.

Choosing to open with the title track “A Memory is Better Than Nothing” is a great choice.  Slowly beginning with mainstay Dan Treacy offering up his thin British voice just before bouncing into a warm jangling pop song, all this before the song waivers off into realms of quiet.  Reminiscing about memories does seem to prove that Television Personalities will always have something glorious to hold onto, no matter how far in the past.   Then you skip ahead to “She’s My Yoko,” where once again Dan waxes about his past, mostly choosing to hold on to a relationship of the past/present.  Offering this up as the lead single was probably a smart choice, as the mixture of varying layers of keys, minimal percussion and Treacy’s voice make it appealing to almost anyone.

Nostalgia seems to dominate this album, as the subject matter never seems to stray from lessons learned, precisely as it does in “Walk Towards the Night.”  Treacy is still talking about his relationship with an unnamed partner, and the gentle strumming provides an excess depth to his emotions.  But, just as you begin to feel comfortable with the feel of the record, “Funny He Nver Married” comes on through your stereo.  Treacy sings differently here, almost entirely in a way you’ve never heard from him before, his voice floating very lightly over cuts of guitar moving in and out of the song itself.  It’s simply a nice little break from the band’s bread and butter.

One of the greatest attributes of the group pops up on “People Think That We’re Strange.”  They use the most simplistic lyrics and coat them in feedback and steady drumming, but you find yourself drawn into the depth of the song, whether or not that depth actually exists at all.  Their ability to absorb you into the music has always been one of their gifts, and the same formulaic approach can be seen in their past works, as well as on A Memory is Better Than Nothing.  “You Don’t Want Me” uses this formula perfectly, with soft strumming accompanying Treacy as a more pronounced guitar line is layered over the entire song.  It’s nothing special, but listening to it definitely creates an overwhelming level of emotion.

Closing moments offer some interesting moments to boot, such as “The Good Anarchist,” which uses a lady for the lead. Featuring a female vocal is not something entirely new from the song, but it stands out on this collection of songs, as its the first time you find such a prominent female appearance.  It’s all bookended by slower moments than the rest of the album, and it does provide a moment to pause and reflect over what you’ve just listened to through these past thirteen tracks.  I’d say listening to Television Personalities is an acquired taste, but it’s one that I feel should be acquired by all.  If you’re looking for a band to adore, then take a listen to A Memory is Better Than Nothing, then go revisit all the stupendous work in the band’s catalog.

[audio:https://austintownhall.com/wp-content/uploads/2010/05/05-television_personalities-funny_he_never_married.mp3]

Download: Television Personalities – Funny He Never Married [MP3]

Wild Nothing – Gemini

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Rating: ★★★★☆

A lot of people work their whole life struggling to make music a life pursuit, switching bands, touring and such.  Often times it comes to nought, but occasionally it leads you on a path of your own.  Such is the case for Jack Tatum, the man who composed the music under the moniker Wild Nothing.  His debut record Gemini is something of a hidden gem; it’s not overstated, yet there is a quiet beauty that lies beneath it all.  Such is our luck.

Instantly you can tell that this album is going to be accompanying you on those days when you’re lost in your own mind, as the ringing guitar sounds, reminiscent of New Order come in real low and soft.  Tatum’s voice enters the picture in a similar manner, resting lightly atop the steady percussion and guitars.  You can feel yourself lost in thought as the song plays into the next, “Summer Holiday,” which has a very similar appeal.  Here you’ll find a more upbeat pace pushing you along, and female backing vocals that add to the overall layering of the song.  It’s as warm and soothing as the title suggests.

While the first part of the song features some prominent guitar work, other aspects of Gemini are filled by electronic loops that provide a different sensibility to the record. Take “Bored Games” as an example, with a vibrant guitar wash splashing against the electronic beats.  It pushes the songs in a bit of a speedier direction, which is contrasted by the rest of the sound breezily pushing against the beat to a wonderful effect. Still, the nostalgic musical references mixed with current fads such as warm washes over the vocals is where Wild Nothing earns its paycheck.

“My Angel Lonely” has some dark undertones that exist outside of the title itself.  Echoing effects used on the vocals, along with that chiming guitar, give it a haunting sensation.   Once again, as the wash effect billows in the background you find yourself in a state of bewilderment, completely absorbed in the song.  Yet a few tracks later you find a somewhat stomp of electronic happiness fused with angular guitar lines walking beneath.  Perhaps it might encourage you to circle about your room, but if not, you’ll at least have a slight boost to your step as this song comes through your speakers.  This is just an example of Jack Tatum’s ability to mix things up, all the while staying in a range where he feels comfortable.

Stay tuned in until the album draws to its close, as you surely won’t want to miss the final moments of “Our Composition Book” and “Gemini.”  This one-two punch is surely as rewarding as the rest of the Gemini, which really proves the point of our discussion here.  Throughout a career as a musician it finally seems that Tatum has found his calling with Wild Nothing.  It’s a creative album of melody and beauty to get lost amidst, which is all we really need sometimes from our favorite records.

[audio:https://austintownhall.com/wp-content/uploads/2010/06/02-Summer-Holiday1.mp3]

Download: Wild Nothing – Summer Holiday [MP3]

Sleigh Bells – Treats

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Rating: ½☆☆☆☆

Sure, you could say that we’re a little bit late on getting into the whole Sleigh Bells Treats hype, but we do have our reasons.  The first one is that the album didn’t actually make it out until today.  Our second reason is that we’re (ATH) just not into it at all, and we haven’t been for quite some time (since the beginning to be honest).   The question for most of you will be can we legitimately rally against this album with substance rather than just go against the grain.

First, let me get the fun factor out of the way.  I see that some people might find this an enjoyable record to listen to while they’re prepping for the evening, and I respect your right to feel that way.  But, I’m not sure where the fun is being generated from.  Opening track “Tell Em'” has some watered down arena rock power chords thrown in there, and the beats are probably one of the more annoying things I’ve come across, not to mention the fact that they aren’t interesting in the least bit.  Perhaps it’s the banging beats that resemble some sort of cheesy radio-friendly single, or the fact that her vocals in some part greatly resemble MIA, who I’m personally not into either.

Speaking of lacking originality, my main factor for hating this band is their blatant rip off of The Kills.  I promise you that if you were to go and listen to the construction of the songs, you would notice some striking similarities.  For instance, take “Infinity Guitars” then go listen to The Kills “Alphabet Pony.”  It’s far too similar for this to be merely a coincidence, and since Derek comes from a sort of punk background, he’ll likely know about Alison Mosshart if he knows his history.  Instead of the dirtiness of The Kills, Sleigh Bells is using a more metal guitar sound, and what sounds a lot like reggaeton dance beats (the uninspired ones).  Personally, neither of those attributes really instills any emotions within, and despite being awfully loud, the musical sounds just aren’t really progressive enough to catch my attention.

And at time, Alexis is just moaning or making grunts into the microphone during the entirety of songs, such as “Rachel.”  I’m not sure how that qualifies as fun or enjoyable, but I know a lot of people out there who seem to be enjoying it.   Really, the most disruptive thing about Treats is the fact that I feel like I’m in some high school gymnasium preparing for the big homecoming football game against our bitter rivals.  Alexis is that annoying cheerleader you all think is hot, but you  probably hate (not that I hate Alexis, or know her even), who just yells to pump you all up while you stomp your feet on the bleachers.  How is that interesting?  I hated pep rallies, and having to endure an album’s worth of pep rally is just far too much for this listener.

So, in conclusion, you should go listen to The Kills (they’re far better).  You’ll love Sleigh Bells (or hate them) for all of about ten minutes of Treats before you realize that it’s not really fun, and in fact, its quite grating.  There are better bands that use electronics and guitar parts for a far more creative output.  Then again, this is all just one man’s opinion, so please don’t take offense.  You’re allowed to like what you like, and I’m allowed to have my voice, so let’s leave it at that, remaining friends forever.

**Note** This review is in no way sponsored by The Kills or approved by The Kills.

Stornoway – Beachcomber’s Windowsill

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Rating: ★★★½☆

In what seems an endless stream of choral, men’s folk group releases in the past year or so (i.e. The Avett Bros., Mumford and Sons to name a few), another has come along with a highly impressive entrance; this time from across the pond. Coming in with their debut album via 4AD, is the quartet (+ two) Stornoway, hailing from Oxford. Their debut album is chockfull of beautiful vocal arrangements and tight folk instrumentation, including a healthy string section, a scholarly intelligence, and a distinctive character to today’s folk music.

Although Stornoway resonate folk in its purest sense, few folk groups can convincingly croon about the topics of which these Oxford lads converse. The opening track, ‘Zorbing’ gives the listener a good sense of the experiential disconnects. (Try to make it through the whole video without feeling nauseous.) Zorbing if you weren’t aware “is the recreation of rolling downhill in an orb”. This track was the first single to catch the airwaves several years ago in the U.K.. The release only whet the appetite for hungry ears, though only recently are they getting much attention states-side. Correspondingly to this rather obscure hobby, the album slowly rolls along a gentle slope in a graceful and joyous manner. The addition of organ and harpsichord on ‘Fuel Up’ makes this song a dense, catchy tune. The violin and piano intro combined with the stark vocals give ‘The Coldharbour Road’ a more dark, haunting, and bitter tone but the track builds into a warming glow like a lantern on a dim-lit ocean-side.

While listening to ‘We Are the Battery Human’ and a healthy dose of banjo with barber shop quartet vocals is the perfect soundtrack to jump in the Lorry with a group of mates and drive aimlessly after a few pints. This reaction is similar to the way the record as a whole feels. It’s carefree and simple but with a sophisticated tone about it. ‘Watching Birds’ is without a doubt the heaviest anthem on the record. It’s a barn burner with the accompaniment of a kazoo! The title of this track refers to the fun fact that lead singer Brian Briggs holds a PhD in Ornithology, the study of birds. Supposedly during their live sets, he likes to teach the audience of habits of birds and their characteristics, though I have to see this to believe it.

The group slows the tempo back down for ‘On the Rocks’, a slow building ballad focusing more on the vocals and beautiful songwriting. Before long, the snare drum beat accelerates into a locomotive pushing the song along with wonderful harmonies and the vocals grow into a goose-bump inducing crescendo. On ‘Long Distance Lullaby’, the bell tolls for the final track and an echo of “good night” and a wonderful send off for one of the finest debut records to come wafting in the winds from the UK in a long time.

[audio: https://austintownhall.com/wp-content/uploads/2010/05/01-stornoway-zorbing.mp3]

Download: Stornoway – Zorbing [MP3]

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