Category: Reviews

Julian Plenti – Julian Plenti is…Skyscraper

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jplentiRating: ★★★½☆

Julian Plenti isn’t really a new band, rather it’s the sidecar for Interpol frontman Paul Banks.  His latest release on Matador, Julian Plenti is…Skyscraper, attempts to re-up the ante for his career, and honestly, that of his band.   After a brief departure into a more mainstream approach Banks is seen hear , expectedly, treading the ground he’s walked upon for so long now.

Opening track “Only if You Run” demonstrates that despite going it alone, his heart is never too far away from his mainstay. However, the trickling guitar lines show a touch of brightness, which also seems to collide with the lyrical content.  He does however bring back that recognizable throaty vocal when he shouts “surprise” near the end of the track.

“Skyscraper” begins with a great deal of promise for new direction, as punctuated guitar strumming is accompanied by symphonic flourishes.  It’s a brooding number, one that might benefit greatly for some strong vocals, and just as you think there won’t be any, Banks enters the picture.  Haunting as he can be, it would have been nice to see him go a bit further in this direction on the entire record.

“Games for Days” probably sounds exactly like what you would expect from this album had you heard nothing else other than the involvement of Banks.  It’s as close as you get here to an Interpol cover song, although his work in the chorus does seem as if he tried to push himself a bit into new space, especially with the guitar work that crashes at the end, coming off a bit like a heavier version of The Killers. Of course, this song backs up to “Madrid Song” which is about as minimal of a song as you can carry on with.  It’s all piano and soundbytes; it would have been nice to see the album here.

But the thing is, you could see this train coming from miles away with the blogosphere telling you of the arrival of new work from Paul Banks.  Those of you who were die-hard fans of Interpol were salivating, and there are definitely moments here that shine, or rather give off a faint sparkle.  Still, aside from interesting moments such as “Unwind” with the blasting horns and marching vocals, the album is fairly predictable in regards as to the direction that you would expect it to venture.  This isn’t entirely a bad thing, after all, the last record was sub-par.  Julian Plenti is a solid reminder that the forces of Interpol are still something to be excited about as we head into the future.

Fruit Bats – The Ruminant Band

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PrintRating: ★★★★☆

A slew of records into his career and Eric D. Johnson returns with his outfit Fruit Bats to release The Ruminant Band on Sub Pop.  Splitting time between Chicago and Portland, you can really feel the regional influences shine through on this album, filled with the wooded folk one would expect from the Northwest mixed with the quality production and warmth you’d find from like-minded bands in the Midwest.

Opening the album with a gentle folk number that rolls through the hills of your mind is where you first meet the voice of Eric D. Johnson.  As his voices rises and falls with the gentle acoustic work of the guitar,  you will find yourself falling in love with him.  When “The Ruminant Band” takes over the stereo from here, Johnson’s voice takes you somewhere entirely close to home, echoing with familiarity.  It’s one of the gentlest songs of the year, but one that definitely should make plenty of lists at the end of the year.

As energized as the album begins, or at least as far as one can go with this style of music, it begins to take a softer slide into the latter half of the album.  “Beautiful Morning Light” recalls a touch, and only a touch, of Wilco. The acoustic number is carried by the perfect range that is Johnson’s voice, which seems to be the dominating theme on the album.  It’s hard not to admire the vocal quality here when so many other bands are coating their lyrics and feedback and reverb.

“The Hobo Girl” is a mid-album stomper, in the midst of the softer side of things, that immediately recalls recent work from Dr. Dog, which is due to the saloon-style piano that serves as the backbone of the song.  The song even features flourishes of barroom discussion included to give a little texture.  Not sure why it’s necessary, but it makes it hard to get away from resemblances.  “Being On Our Own” is another song in the same vein as the previous one, but done with a little bit more of a Southern flourish to the vocals.  Set here in the middle of the album they provide the perfect pacing balance for the whole of the album.

The understated highlight of the album definitely has to be “Singing Joy to the World.”  Every instrument merely exists to bring out the melody and inflection in Eric’s voice, and it’s short time span makes it go along almost unnoticeable in comparison to the rest of the record.  Be sure not to miss this song, as you’ll be sore once you discover it’s the secret gem of the record.

Musically, The Ruminant Band is not full of anything that particularly jumps out at you as incredible feats of musicianship, yet the strengths of the group lie in that fact.  Every song exists as a tool to help Johnson’s voice succeed in the ears of the listener, and in that fact, the Fruit Bats have done an exceptional job carrying out a wonderful album.

[audio:https://austintownhall.com/wp-content/uploads/2009/08/08-singing-joy-to-the-world.mp3]

Download: Fruit Bats – Singing Joy to the World [MP3]

Fruit Bats will be playing in Austin September 2nd at the Mohawk.

Throw Me the Statue – Creaturesque

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creaturesque-throw_me_the_statue_480Rating: ★★★½☆

It seems that Scott Reitherman has finally found a consistent group of musicians to flesh out his songs, as the new Throw Me The Statue album, Creaturesque is steps above the band’s first album, Moonbeams. Sure, it’s their second album, so we’re expecting growth and maturity, but it’s so far beyond where that first album began that it’s worth giving credit where credit is due.

When the guitar tinkering begins the album on “Waving at the Shore,” you begin to wonder if you’re in for another lo-fi production a la every other record this year. But, clarity coincides with the introduction with Scott’s vocals.  His control over his inflection and delivery is noticeable throughout the song, and it’s one of the more charming aspects of the group.  Here, you will also find a steady barrage of carefully crafted horn blasts; it’s just a slight extra element, but it elevates the song.

Inclusion of extra elements typically is meant to add a certain sense of depth, and while Throw Me the Statue could surely hold their own without it it, these little flourishes complete the sonic soundscape of the album as a whole, bringing it to completion by filling in every inch of space, yet never becoming overbearing. “Ancestors” is the prime exhibit of this tactic.  The song waivers in fullness and depth, but then switches to the intimacy of singer-songwriter near the end, complimenting both elements by capturing a diverse sound in song.

Oddly, one of the elements that has been predominant since the band’s inception, the keyboard/electronica, is one of the drawbacks that exists here.  For instance, “Hi Fi Goon” opens with this little piece, but the sound itself is sort of juvenile and generic.  Sure, it’s definitely meant to help push the songs in a certain direction, but when it’s used so often, it seems to act as a cloak for some of the weaker moments in the group’s song dynamic.  It would be great to see the band stripped of this crutch, as Reitherman surely has the intoxicating pipes to keep us interested.

“Baby You’re Bored” is one of the album’s shorter songs, but it is the pure contradiction to the previous paragraph, as it’s a stripped down song entirely.  It recalls a more contained Band of Horses or early Built to Spill, both which hailed, at one point or another, from the Norhwest just like Throw Me the Statue.  The song is a success, and one can hope that the approach may be used more often in the future.

Creaturesque is a solid record, surely, despite a few little missteps.  It’s clever where it needs to be, and it’s wonderfully constructed from beginning to end.  One more album and the group will surely be on their way to winning over everyone with their electronic-folk pop.

Jay Reatard – Watch Me Fall

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watchRating: ★★★★½

Jay Reatard, the supposed bad boy of garage rock, returns this year with his new album, Watch Me Fall. Unlike his last few releases, these are sets of new songs, which show a similarly new side to the band.  While Bloodvisions was fueled by a sense of madness and fury, here we find a more subdued effort; it shows that Jay Reatard is more than just a one trick pony, and the group is destined to go beyond the stereotypical garage sounds.

When the record opens with “It Ain’t Gonna Save Me” we meet the same Jay Lindsey we’ve known for years.  Energized and blasting his guitar licks as quickly as he can, speeding furiously towards the end of the song. Oddly, it’s one of the few songs of this set that offers us a glimpse at the garage-punk element of Jay Reatard, as the rest of the record seems to veer into the realms of garage-tinged power-pop.

“Before I Was Caught” is a rime example of the new direction, and let’s say it, the softer side, of the band.  Sure, the guitar is still chugging along, but it’s not done with the same intensity as it’s been done in the past, which isn’t a bad thing in the least bit. Sure, the high-pitched yelp of Lindsey comes into play here, but his delivery outside of the chorus demonstrates a more relaxed approach to songwriting.

Coming across a song like “Can’t Do It Anymore” yet again portrays a poppier world for the group, even with the excruciating feedback in the midst of the song, the overall tone of the song is a bit more uplifting, though the lyrics might not portray the exact same sentiment.  You can pile this on to the chorus of “Faking It,” which again shows a Lindsey who isn’t screaming with force in the face of his listeners.  Finally, we’re presented with a likable attitude, one that is more endearing to a multitude of listeners in contrast to the band as of a short bit ago.

We even find ourselves visiting the land of balladry in this collection of songs.  “I’m Watching You” is a perfect gem of power-pop goodness, and although there is some sonic exploration as guitars meaner mid-song, it still encompasses an overwhelming feeling of a strong ballad. You can place such moments right alongside the album’s closer, “A Whisper (There is No Sun).”  It’s probably one of the most accessible songs in the Jay Reatard collection to this point, and despite partially indecipherable lyrics, you still can gather the emotion from this song.

To sum it all up, we have a new band here, or almost.  There’s a bit of calling out, there’s a bit of remorse, but overall, there is a shift in the direction of the songwriting, ultimately making the album much more rewarding to listeners than anything that has preceded the group.  Watch Me Fall is a gem of power-pop stirred inside a garage smoothie, and surely worthy of accolades and adoration.

[audio:https://austintownhall.com/wp-content/uploads/2009/08/12-there-is-no-sun.mp3]

Download: Jay Reatard – A Whisper (There is No Sun) [MP3]

The Most Serene Republic – And the Ever Expanding Universe

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sereneRating: ★★★½☆

Canada’s The Most Serene Republic have spent the majority of their career flying just below the radar of most indie music fans, but at their newest album, And the Ever Expanding Universe, demonstrates, this young group has continued to mature in more ways than mere age, honing their craft of compiling mini-suites of pop.   Such a progression alone warrant accolades, but the fact that the band has continued to form into a tightly knit group with songs to back it up is an entirely different achievement in and of itself.

“Heavens to Purgatory” is the second track on the album, opening with gentle guitar strumming and Adrian Jewett’s vocals sweeping highly.  Enter drums and female vocals from stage left.  Then the vocals of Emma Ditchburn take over, leading you towards the chorus and insurmountable joy.  Dripping off is a gentle usage of horns a la Broken Social Scene.

Up to bat next is “Vessels of a Donor Look,” a song with a certain amount of swing to it.  It’s as if the band combined their own touch of multi-instrumental indie rock with lounge tropicalia.  You’ll find that this song is one that demands repeat listens, begging for you to grab a cocktail and enjoy the rest of the show that is And the Ever Expanding Universe.

The longest song on the album, “Patternicity,” again seems to be constructed of multiple arrangements within the arrangements themselves.  It’s as if the band approached the writing here with a touch of a composer’s attitude, which makes sense since rumor has it that band constructs their songs around piano pieces.  Although instrumental, this song ultimately rewards in its ability to shift from one perspective to another. Uplifting.

And for their third album, the band begins to wear some of their influences by fellow Canadians a bit more openly.  “Four Humours” sounds oddly like an outtake from an early Stars record, but make no mistake, the band owns this song. Their moderate flourishes of musicianship appear in the middle of the song as the bass takes a short walk just before the song returns to the fold.

Two things are amiss on this record.  First, Jewett doesn’t take nearly as prominent a role as he has in the past, which seems odd considering his live showmanship.  Second, there appear to be a lot of electronic flourishes throughout the album, which isn’t bad as a whole, just a continued departure from where the band began in the early years.

All said and done, And the Ever Expanding Universe is perhaps the most complete album the group has produced to date, leading most to assume that the group will only continue to climb further as they grow.  We’ll surely be hearing from The Most Serene Republic again.

[audio:https://austintownhall.com/wp-content/uploads/2009/07/03-vessels-of-a-donor-look.mp3]

Download: The Most Serene Republic – Vessels of a Donor Look [MP3]

YACHT – See Mystery Lights

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yachtRating: ★★☆☆☆

When Jona Bechtolt left B.L.O.W all these years back now, no one knew what direction he would pursue, as his music seemed perfectly fitting for the duo.  He wowed many with his clever YACHT debut, I Believe in You…, but could he proceed in a similar direction while achieving similar success when he added Claire Evans to the mix? See Mystery Lights is the answer to that question, though not necessarily the answer many were seeking.

The predominant factor on this set of ten songs is the usual inclusion of various blips and bleeps fused with clever pop elements throughout, much the same recipe used on the debut.  This round, the beats don’t really sound as progressive and interesting as they once did.  Perhaps this is due to the similarities of recent releases by other electronic based groups such as Animal Collective. Electronic collages are gradually wearing listeners down, and themselves, becoming watered down.

Redundancy seems to be one of the factors that contributes to the decline in creativity on See Mystery Lights. “It’s Boring/You Can Live Anywhere You Want” carries on for entirely too long, and never really seems to break into any new territory throughout the eight minutes of the song.  “Psychic City” opens with beats that seem reminiscent of The Knife, but then there is an utterly annoying water drop sound that continues to drip for the entirety of the song while Evans imitates early Debbie Harry.

“Summer Song” has easily one of the more enjoyable beats on the album; it’s probably one of the songs you would pick to play at a party, but even still, the promising beats don’t seem to really take off and go anywhere. It’s as if the whole record seems to be treading water, in danger of drowning itself in monotonous beats and repetitive lyrics.  What once garnered interest and enjoyment now seems tired and basic. One can go through the whole album without feeling as if any time has passed at all; musically, the album has stayed in the same place, as have you, the listener.

And in the end, you find two renditions of songs that were already presented on the album, which don’t particularly add anything to the originals, if you are to say that they don’t detract from those songs.  It seems that See Mystery Lights just didn’t quite come together for YACHT, and one might possibly say that the group suffered to come up with new material for an entire album, as clearly they ran out of songs.  It’s not a horrible offering, but it’s one that won’t really add much to your listening experience on this Earth.

Tiny Vipers – Life on Earth

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tvRating: ★★½☆☆

Tiny Vipers is the project of Seattle’s Jesy Fortino; she is the possessor of one incredible voice, wavering between high notes, and those from the depths of her diaphragm. Her new album, Life on Earth, checks in precisely where she left us the last time around, filled with careful guitar strumming, soft-spoken piano chords, and, of course, her astonishing vocals.

In this instance, the artwork on the cover pretty much seems to some up the album as a whole.  There is a girl in the middle of a dense shadowy hillside; we’ll let the girl play the role of Fortino.  Off in the distance, you can barely make out the band name and record title.  Rising flames play the role of Jesy’s voice.  For the most part, the album has a lot of absent space musically, which really ties in the statement of the artwork and the music.

No one will take away Fortino’s voice, and its clear quality.  The way she wavers between pitch and tone with songs like “Development” is something very few other musicians can imitate, though recent folk movements have seen many try their best.  It’s soothing quality is clearly something many listeners will find appealing, though perhaps more in the midnight hour than the morning drive to work as they prepare for the day.  Overall, it has a cleansing quality for one’s ear, removing beats and shuddering guitars in trade for a naked guitar and vocal approach.  Therein lies the drawback to such an album.  Placing the beauty of voice aside, there is no real pacing to the effort here, which allows for a lot of the songs to slowly drift into one another, making for one collage of extreme vocal exploration with very little else.

If in your search for music you seek out minimal instrumentation, slow pacing and a strong vocal presence, then this is precisely the album you have been looking for in all these years.  No one will be able to mimic this effort, as Tiny Vipers has few peers that can rise to meet her in this place.  Still, a lack of pacing makes for a drawn out listening affair, which may be just what some of us need at the end of the day.

Tiny Vipers will be playing with Castanets at Mohawk on Friday, July 24th.

Generationals – Con Law

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genere Rating: ★★★★☆

New Orleans duo, Generationals, seem to have flown beneath the radar for quite some time, that is until Park the Van Records, home to Dr. Dog, decided to release their album Con Law.  The record crosses various rivers of genre, yet always staying familiar in the listener’s ear.  Here we have a complete album of pop celebration that will surely tide us over for the rest of the summer.

When “Nobody Could Change Your Mind” begins, the tinkering of electronic keyboard makes it seem like just any other neo-electroni-pop album, but then the horns kick in, stepping the album out of a purely cliche realm of music. Vocals here have a bit of an echo, which may give them a lo-fi title, but the band is nowhere near that mark.

“Angry Charlie” switches gears, and recalls the best moments of MGMT, although if you listen to this on repeat several times you will see that the usage of the organ and bounding percussion give it an entirely different light, moving the band beyond their peers.  Yet, this group immediately allows for the staleness of such styles to veer in different directions.  The half-hearted stomp of  “Faces in the Dark” demonstrate that the band is far more than a one trick pony; they have a barrage of approaches in the writing of Con Law, allowing for the album to take on a more long-standing importance for fans.

By the time you meet the mid-section of this record, you start to wonder exactly why you hadn’t heard anything about this band up until this point in time.  “”When they Fight, They Fight,” and “Our Time (2 Shine)” are both solid tracks that exemplify just how special a listening experience this will be.  Both songs hold tightly to some really great hooks, while still paying homage to classic beach sounds.  They might take a slight misstep from here with “Wildlife Sculpture,” as it’s one of the very few songs that doesn’t immediately make you want to press repeat on your player, whatever format.

Just as the album seems as if it will stay with electronic flourishes, “Exterior Street Date” sweeps in with ringing guitars.  The vocals will take the key role for the majority of the song here, but the subtlety of the chorus somehow manages to stick inside your head.  This duo is the key of under-spoken pop gems, accessible and discernible, only for those with careful ears.  Following this comes “It Keeps You Up” with its bouncing piano work and vocals that appear to be sung by a mass group of fans, though it’s just one voice.  Such care went into the patchwork of these songs that it’s no wonder you find yourself listening to them again and again.  And such is the story of the album, you find yourself rushing back and forth to play that track over and over, wondering to yourself if it really was that good.  The answer for the songs, and the album is yes!

Generationals play at Stubbs Indoors on August 6th.

[audio:https://austintownhall.com/wp-content/uploads/2009/07/02-angry-charlie.mp3]

Download: Generationals – Angry Charlie [MP3]

The Fiery Furnaces – I’m Going Away

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ff_going_press.inddRating: ★★★½☆

It’s hard to follow The Fiery Furnaces, as their genre hopping and musical expeditions tend to lead followers in several directions, occasionally at the same time.  However, you’d be reluctant not to notice the prolific output of the group, and their continuous relevance musically.  Their latest album, I’m Going Away, is chocked full of deviating paths and piano-laden hooks.

I’m Going Away beings with a song referencing the title, but it’s more of a statement song, allowing listeners to get just a brief taste of the band’s latest affair shortly before ending.  “Drive to Dallas” is the first exemplary song on the album, as the Friedbergers bounce back in forth between lounge piano work and lightning noise-infused guitar licks, just as Eleanor picks the pace of the song up with her vocals.  It’s place back to back with “The End is Near,” which sounds an awful lot like it could replace one of the various theme songs from your favorite sitcom of the eighties.  You should take a listen to Eleanor here, as her voice is remarkable once again, contrasting against her brother Matt’s as they trade verses and share roles during the chorus. Moments like this come about so rarely, but be thankful for a song such as this.

Speaking of voice, you have to wonder why Ms. Friedberer doesn’t get more love in the vocal department these days.  Her vocal range is spectacular, from the lounge-y hints during “The End is Near” to her close Costello approximation on “Charmaigne Champagne.”  She goes back and forth across tracks throughout the album, and you can’t help but envy the pipes she possesses.

Coming across “Even in the Rain” you will be pleased to find the band at possibly their most accessible during their entire career.  It’s a fairly simple song accompanied by Eleanor’s trademark poetry and very light percussion.  In fact, it almost sounds like the sort of song you might find (or wish) that Wilco was creating nowadays.  Similarly, “Ray Bouvier” hits at the hearts of listeners, gentle in progression and light in its texture.  The bare bones of the group appear to be the brightest this go round, and the entire album bursts forth thanks to this approach.

Epic songs such as “Take Me Around Again” or “Lost at Sea” surpass expectations of what one expects from a long Furnaces song.  After years of honing their skills, they group seem to bring it all in closely, barely deviating as far as we remember them doing on various other numbers.  It’s this newfound ability to hold back and focus that seems to have created some of the stronger songs on this side of the band’s career.

I’m Going Away is the most accessible Fiery Furnaces record to come out in a long time, largely driven by piano driven tracks and an ability to hold back the reins when the band would normally go into a schizophrenic foray into the outer realms of our pop indulgence.  It’s good from front to back, and you know you won’t complain about that.

[audio:https://austintownhall.com/wp-content/uploads/2009/07/the_fiery_furnaces-the_end_is_near.mp3]

Download: The Fiery Furnaces – The End Is Near [MP3]

Dead Weather – Horehound

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deadweath Rating: ★★☆☆☆

Did you say Alison Mosshart? Yes please! Wait, Jack White too? Absolutely! These were the thoughts of many as news broke of a collaboration between the two, to be named Dead Weather.  Now the band have released their debut, Horehound, and for many, this album will be precisely what you wanted to get from the band, but for others, it might seem like the blues-rock version of Phish.

As the album opens with “60 Feet Tall” Mosshart makes her presence known.  Her sexually toned lyrics are full with the spirit of the blues, much as they were on the The Kills first album, Keep On Your Mean Side.  Sure, the song is full of ear-splitting guitar work, but it kind of seems as if the band is trying to indulge in their classic-rock chops just a bit too much, leaving Mosshart as the standout for the album within the opening minutes.

“Hang You From the Heavens” was the first single from the album, and it definitely packs a bit of a punch.  Fuzzed out guitars burn up and down through the song, meeting with the vocals of Alison as the seems to writhe in the negative space of the song. Perfecting the single is Jack White’s drumming, which will never be confused for the most exhilarating, but as he shows in this song, he knows just how to put the right touch on a song; he’s done this for years, and we can assume he will continue on that path.

“So Far From Your Weapon” demonstrates the lackluster elements of Horehound. Slow pacing and sparse instrumentation definitely make the tracks a lot weaker, as if the band’s meandering through their pantheon of influences took too much of the focus away from the band’s songwriting.  But, it’s juxtaposed with “Treat Me Like Your Mother,” a stomper of a song where White and Mosshart’s vocals collide in a furious explosion before guitars splice up the song, albeit momentarily.  But, yet another fault is that this song goes on way beyond where it should.  The groups seems to carry on, treading the proverbial water of this song.

So you come to the latter half of the album with songs like “Bone House” and “3 Birds.”  The only thing that goes on for a majority of this part of the album is the vocals of Mosshart.  In “Bone House” it’s her come-hither-howl that draws any attention to the song at all.  “3 Birds” as an instrumental song doesn’t seem to tell a story at all, as most instrumentals should do, instead it just exposes the lack of creativity that seems to be thrown into the mix far too often for the liking of most listeners.

This all sort of sums up the record as a whole.  Mosshart saves the album, as her dominating vocals never seem to lose their touch on the ear of listeners, but the music itself doesn’t seem to be much more than an exploration, and a poor one at that, of styles long gone away.   Sure, blues and classic rock have their place in the history of American music, but this album can’t kiss the feet of either of those two genres.

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