Category: Reviews

Islands – Vapours

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islands_vapoursRating: ★★★½☆

Let’s face it, Nic Thorburn just churns out the tracks, time and time again.  Last year he threw Arm’s Way at us, and then backed it up with another solid outing under Human Highway. Now, his buddy Jaime Thompson, another ex-Unicorn, has rejoined Islands to record Vapours.

One thing you’ll notice as soon as you press play on this disc, or touch the needle to the record, is that the guitar has seemingly disappeared.  Sure, Nic and Jaime have always had an affection for oddities included upon their work, but after all the guitar work Nic put into his last few releases it seems odd that he would leave it off.  “Switched On” just seems like a collection of drum loops with Thorburn’s vocals patched atop.  Don’t get me wrong, the vocals are great as usual, with Nic’s unique inflection and range, but there’s just a lacking of punch.

“No You Don’t” also has a danceable jive all over, which will no doubt get you moving your shoes, but the minimal guitar work makes this seem like an entirely electric affair.  Still, you’ll find that the electronic affair clears out enough space for “Vapours” to enter the room.  It comes across as the first song to fully utilize the guitar, miming the sound of Albert Hammond Jr., intentionally or not.   And as the album winds its way to the end, you’ll find that more traditional songwriting does take place, just don’t expect it to be nearly as prevalent as the last effort; this may be good, as many people thought the last one was a bit too self-indulgent.

“Tender Torture” is personally one of the more rewarding songs.  Washing over the song is a mass collection of samples and beats, but Nic maintains his domineering presence throughout, and you just can’t ignore the man’s voice.  It’s one of the most remarkable, and he pushes it through various different notes, both high and low on this tune.

And really, up to this point, all the songs are pretty enjoyable, each offering various things for various listeners.  Upbeat danceable songs countered with mellow electronic soundscapes.  Honestly, it’s really reminiscent of Kevin Barnes move after he changed up from Satanic Panic in the Attic and then went to Sunlandic Twins.  Could this be a climatic change for Islands as it was for Of Montreal?   Only time will tell.

But, one thing going against this record is the way that it drags on towards the end.  It suffers from an odd sequencing, much the way Arms Way just wore you out by the end.  All in all, this new Islands effort is something that you’ll find rewarding, and ultimately you’ll uncover various secrets for you as a listener as time goes on.  Vapours is an album that shows the group who always seem to change, still changing; only time will tell how this will pan out for the group.

[audio:https://austintownhall.com/wp-content/uploads/2009/08/Islands-Vapours.mp3]

Download: Islands – Vapours [MP3]

Volcano Choir – Unmap

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volcano_choir_unmapRating: ★★★½☆

Speaking of collaborations, Wisconsin’s Volcano Choir brings together Justin Vernon (Bon Iver) and Collection of Colonies of Bees (which features former members of the mighty Pele).

The nine tracks that make up their JagJaguwar debut, Unmap have more in common with ambient music than either of Volcano Choir other parts.  Using tape loops and minimal vocals, and restrained traditional instruments Unmap plays more like a score to a film than a traditional indie rock release.  That’s not to say that it’s not good, because it is.

What is so bold about this mostly quiet record is the lack of traditional vocals.  You would think having the current indie golden boy, Justin Vernon, in the band you would feature him prominently in as many tracks as possible, Volcano Choir do quite the opposite with only two of the nine songs having traditional vocal arrangements (Island, IS and Still).  It’s no surprise that these tracks are the glue that holds this whole release together.  You’ve previously been introduced to Island, IS, but you might surprised how familiar with Still you might be.  You probably remember it as the autotune (take it easy, Jigga!) vocal track, Woods, at the end of Bon Iver’s Blood Bank EP, but here it backed up with a full band.  I must admit, I like this version better.

The rest of the songs rely on the human voice as an instrument, an additional layer to the already lush soundscape.  Many bands have attempted such things before and it has always come off as pretentious and over produced, luckily that is not the case on Unmap.  The songs on Unmap come across as an organic progression of a group of individuals who have a true passion for the music they are producing.

For some this record will be hard to get into, but if you just give it some time you will be greatly rewarded.

[audio: https://austintownhall.com/wp-content/uploads/2009/08/03-island-is-1.mp3]

Download: Volcano Choir – Island IS [MP3]

Castanets – Texas Rose, The Thaw And The Beast

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AKR066_900Rating: ★★★★☆

If you were hard pressed to find our generations Tom Waits, a deserving nominee would be the Castanets main singer/songwriter Ray Raposa.  Raposa’s vocal delivery is more akin to Will Oldham’s than Waits’ own whiskey-soaked growl, but the ability to change his bands, Castanets, persona from release to release is downright Waitsian.  Raposa’s work in the Castanets has been called everything from noise to freak folk, but, to these ears, the Castanets, like Waits, is pure American music.

On the bands most recent Asthmatic Kitty release, Texas Rose, The Thaw and The Beast, the Castanets have made one of the most consistent releases in their career.  It’s hard to describe this release, so if you wouldn’t mind humoring me for a bit I will explain what I see in my head as I listen to this album: imagine an almost dead planet with a sole survivor (stick with me!). This sole survivor, let’s call him Ray, composes a set of songs about all that he has lost. From the opening track, ‘Rose’, he sings about a lost love and falling in love with the world and in the closing refrain sings “I am left here to worship on my own”.  The record flows seamlessly from one track to another, sometimes allowing for vast open spaces without ever being boring.

In it’s short 39 minutes, Texas Rose, the Thaw and the Beast traverses from the tuneful Americana of ‘Rose’, the clipped beats of ‘Worn From the Fight(with Fireworks)’, the booze-soaked dirge ‘No Trouble’, and Phil Collins-esque ‘Lucky Old Moon’ (some how, with that description, this song is fantastic).  I know this sounds like an eclectic blend of styles, but trust me, it works better than you could ever imagine.

Ray Raposa and his Castanets have not only released a cohesive album of Southern Gothic hymns, but also a truly enjoyable listening experience in Texas Rose, the Thaw and the Beast.  This is a night-driving must.

[audio: https://austintownhall.com/wp-content/uploads/2009/09/01-Rose-1.mp3]

Download: Castanets – Rose [MP3]

Pains of Being Pure at Heart – Higher Than the Stars EP

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painsRating: ★★★★☆

After speaking with Kip, we realized that this EP was something to really look forward to, as this entire EP includes new songs from 2009 darlings The Pains of Being Pure at Heart.     You can’t not want more tunes from these guys can you?  So here we have Higher Than the Stars, song by song.

This EP opens with the title track, “Higher Than the Stars.”  It opens with a noticeable keyboard programmed atop the steady drumming and hazy guitar.  Kip’s vocals are extremely soft here, almost kept to a whisper.  You’ll find that some of the guitar tones are really bright, which is what makes the group a pop band afterall!

Following the opener is “103.”  This is the track that most closely resembles the group’s stylings on their debut LP.  Once again, you can heat the march of the drums, and instead of the hazy guitars, this time around you get more of that earth-shattering atmospheric guitar sound, with a nice little solo blaring through it all near the end of the tune.

Personally, “Falling Over” is where it’s at on this EP.  It’s got a lot of that classic 80s jangle-pop mentality, but with the influence of someone like the Happy Mondays, bringing in a little bit of dance into your clasic guitar song.  The chorus is perfectly fitting to the concept of the song, placing it squarely in the past–for some reason I hear someone like New Order or the Pet Shop Boys rocking this chorus. 

Our fourth track is somewhat of a new nostalgic approach.  It’s less jangle-pop than previous records, and it demonstrates that The Pains of Being Pure at Heart are more than just one trick ponies.  The lack of clarity on the guitar here recalls the likes of The Stone Roses or Teenage Fanclub. It’s an American Britpop song.

For the final track, you get a little remix of “Higher Than the Stars,” done by St. Etienne and Lord Spank.  It doesn’t add too much to the original track, other than a steady dance beat, and a little bit more time.  It’s not an awful track by any mean, just dismissable in comparison to the previous four tracks.

Overall, the wonderful thing about this release is that it gives way to a new horizon for the group.  They haven’t foudn themselves stuck in one place, destined to release the same thing over and over again.  It makes it rather enjoyable for us all.

[audio:https://austintownhall.com/wp-content/uploads/2009/09/pains-higher-than-the-stars.mp3]

Download: Pains of Being Pure at Heart – Higher Than the Stars [MP3]

Girls – Album

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TRUE-010-Girls-Album-smallRating: ★★★★½

You’ve all heard of the San Francisco duo, now set up to include two more bros from California to complete the band Girls.  They’ve been posted about, not just on our site, but on every other web site across the web, and people have been buzzing about this record for a long time.  So here we have Album, the group’s first full length, and surprisingly, they hit exactly the mark they were set up to miss.

Opening an album with one of the competitors for song of the year is never a bad way to begin, and “Lust for Life” fulfills from the start. Jangling guitars and the backbeat of beach music, create one of the catchiest numbers in 2009.  And, the subject matter, though not the most poetic, seems rife with optimism, and the band are ready to “make a brand new start.”

So you slide into “Laura,” and you can see a possible drawback as soon as singer Christopher Owens opens up is album.  He’s got a voice that doesn’t ever seem to hit a note, but its those imperfections that seem to make the record continuously successful.  It’s reminiscent of countless indie singers, singing with the only tool they’ve got, and despite the occasional off-kilter note, their exists a certain honesty which makes it all so endearing.

Adding another element to the mix is the group’s diversity within their own lo-fi spectrum.  “Ghost Mouth” is the ballad, slowly waltzing through a hazy bit of light guitars and mellow percussion. From here, they switch it up by adding a bit of art and obscurity to their own li-fi spin on “God Damned.”  Then, they blast off down the stretch of California coastal highways on “BIg Bad Mean Motherfucker, kicking out the traditional surf rock.  All this building to the perfect opus that is “Hellhole Ratrace.” As those who caught wind of this tune months prior to the album’s release can attest, you’ll be hard pressed to find another drawn out song, with such simple lyrics, that can draw you into it time and time again.  Hell yeah it’s repetitive, but it’s so rewarding that the group might just be giving Phoenix a run for their money by releasing two great singles on one album.

Still, they never seem to be a static band, rarely staying in one place throughout the entire album.  In a time when a lot of music comes off redundant on albums, this one seems to offer something new around every little corner. “Lauren Marie,” for instance, is a sparse number with little else to add to it other than Owens continuous cooing of the name Lauren Marie. Yet, you’ll take your time to listen to it over and over again.  But, they continue their change-ups with “Morning Light,” with it’s fuzzy full throttle take on the straight ahead pop tune. This is precisely why Girls seem to be one of the few bands coming to us by way of the endless hype machine that can truly back up the world’s adoration by placing us into such an enjoyable listen.  You’ll surely find yourself listening to Album time and time again.

[audio:https://austintownhall.com/wp-content/uploads/2009/06/01-lust-for-life.mp3]

Download: Girls – Lust for Life [MP3]

Mason Jennings – Blood of Man

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masonRating: ★★★½☆

When Mason Jennings first released In the Ever, I couldn’t have been more disappointed.  The album seemed forced and overproduced–it lacked all the personality that I felt made Mason Jennings so special.  I even vowed never to give him my money again, unless I previewed his work prior to purchase.  Well, I gave in to my longing for Mason and got my hands on Blood of Man.

Upon the first listen all the way through, I paused momentarily, trying to wrap my head around the record, almost confused.  I came to the decision that this album seemed like a collection of really good demos.  There was an evident rawness to the writing, and the recording (drums especially) that brought back a whole lot of that character that sparked the flame of fandom within me so long ago.

Sure, the first song sort of seems like Mason is channeling that Eddie Vedder character people are so into, but the rest of the album wears that warmth of his vocal inflection that makes his music seem so unique.  Everything about Blood of Man seems completely natural and not forced.  This is more Use Your Voice era Mason than it is anything else, and I’m frankly relieved to see him heading back to that hallowed ground.

That being said, there are some odd missteps here, and I don’t necessary see them as bad things, but just really unexpected moments.  For instance, “Ain’t No Friend of Mine” appears like a sort of Dead Weather stomp with a splash of Mason.  Even his vocals have a little hint of Mr. White. Still, the dude’s been putting out tunes, so you can’t blame him for trying something entirely new.  Just be happy he seems to have steered far away from the land of Jack Johnson and other like-minded hacks.

What comes as a great surprise on this album is that Mason Jennings wraps it up perfectly by including some of his best efforts, as of late, on the end of the album.  You won’t find a more fitting tune for resolving personal crisis than “Lonely Road.”  And ending the entire record with “Blood of Man” shows how the simplest tunes are still the heart and soul of this singer/songwriter.  It’s just he and a guitar, and I guess that’s the way it always seems like it should have been.

So it seems that Mason Jennings has come around full circle.  He’s back to where he began, though with a bit of growth and maturity beneath his belt.  It makes this a great addition to his entire catalogue.  I’m glad I picked up Blood of Man.

[audio:https://austintownhall.com/wp-content/uploads/2009/08/the-field-1.mp3]

Download: Mason Jennings – The Field [MP3]

Why? – Eskimo Snow

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whyeskimoRating: ★★½☆☆

Following their critically acclaimed third LP, Alopecia, Berkeley, California’s Why? return with Eskimo Snow, a new collection of hip hop infused indie rock.

The word “new” may be misleading because the tracks on Eskimo Snow were recorded during the same sessions as 2008’s Alopecia.  One might think that songs recorded in the same session would carry familiar ties between them, and sure there are similarities, most notably singer/MC Jonathan “Yoni” Wolf’s distinct voice, but, for the most part the bulk of the similarities end there.  I guess the clearest example would be explained like this: Eskimo Snow : Amnesiac :: Alopecia : Kid A.  Radiohead, on Kid A, was focused with a clear vision and while Alopecia isn’t a high concept album it shares the same focus.  Yoni Wolf spits self-deprecating, acid tongued rhymes that tell tales of loneliness and depravity.

On Eskimo Snow, like Radiohead on Amnesiac, Why? offer up a much looser collection of songs, and while these songs aren’t bad they also don’t make up a very cohesive release. Wolf mostly abandons the rhymes for traditionally sung vocals.  In an interview with Pitchfork, Wolf noted that his work on Eskimo Snow was “the least hip-hop out of anything I’ve ever been involved with”.

There are several tracks, such as ‘Against Me’, ‘These Hands’, and ‘The Blackest Purse’ that are reminiscent of the bands earlier work.  I would have much preferred a tight EP, rather than this meandering album.  I am looking forward to their next release with a truly new batch of songs.

Why? will be performing Sunday, November 8th at Fun Fun Fun Fest. They take the Orange Stage at 3:50 p.m.

[audio:https://austintownhall.com/wp-content/uploads/2009/09/03-Against-Me-1.mp3]

Download: Why? – Against Me [MP3]

J. Tillman – Year In The Kingdom

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GuerrillaGroup_1_tillman-300x300Rating: ★★★★★

Since 2004 J. Tillman, born Joshua Tillman, has been consistently releasing quiet, understated records on various labels in the Pacific Northwest.  These records, while all solid releases, always followed the same template: hush vocals, gently picked guitars, mournful lyrics. With the release of Year in the Kingdom something has clicked with Tillman’s formula.

Maybe it has been his tenure as drummer in the Fleet Foxes these past couple of years that has lead to this beautiful and full sounding record or maybe it has just come with age.  On Year in the Kingdom we hear a road-weary Tillman lamenting on the human condition, we are met with songs of repentance and rejoice.  This is a simple record: mostly just acoustic guitars, a banjo here and there, light percussive elements, and Tillman’s voice, prominent in the mix.  Initially having the vocals so high in the mix turned me off to the release, and I retreated back to 2007’s Cancer and Delirium, which is quieter and more restrained, but the title track on Year in the Kingdom kept pulling me back, and I’m glad it did.  On repeated listens you realize that why the vocals are so high in the mix is, perhaps, because Tillman is confident in what he has to say and doesn’t wish to hide it in flowery instrumentation.

From the theme of repentance in ‘Year in the Kingdom’ to lines that would make King Solomon blush on ‘Earthly Bodies’ to the redemptive crescendo of  ‘There is No Good In Me’, we have been given one of the most fully realized records that I have heard in years.  Robin Pecknold better thank his lucky stars that he has someone of this caliber backing him, because, frankly, J. Tillman is doing just fine on his own.

[audio: https://austintownhall.com/wp-content/uploads/2009/09/J-Tillman-Though-I-Have-Wronged-You.mp3]

Download: J Tillman – Though I Have Wronged You [MP3]

Sunny Day Real Estate – Diary

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sunnyRating: ★★★★½

Long before emo was a curse word that you said to your friends, there were brilliant bands that were making the new genre respectable. Yes, 1994, and the music was absent of the whining and glam make-up.  Only one band really stands out in the early years, or at least has the ability to withstand the years of badmouthing: Sunny Day Real Estate. Diary was their debut, and although they may not have been able to top it, it’s the one album that stands the test of time, forever cementing the band’s legacy.

One of the most outstanding landmarks on this album is the superb drum work of William Goldsmith.  His drums fills are technically tight, and he sounds as if he hits harder than anyone else around. Each time the cymbal crashes, you can’t help but fall in love. Just listen to his work on the album opener, “Seven,” and you will be sold.  If not there, move to the next track, and the next; you will only gain more respect for Goldsmith as an underrated drummer.

One of the unique elements of Diary is the ability for the band to move back and forth between their soft and hard moments.  As the powerful “In Circles” comes to an end, you’re greeted by “Song About an Angel.”  It begins with singer Jeremy Enigk’s melancholy gentleness sort of wooing the listener, but steadily the band builds.  Enigk’s sparkling shriek breaks in, crashing upon your ears just as hard as Goldsmith behind his drum kit.

And herein lies the secret of the band’s success, even back during the early days of emo. Jeremy Enigk was, and remains, one of the most dynamic singers ever to walk the stage.  When he sings on key, you can immediately discern the power of his pipes, but he’s not a one-trick pony.  Let him break through with his recognizable belting, and you’ll see just why he captivated so many people for so long.

For me, looking back on this album, one of the aspects I love the most come in songs like “Rounds” or the aforementioned “Song About an Angel.”  Slowly, the band walks into a song, barely moving you, resting quietly on Enigk’s vocals.  Soon, the pace begins to pick up, bursting forth into an eruptive chorus.  And somehow, they even manage to break the formula near the end of the song, steering clear of the chorus altogether.  It all comes to rest upon Enigk’s voice.

We should be thankful that such an album was made, and even more grateful that Sub Pop opted to re-release the band’s work, with bonus tracks no less.  You can now find yourself vinyl copies of some of the most revered albums of the early 90s.  If you missed getting into Diary back in the day, then now is your chance.  Do it for yourself, and you’ll be happy.  If you happen to own it already, revisit, and you’ll gladly find that the band is more than nostalgia.  Sunny Day Real Estate sounds interesting and unique even today.

[audio:https://austintownhall.com/wp-content/uploads/2009/09/09-48.mp3]

Download: Sunny Day Real Estate – 48 [MP3]

Sunny Day Real Estate – LP2

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sdre_lp2Rating: ★★½☆☆

Sunny Day Real Estate’s then posthumous second album Sunny Day Real Estate (or LP2 or The Pink Album) has always been regarded, at least to myself, as a mysterious album.  It was largely recorded after the band had already disbanded, frontman Jeremy Enigk and guitarist Dan Hoerner never completely finished writing the lyrics, and when it came time to turn in the album artwork, the band opted for the ominous pink cover (is it possible for pink to be ominous?) and simple song titles.

After falling in love with the band from listening to their debut, Diary,  I eagerly ran out to by this album the week it came out (Fun Fact: LP2 was actually one of the first CDs I bought after getting my drivers license) and listening to the open track ‘Friday’ I was thrown off.  Gone was the propulsive emotive rock I got used to on Diary, only to be replaced with mid-tempoed far-eastern influenced rock. My sixteen year old heart was distraught.

I struggled through the next couple of tracks, ‘Theo B’ and ‘Red Elephant’, knowing, at the time, that this was the last album this band would ever produce , and feeling a sense of disappointment in the bands swan song.  But on track four ‘5/4’ something clicked, the fragility in Enigk’s vocals and the instruments carrying it the first half of the song gave way to completely different band.   I played the hell out of that CD, loving every song on it, from 1:45 mark in ‘5/4’ on.  Later, after the release of the bands first post-break-up album, How It Feels to be Something On, it’s clear to see the transition the band was going through on LP2; relying less on the classic indie rock tropes and venturing out in to more atmospheric rock. 

That album deserves five stars.

This, the 2009 reissue, of LP2, deserves much less fanfare.  I don’t want to call this a cash grab, because really how much cash is to be made on Sunny Day Real Estate, but with the limited recordings in the bands repertoire is such a release warranted?  Sure, the album sounds better than it ever has, and the two bonus songs (‘Spade and Parade’ & ‘Bucket of Chicken’) are nice additions, but in today’s download friendly world, they are just a click away.  I have never listened to this album, or Diary for that matter, and dreamed of a remastered edition, I took it for what it was: a fantastic album that sounded great and was ahead of it’s time.  I would be much more excited about the remastering of Fugazi’s first several albums or the remastering of The Jesus Lizard’s first four albums (NEXT WEEK!).

But I have no ill will towards these guys.  They are embarking on their first tour with the original line up in years, and hopefully these reissues will pull in new blood into the fold of Sunny Day Real Estate fans, and hopefully they will release a new album that will erase The Rising Tide from our collective memories.

Go see the old-timers at La Zona Rosa on October 7th 2009

[audio: https://austintownhall.com/wp-content/uploads/2009/09/04_5_4.mp3]

Download: Sunny Day Real Estate – 5/4 [MP3]

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