Category: Reviews

Neko Case – Middle Cyclone

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nekoRating: ★★★★☆

From time to time, not very often, we bear witness to the amazing talent of an artist that we may not fully understand the impact and powerful force they have wielded upon us and music as a whole. Speaking not only of the present accomplishments they have made but also of the resonances that will be heard of their music to come. It always seems easy to speak greatly about an artist of this caliber in hindsight after they are gone and notice the scar they left on the medium, but to notice the force of the artist in their prime and sit back and admire them is harder to come by. Such is the case (no pun intended) with Neko Case.

With her latese effort entitled Middle Cyclone, Case builds her myth and casts spells upon the listener with every song. When Homer wrote the Odyssey and spoke of the Sirens, the voice he must have heard would’ve been of Neko Case. She commands attention with every word she sings and leaves the weak to the wayside. Opener, “This Tornado Loves You” spins into your heart doing just that. The opening mandolin strum with the rolling snare that follows makes for the perfect musical soundscape for Case’s vocal whirlwind. Lines such as “carved your name across three counties” and “their broken necks will lie in the ditch” tells of the search, destruction, and anger she has toward a lover and the demise of weak men she spits out in search of him.

“People Got A Lotta Nerve” is another girl power anthem that’s meaning works on many levels. All men have been hoping a song with this powerful of a chorus would never happen, but are forced to reckon with “I’m a man-man-man, man-man-man—eater!” JEEZUS! Did she have to go and do that?! Every time us guys are in a bar or at friends house and this song comes on, we are gonna have to swallow our pride for 2 1/2 minutes while you girls get too big for your britches and think you have some sort of dominant role over men. Pffft. (Babe, if you’re reading this, I cleaned the dishes and did the bathroom too.)

The middle section of the album is composed mostly of acoustic numbers that allow for the potency of Case’s vocals to take effect. Her vocal delivery is amplified by the stark imagery and subject matter of her lyrics. First and foremost an amazing vocalist, her lyrics take you further away by descriptive tales of  romance and love without being twee and silly. Murder, blood, and knives are common in her dark vocabulary as spiderwebs,  magpies and tornadoes are thrown into the mix for natural measure. A simple lullaby like, “Magpie to the Morning” can only be taken to such heights by the beauty of such inventiveness.

There are two covers on the album, Harry Nilsson’s “Don’t Forget Me” and Sparks‘ “Never Turn Your Back On Mother Nature.” Both songs sound a bit strange for the album in terms of flow, but it seems they are songs held close to heart for Case with good intentions like “N.T.Y.B.O.M.N.” Case owns a 100 acre lot with a house in the lush greenery of Vermont which I’m sure contributes to the inspiration for covering this song. In fact, the nature surrounding the house has had such an impact that it yielded it’s own 30 minute track. The albums’ finale “Marais La Nuit,” was recorded outside of her house with the sounds of crickets and the nightlife bringing the record to a close.

The Great Nostalgic – s/t

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thegreatnostalgicstalbumcoverRating: ★★★★½

It’s rare nowadays when an artist will actually create a world and sound, one which takes you upon a journey within an album.  We’re a culture that’s reverted back to the days of singles and 7″s, but some of us still yearn for that legendary trip throughout an album, carried up and down by the songwriters; that is precisely what newcomers The Great Nostalgic have created with their debut self-titled album.

Opening the album with “Grace,” a song based entirely around deep piano chords creates a moment of solemnity, encouraging the listener to settle down as the album begins to take flight.  And from here the band go straight into “The Kingdom” where the band slowly start to assert themselves as a complete force to reckon with as guitars crash carefully mid-song.  Subject-wise, the band sets us up as singer Abram Shook carries you back home with him to a place where his memories hold great importance.  Listen close as wave after wave of guitar noise crash upon you near the song’s end, coated in a dense fog of noise.

From here, we journey into a song about “Young Lovers,” one of the songs destined to be a hit with audiences.  Here you find a bounce to the band that wasn’t present in the earlier moments of the album, and its a welcome change of pace as the band carry you to yet another plateau in their reptoire. Listening, you can bounce along the entire time, but the prize comes as the snare drum rattles in tight unison with guitar work at the end of the album.  But, just as soon as your body is moving, they draw you back in with a more subtle song.  Shook seems to be dealing with a bit of defeat, but his undying love, or infatuation, pushes him to hunt his love, played in part by the band’s occasional guest female vocalist, Pink Nasty.

Still, they’ve got haunting elements to carry with them, as they do in “Fall River Dream” in which the narrator seems to follow aimlessly down a river filled with mistakes and dreams both touching and demonic.  Our narrator yearns to be free, hoping the water washes it all away.  And off we go with “Fire Brigade,” which has a looming sense of doom, especially when the guitar work is shortened, matched by the pounding of phenomenal guest drummer John Kolar (Sunset).  It’s an epic moment in the album, one filled with a sense of complex dark chaos.

Thus comes one of the best tracks on the album, though admittedly, they are all exceptional in their own right, “County Line.”  Combining keyboard elements and angular guitar work creates a certain tension, yet allows for pristine pop moments.  It takes us back to the story of the young lovers, but in doing so it brings a certain sense of ferocity, along with accusations of someone “living someone else’s life.”  Juxtaposed, however, is “Legend,” one of the songs that bubbles with creativity alongside an atmospheric sound of swelling guitars and electronics just before the pace is quickened; the introduction of horns certainly moves this song into a realm beyond its predecessors.  And so “Queen and Country” reintroduces you to Pink Nasty along with Diedre Gott and Abram Shook, together at last, at least as far as lyrical delivery goes.

And the album begins to draw to a close with ‘The House of My Father.”  Rumbling drums melded with Shook’s voice, as it echoes in the forefront of the song make for memorable moments, and the urgency with which the band performs does not go unnoticed.  Here we rise to the seeming climax of the album, after various ebbs and flows through the valley of the album.  Then we have the end, the “Return to the Kingdom” where we go back to where it all began, to a place where its full of memories.  Marching goes the band, and our heart beats along until the end, where we are blasted by the album’s coda.

So through it all, the band mixes up their textures, their approaches and their delivery.  They carefully craft an album that allows you to start at one point, and follow the band until the end.  One couldn’t have asked for more from a fairly young band, as they deliver one of the most complete albums to come out this year.

[audio: https://austintownhall.com/wp-content/uploads/2009/01/07_county_line.mp3]

Download: The Great Nostalgic – County Line [MP3]

You can catch this band Friday (3/6) at Club Deville as part of the Cacophony Records party.

The Boy Least Likely To – The Law of…

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boyRating: ★★½☆☆

Britain’s The Boy Least Likely To have made waves in the past with their multi-instrumental pop tunes, and their back at it again with their latest release The Law of the Playground. Their sound clearly hasn’t evolved too much on this album, as they rely upon the same set of tricks that gained them popularity in the first place.

Once you press play, those of indie-pop should surely find a resemblance in vocalist Jof’s delivery, as his voice is a clear descendant of Matt Sharp of Rentals and Weezer fame. Even the musical accompaniment encourages this association, but its nice to have a familiar voice singing in your ear, even if it comes from someone entirely new.

Musically, you can find lots of similarities to various bands.  The usage of multiple instruments throughout the album recall memories of other groups such as Architecture in Helsinki or I’m From Barcelona.  All three groups rely upon an extensive use of layering in order to complete the accomplished goal at hand.  And their is no shortage of bells and whistles here, not by a long shot.

You know the saying “everything and the kitchen sink,” well, it certainly applies.  There indeed are bells and whistles, and it seems as if the band uses any thing at their command to create infectious melodies.  Add some horns, and you’ll find that every single instrument you could imagine to find on a pop album is utilized here.  It’s great in concept, but it has a tendency to wear the listener down.  Just saying.

Now, looking deep in the lyrics will be hard to, as there really isn’t a great deal of depth swirling around the presentation here. Let’s take a song like “When Life Gives You Lemons I Make Lemonade.”  Can you work a larger cliche into song than that one?  Probably not.  Which is precisely where this band loses you; their lack of interest, or seeming disinterest, is where you start to feel frustrated in listening to the band.   They’ve built these perfectly crafted songs, yet they can’t ever seem to close the deal by attaching quality lyrics to such melodies.

Two albums into their career, the band have created a wide array of pop gems to their name, each built with precision and attention to every melodic detail.  Time after time, they surprise you with moments of splendor, as they do in “Stringing up Conkers” on their most recent release.  But, in the end, they always leave you craving for more, be it in regards to lyrics, or in regards to wanting more well-crafted songs, you’re sure to ask for more.

[audio:https://austintownhall.com/wp-content/uploads/2009/03/06-stringing-up-conkers.mp3]

Download: Boy Least Likely To – Stringing Up Conkers [MP3]

Boston Spaceships – The Planets are Blasted

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bostonRating: ★★★½☆

Ohh Bobbie, how we love your Miller Lite infused high-kicks. How we love walking into your shows dry and leaving sopping wet from not only our own but other peoples body sweat. How we love being able to throw beers in the air at innocent by-standers and not give a shit. Above all else Bobbie, we love your unmatched creative output of material. Slurrrrrp.

Boston Spaceships return with Planets Are Blasted only 5 months after their first LP Brown Submarine. In a recent interview, Chris Slusarenko has said they already have a third album ready tentatively titled Zero to 99 which should be out before October. With no trimming on the song count, Planets Are Blasted boasts another 14 songs just as it’s former had. The line-up has stayed the same with booze buddies Chris Slusarenko (GBV, Svelt, Sprinkler) on guitar and John Moen (Decemberists, Jicks, Elliott Smith) on drums. Now implemented as an official band and not a side project, Boston Spaceships carries on the sounds of pop infused punk/garage rock and beyond. In classic Pollard fashion, all the songs are generally under 2 1/2 minutes in length with the exception of one which goes into prog zoning of 4 minutes.

The treats keep coming on this sophomore release which I wonder if they were recorded at different sessions or what? I’m curious to hear more details on the recording process of these songs. For the most part, the way these songs see the light of day all starts at Pollard’s home. He comes up with raw demos, usually consisting of him on an acoustic guitar and singing vocal melodies on top. He’ll go through the songs deciding which ones will work for his solo project and which ones are Boston Spaceships material (The man has a self-proclaimed 3,000 un-released songs give or take a thousand depending on how many Miller Lites he’s had).  He’ll then call Slusarenko up and say that he has some ideas, they’ll get together, have drinking challenges, write notes on songs usually ending with KICK-ASS the more they drink. Slusarenko will then take these songs home, mull over them until he knows every subtle part, take them to Moen and flesh it all out.

It’s amazing at the ease in which Pollard can come up with a catchy chorus. Such is the beast of album opener “Canned Food Demons.”  It immediatley takes you back to GBV days of old, maybe missing the piss and puke buckets, but as close as we’ll get and I’ll gladly take it.  I mean, the man is 52 years old and can still squeal with more power than any rock singer I’ve heard at his age. When you hear him howl, “now she’s coming aroooound, canned food demons aliiiiiiiive!” Just surrender already. This may be the best song on the album but it definetly doesn’t stop here. Gems like “Queen of Stormy Weather” and “Heavy Crown” will quench your thirst for more R-A-W-K.

As a whole, Brown Submarine too me is a much more polished album with catchier and inventive melodies than this one. I don’t know if the songs were picked first for Brown Submarine and the ones on Planets Are Blasted were picked afterward from the same collection of material but either way, this album still holds up in my opinion. Not as strong or consistant throughout, but still many perks that will turn an ear. Most of all, I’m really happy to know that this isn’t a “project” and that Pollard is having fun and pumping out little bits of gold over and over. (insert high-kick here)

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

Download: Boston Spaceships – Big O Gets an Earful [MP3]

Odawas – The Blue Depths

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odawasRating: ★★★½☆

Odawas come to us from Berkely, California via the Midwest, which is definitely an attribute one can find on both ends of the spectrum when listening to their newest album, The Blue Depths, off JagJaguwar Records.

This an album of soundscapes, carefully sculpted with an artists touch, as the duo of Isaac Edwards and Michael Tapscott, pay attention to every inch of the recording process and the musical concept.  Clearly, this is an album where they sat down together, determined a common path they wished to depart upon, and decided to take us their with them.  Even the album artwork and the song titles illustrate a journey of sorts, for all those participating in the listening experience.  Titles like “Swan Song of the Humpback Angler” and “Moonlight/Twilight” clearly represent a canvas on which the band can paint.

Oddly, they choose to do a lot of the percussive work with a twinge of eighties pop keyboard elements.  The backing sounds are remarkably similar to every soundtrack you would hear in the pop-culture movies of the eighties.  Still, it keeps some of the more brooding moments rising above the seemingly somber moments that exist throughout. And yet the band push on with their sound, carefully filling every single inch of space with some form of instrumentation, be it harmonica, string arrangement or vocal melody; they don’t leave a single musical stone unturned here.

Vocals all over the album are a little bit in the vein of something we would have seen with Jason Lytle, just a whole lot gentler, as if the Californian has been sampled, slowing his voice down to a whispering tone.  It’s a trait that allows for the band to put the music on the forefront, with the vocals remaining just an extra instrument for them to utilize in the ultimate construction of this album.  This being the case, its hard to take a lot of quality understanding from the vocals in the realm of lyrics, but that probably isn’t the point at all.  They want you to be drawn in, pulling your ears closer to the speakers as you fight to take meaning from their compositions.

In the end, this is the seeming purpose behind this release, as it surely is a moment of pure mood music.  This isn’t to suggest that you need to be in a certain mood to grasp the record; this is by no means the purpose of that statement.  The purpose of making a blanket statement such as that means that while listening to this album in its entirety, as you should do with all albums, you will find that your mood has been altered.  This is precisely what Odawas wants of you, they want you to immerse yourself in their wonderful world of space and sound.

[audio:https://austintownhall.com/wp-content/uploads/2009/02/02-swan-song-of-the-humpback-angler.mp3]

Download: Odawas – Swan Song of the Humpback Angler [MP3]

Clem Snide – Hungry Bird

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clemRating: ★★★☆☆

Eef Barzelay had promised us long ago that his days with Clem Snide were well over, which was odd, seeing as he was the primary musician behind the band’s music.  But, here we are again with Clem Snide’s newest album, Hungry Bird.

Barzelay is one of those singers who has a very distinctive voice.  It’s somewhat near the nasal region, yet in an endearing way.  This quality in his voice makes you immediately familiar with him as a frontman, and it draws you in closer to the group; it is meant to draw you in closer to the lyrics.

As in the past, Barzelay weaves his lyrics around the most mundane of things, though this time around, there is less of a childishness to the entirety of the lyrics.  Well, childish is probably not the word to use, so let’s use wit in this case.  Seemingly, he’s thrown these lyrical concepts a little bit away from the group, which inevitably bring a more serious tone to the album as a whole.  It’s a different approach for the group, one that might lead long-time fans through a period of adjustment.

A serious tone has been established through the vocal and lyrical element, which really sets the mood for the listener.  The band, always lumped into post-country genres, has never been one to fiercely pick up the pace, but it seems here they definitely slow the tempo all the way down.  Take “Hum,” for example, a slowly sprawling song, ending with a seeming crescendo of ferocity, but pulled back just in time for the band to hone that slowdown hoedown that covers the album.

Most will appreciate this album’s gentleness, as the level of intimacy achieved here is one that will bond with listeners.  The quietude of the mood is soothing, and it forces you to pay attention to every little aspect of the album.  Strong production allows you to see those littlest details, as the band has filled out all possible areas of their sound.  It’s almost as if its a late slocore album, shedding the walls of country tinge away as they created, and ultimately finished this album.

Long time fans will surely be glad to have this band back together, working to create that soft edge of country sound that many people lovingly dote upon.  While it may not be the best of the group, songs such as “Burn the Light” will surely show that Clem Snide is still a strong force to be reckoned with, now, and in the future.

[audio: https://austintownhall.com/wp-content/uploads/2009/01/03-hum.mp3]

The Black Lips – 200 Million Thousand

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Print Rating: ★★★½☆

The Black Lips have recently gotten more acclaim, or seemingly so, for their exploits off the stage.  They’re followed around like the Paris Hilton of the indie world, but the questions that follow should really pertain to the quality of their music. It’s clear that their a ramshackle bunch of lads, but when that carries over to their music, can we follow along? 200 Million Thousand attempts to answer that question.

It’s really hard to find a ground from which to approach this album.  Sure, the obvious psychedelia surrounds the band, not to mention the garage quality that has been there from the beginning of the band’s climb into our record collections. All these qualities point to an album worthy of critical acclaim, but only if the band can bring it all together.

Here, they don’t quite execute.  There are some clear misses on the album, such as the vocal quality.  Every time this band releases an album, it seems as if they shy away from the singing being a focal point. When you come across a song like “Starting Over” or “Old Man,” it seems as if they might unleash some hidden vocal talent, but its just not there.  The rest is hazily smothered in shadowy production, disguising the vocal for the most part.

Then, you come face to face with the fact that the band finally seems to have gotten a cohesive sound together, but the sound just doesn’t quite seem original.  It’s shrouded in the past of bands like The Velvet Underground and The Rolling Stones. Are they trying to be ironic by miming some of the most heralded acts around or is this an honest representation of who the band truly is as a group?  The answer is certainly difficult to come by, so one must take the songs into account.

“Drugs” is a California surf-pop romper, fueled by the twang of the guitar.  Even with the shotty vocal effects, you still can feel the catchiness of the song as the group sings in unison. And of course, that is followed by the super “Starting Over,” which may very well be one of the best songs that we hear all year.  There is an inexplicable quality to the song that wins you over as soon as the guitar comes in during the opening moment.

Interestingly, there is also a soul tinge on this record, which may display some of the more banal qualities of the group as a whole, but the power of such songs is undeniable.  “I’ll Be With You” is the song you expect to hear when watching a scene from the Enchantment Under the Sea Dance.  It’s got that classic Buddy Holly guitar sound, but with a more juvenile approach to songwriting.  It’s earnest, and it deserves appreciation.

At the end of the album, you have to take the Black Lips for precisely what they are: a gaggle of ruffians eager to write soulful psychedelia that they hope wins your heart.  It might not be the most original piece of work to ever come our way, but rest assured there are a bunch of songs here worthy of high praise.

[audio:https://austintownhall.com/wp-content/uploads/2009/02/10-old-man.mp3]

Download: The Black Lips – Old Man [MP3]

Malajube – Labyrinthes

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mala1Rating: ★★★☆☆

With the release of their second album, Labyrinthes, our favorite francophiles, Malajube, were poised to hit the United States running full steam ahead.  The question everyone wanted answered was whether or not they would convert from their first language to a more commercial language, one that would surely break them into the independent scene in the neighboring country. The answer, dear reader, is an emphatic “no!”

They open the album with the epic “Ursuline,” which has a certain sense of urgency once the songs gets going, but just as you expect the band to push over the top and rush through the song, they scale the entire number back, slowly leading you towards the outro of the song.  It’s a statement the listener must respect, as the band has the capabilities to lead you wherever they wish.

Still present this time round is the organic sound.  Usage of gang vocals, both brash and soothing go in and out of the record.  Pianos, guitars, drums and extemporaneous instruments/sounds are also used indiscriminately.  It’s a sound that one has come to expect from our northerly neighbors, as they seem to rely a lot on the soundscapes of fellow Canadians, Broken Social Scene. This time around, the band sounds a lot warmer than on Trompe L’oeil.

Yet, through it all, the band sound just like something you would listen to on something like KEXP. The guitars are driving, providing the pace of the record, but the band can pull that sound away from you immediately, resting, instead, on atmospheric “oohs” and “ahhs.”  Clever combinations of sound come within each song, which is precisely why this band garners the interests of fans today.

And you’ll come across songs such as “Heresie,” which will win you over in a short span of time.  In fact, the coupling of the aforementioned song with “Dragon de glace” is probably one of the more special moments you find on the album.  It’s a mellower Malajube than the one presented on the earlier part of the album.  It’s a pleasure to come across a band that puts out an album where to layout of the songs on the album shows a strong thought process, as if they wanted you to listen to the album all the way to the end.

But, the one detractor, as alluded to earlier on, is the fact that the band, while respectable, maintain their allegiance to their native tongue.  It’s not that the vocal element is not appealing, as one can take a certain emotive quality away from the songs, but its the lack of a connection between the band and most listeners.  Musically, the band can take you many places, but a lot of people will want to connect with the lyrical content, and that is simply not possible for people versed in English.  It’s the one miss on this album, though for many, it’s a pretty big miss.

[audio:https://austintownhall.com/wp-content/uploads/2009/02/06-les-collemboles.mp3]

Download: Malajube – Les Collemboles [MP3]

Beirut – March of the Zapotec…

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beirutRating: ★★☆☆☆

Long before Zach Condon of Beirut presented us with his most recent output, a double EP titled March of the Zapotec and Realpeople: Holland the media presented us with a rumor of some grand orchestral scheme including bands from the Oaxacan region of Mexico.  Patiently, we awaited for the arrival, of not only new tunes, but for the next set of exploratory sounds pushed out by the young genius.

Sadly, the first EP, March of the Zapotec, doesn’t really seem to be rooted into much of the Latin culture.  For one, the presence of tuba and accordion definitely detract, or perhaps are more overbearing, in regards to the sound one would typically hear in quaint Mexican neighborhoods. “La Llorona,” the first real song, doesn’t even have a Latin twist at all, instead seeming like an extra piece left over from Gulag Orkestar. Maybe adding and extra layer of horns aids the cause, but very little.

The songs where he does delve into a little bit of the flavor one would come to expect from a Oaxacan regional band have little or no lyrics at all.  In fact, they seem like instrumental pieces tacked on to the EP as filler, and in a way, to show that Zach indeed did follow through with his desire to include a new flavor from South of the New Mexican border, but perhaps he should have gone way mariachi because the songs on this half of the EP are lacking.

Realpeople: Holland is an entirely different step then what we are given on the first EP; instead, Zach seems to go into the bedroom, digging deeply into that box in his closet in order to pull up all those Depeche Mode bits he recorded as a young child wearing eyeliner.  It’s his voice that wins you over here, which is going to be the case when juxtaposed from with the simple keyboard elements presented here.

Interestingly, some of these songs actually work well.  It’s a side we, as listeners, aren’t accustomed to when listening to a Beirut product. His voice always carries a semblance of the personal touch along with it, but here the quiet behavior of electronic elements in the background make it  more so than ever before.  He seems almost vulnerable.

Wait, did he just loop his accordion?  Is that what you hear on “The Concubine?” If so, then this part of the album definitely has showcased new direction and strengths, but still, it’s far too short to climb the walls to that spot reserved for your favorite albums.  His inconsistency here leaves one questioning exactly where he can go next, as it has been quite some time since he completely won you over with his originality and style.  For now, he seems to be treading water, trying new things and putting out mediocre EPs.

[audio:https://austintownhall.com/wp-content/uploads/2009/02/01-my-night-with-the-prostitute-from-marseille.mp3]

Download:  Beirut – My Night with the Prostitute from Marseille [MP3]

Vetiver – Tight Knit

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vetiver-tight_knit-album_artRating: ★★★★☆

Andy Cabic and Co. return with a loud whisper this outing with definitely their strongest album they have recorded to date.  Vetiver’s new release Tight Knit warms your ears through the cold days without all the embarrassment.  Having been part of the freak-folk scene in New York for awhile, Vetiver rubbed elbows with some of the heavy-weights on the music circuit today like Devendra Banhart and Joanna Newsom which soon led them to a tour with Vashti Bunyan. Fast-forward to 2009 and Vetiver are now signed to Sub-Pop with some indie credibility and major promotion/distribution to follow. I was reading a couple weeks ago in the Austin Chronicle about bands set to break-out at this year’s SXSW Music Fest and Vetiver were listed.  HAAAAAAAAAA! They probably think this is Vetiver‘s first album. I mean, it’s not like they haven’t been making waves on the last two efforts. I’d say To Find Me Gone was their “break-out” album, but I guess they aren’t big enough considering they aren’t playing in arenas right? Pfft…scoff-scoff, nose up and pinkies out suckas.

Tight Knit has a dreamy floating quality to it through-out that normally would sound like  a lot of fluff to someone who hasn’t heard the album yet, but take a gander at it and you’ll see. The warmth of the vibraphone being used in the opener “Rolling Sea” immediately calms your nerves and gently rocks you back and forth. Zzz……….ahhhhhhh. Lap steel guitar makes it’s first appearance on the album in “Sister.” The layer of the instrument twists and pulls, breathes in and out, making you tap your feet and skip down the street. The skipping soon picks up to hopping when the opening rhythm chords of “Everyday” begin. The chug-a-lug feel comes to a nice vocal break-down and goes right back into the hopping. If there were a song which made you feel like the first day of spring had arrived, this is the one.

Cabic has a whispering way of singing that soothes your skin, his delivery is like the breeze– not forceful, not un-noticed, just a hammock away from day-dreaming. Though there are bar room stomper songs like “More Of This,” he never loses his velvet luster. You think the singing could easily give way to screaming and howling, but it’s just not in his nature.

The album is consistent from beginning to end. It never trails off boring you with a better half of the album than the other. Maybe this is Vetiver’s break-out album and I’m a jaded jerk-off. Maybe I’m just a music dork that has way too much time on his hands. Maybe you need to get off your ass and buy this album.

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

Download: Vetiver – Everyday [MP3]

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