Category: Reviews

M Ward – Hold Time

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holdRating: ★★★★☆

M Ward has won over fans this past year for his role in She and Him, which is deserved accolades, but lets not forget that the man on his own has always been able to record some of the more intimate bedroom listens of the decade.  He returns now with Hold Time, his first solo outing since releasing Post-War.

Opener “For Beginners” is the perfect album opener for this album, as the cooly calm vocals hum gently over the guitar, being strummed as if a slow train were approaching.  Ladies and gents, this is a slow train coming, so sit back and enjoy.

There is just something about the way that the man records his albums that seems to win you over every single time.  Based on his previous confessions, its easy to see here that he adores recording of the olden days, and he treats his own songs with similar care, coating each tune in pleasant melodies and a general warmth.  Yet, it never sounds dated when he pulls it off.  Unless, of course, he covers “Rave On” by Buddy Holly. His version is a little less clean than the original, as a little feedback seems to suit his aims purpose.  Where he lacks in the precision of the original, he makes up for it in his presentation.  M. Ward owns this song, and recreates it with a new spin, all the while holding onto the blueprint of the original. The song also features Ms. Deschanel, one of the two songs she guests on throughout the duration of this album.

For some reason, it’s really hard to escape the feeling that the singer of these songs, our narrator, belongs in the present day.  It’s as if every song, although based on modern times, is rooted firmly in the history of the past.  Perhaps this is why it always seems so intimate as you listen to the sounds coming out of the stereo.  Take “Fisher of Men,” which seems to have that same train-track guitar plucking.  It’s as if the whole song was sung in camaraderie around a campfire at a work camp during the Depression.

“Oh Loneseome Me” offers us yet another great collaboration, this time with Lucinda Williams.  Lyrically, it offers a glimpse at a lost love, and having to confront the free time on one’s hands afterwards.  But, the vocals on behalf of both artists really do remove every ounce of emotion from the listener, which always makes for a perfect song.

Interestingly, there are some genuinely upbeat moments here too, like “To Save Me” and “Epistemology.”  The repertoire that the man has at his hands allows for a great deal of variance throughout the entirety of this album.  At the core, his voice is able to adapt to varying levels of instrumentation, always holding onto the more personal level of presentation.  With each twist and turn, you hear an old friend, or even grandparent, softly rocking you to sleep.

As the beginning of the year take off, lets all hope that M. Ward gets loads of accolades for his endeavors as a solo musician with vast talent, and not just for his wonderful collaborations.  Hold Time will surely be a step towards that accomplishment.

[audio:https://austintownhall.com/wp-content/uploads/2009/02/02-never-had-nobody-like-you.mp3]

Download: M Ward – Never Had Nobody Like You [MP3]

…Trail of Dead – Century of Self

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trailofdead1Rating: ★★★½☆

Long ago, or so it seems, Pitchfork gave Austin’s Trail of Dead, the highest honor, a perfect ten for their album Source Tags and Codes.  Since then, the band has experimented with various changes in sound and direction, and it seemed, unfortunately, that people had gradually begun to look the other way. Century of Self is perhaps the album that gets them back on top of it all.

When “Far Pavillions” gets under way, listeners are greeted with the bombastic drumming, as pounding rhythms blast through the speakers. The call and response vocals recall a greater day when post-punk definitely had its hold over the world; its a credible start to the album, and what some might call a return to form.

In previous efforts, the band might go off at this point, jumping in a new direction, but this time around, they keep right at it, as a large wall of sound crushes listeners, in a good way.  Once again, the drumming is spectacular, and it continuously pushes the band forward.  “Isis Unveiled” is a somewhat epic tune, sprawling out over six minutes, all of which keep your attention.

Then we are visited by the softer, slower elements of the group.  “Halycon Days” and “Bells of Creation” take a different approach to the audience, slowing down the tempo, albeit momentarily.  These songs demonstrate that the band has grown a great deal in the process of coming to this album, yet they still maintain a certain sense of impending doom and chaos, which is precisely what this band has always been known for in the past.  Here we find them able to soothe you in a moment, and then crush you the next. A perfect balance of sorts.

All of a sudden, the band hold it all back, throwing what one would call some ballads at the listener.  “Luna Park” is somewhat of an unexpected turn on the album, as its driven primarily be gentle piano work, coated in guitar accompaniment. Honestly, if it had come at a different time, as far as album placement goes, this would be one of the many highlights on this record.  There is a personality to this song that hasn’t been present in past efforts. But, this is also where the album switches gears.

From here on out, the album has a different sense of urgency.  Songs like “Pictures of an Only Child” and “Insatiable Two” show that the band may have just outgrown the ferocity they once held.  Sure, there are still elements in the latter half that are pleasing in an aesthetic sense, but its a bit of a juxtaposition when compared with the first half of the album.  While one side presents a fierceness that dares you to hold on tight, the other side wants to draw you in closely.

Its precisely this element that makes the album a little bit uneven.  In a way, they’ve crafted the perfect LP.  Side one is full of a barrage of shear noise and pace.  Side two is a slow drive down a carefully soundscaped highway.  Either side surely can stand up on their own, both with lots of quality, but when thrown together, its a bit of an odd combination.  Then again, the band has never been one to worry about falling along a prescribed path.  They prove their willingness to follow their own path with Century of Self, and we’ve got to respect that.

[audio:https://austintownhall.com/wp-content/uploads/2009/02/09-pictures-of-an-only-child.mp3]

Download: Trail of Dead – Pictures of an Only Child [MP3]

Dent May – The Good Feeling Music of…

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dent

Dent May & His Magnificent Ukulele – The Good Feeling Music of Dent May & His Magnificent Ukulele

Rating: ★★★★☆

Not much has been made of Dent May, which is quite a shame, as he is the man that fills the void for all those in need of a decent lounge singer to mix with their pop-culture references.  He’s part Jens Lekman, part Stephin Merritt.  The release of his album, The Good Feeling Music of Dent May & His Magnificent Ukulele, is worthy of your ear, so do the man a favor and tune in.

One of the more original elements in Dent May‘s albums seems to be his reliance upon sun-soaked tunes, lending many to note that he leans towards tropicalia. It’s like he’s gone and mixed all  his elementary bar lineage with a trip to somewhere in the Caribbean.

Sure, the use of the ukulele definitely will draw comparisons to the work done on must-have albums like 69 Love Songs, but he’s not simply taking a rip off of his influences.  The infusion of various island elements brings an entirely new spin on the genre of uke-pop.  Each song has its own personality, which is all you can ask when the origins of the songs stem from such a domineering instrument.   He even adds various sound bites throughout to add a little something extra; its his own spin on the genre.

Vocally, you’ll find him walking the line of Merritt and Lekman, which all owes a great debt to lounge singers throughout the history of time.  It’s a vocal that contains remnants of soul, but has a heavy influence of showmanship.  Mixing these qualities together provides for a uniqueness all his own.  Despite similarities to those who visited the land before him, Dent May has a sound all his own.

One thing you can pick out immediately is the songwriting touch, which pays an homage to the obvious influences.  Lyrical content reflects his ability to take mundane, trivial even, stories of life and spin them in a fantastical sense that keeps the listener interested.  It’s a quality of writing that only few before him truly possess, and we’ll leave those names to historians for the time being.  Who wouldn’t love to hear a song about one’s love for Michael Chang?

Rest assured, in the silence times of uke-pop, Dent May has taken over as the king of swinging lounge acts eager to win your heart and your ear.  It might not be everyone’s cup of tea, but dammit if it doesn’t make you want to swing someone around in pure glee.

[audio:https://austintownhall.com/wp-content/uploads/2009/02/02-meet-me-in-the-garden.mp3]

Download: Dent May – Meet Me In The Garden [MP3]

Charles Spearin – The Happiness Project

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charlesRating: ★★★☆☆

When Charles Spearin, member of Broken Social Scene, decided he needed something new to cleanse his pallet, he turned to an idea that had been fermenting for several years.  In his mind, he could hear the vocal inflections in every day conversations, as only a man with a keen ear can do.  His next step was to fuse these natural inflections into a pop-centric album.  The album would be titled The Happiness Project.

Setting the scene for this masterpiece of sorts, Charles set out to record his neighbors conversations with the subject matter revolving entirely around the idea of happiness. Once recorded, Charles would enter the studio to incorporate a plethora of instruments in order to match the melodies in the speeches on tape to musical melodies.

His attempt has proven quite successful, though it’s easy to say that this might not be everyone’s cup of tea.  For all intents and purposes, it’s an avant garde concept album, with a leaning towards the pop elements; these elements rely more on the personality of Spearin than the final product.  Each recorded session is fit in with a unique sound meant to follow the exact vocal inflections of the speakers.  You may not regard this as something entirely remarkable, but when listening, one can’t help but feel a sense of wonderment when you hear just how tightly wound the two melodious elements are on tape.

A problem for most listeners certainly will lie in the timing of the album, and by that I refer to the appropriate time to listen to such an album.  It’s not exactly something you just throw on the record player in the middle of the party, but this could be precisely what Spearin wants from his listeners.  Perhaps he is begging you to step aside from the normal barriers of conversation and listen closely to the natural music we all make every day of our lives.

This experiment, as the man proved live, is quite beautiful when heard in the live setting.  Conceptually, its both brilliant and intriguing. You’ll just have to set aside a fair amount of time to actually sit down and let this record crawl into your head, and if you do so, you are sure to reap the rewards that Charles set out to share with us all.  Though it’s merely a reminder of the beauty that surrounds us each day, even in our most mundane conversations.

The Von Bondies – Love, Hate and Then There’s You

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vonbondieRating: ★★★☆☆

The Von Bondies crept out of the massive Detroit scene on the heels of The White Stripes.  They were well versed in the garage stylings known to their locale.  But, then they flipped the switch on us.  They followed up their debut with a more straightforward album, and now they completely leave it all behind as they present us with Love, Hate and Then There’s You.

From the minute this album takes off with “Shut Your Mouth” you can tell that the entire group has begun pushing towards new ground.  Sure, this opening track still revels in the garage-infused sound of old, but something new exists here, something that could lose fans while gaining scores of new ones.  It’s the pop element.

Singer Jason Stollsteimer definitely has a brooding crooner quality, which recalls the vocal quality of a certain Mr. Flowers.  It’s not entirely surprising when listening to the rest of this album, as the mood of the songs easily matches the aesthetic quality of Jason’s voice.

In a sense, the band comes off like a hard-edged version of The Killers. This isn’t too say that the band has entirely left behind their past in favor of a more commercial appeal to the masses.  “Only to Haunt You” has the feeling of dark swirling pop melodies that garnered acclaim for the aforementioned band.  Still, the band holds on to the darker element of this genre, fueled by the precise rhythm section. This batch of songs is clearly the most accessible set of tunes they’ve created up to this point, and the culmination of this point may be welcomed by many.

All the songs are short, and they hit your ears quickly.  Occasionally, the vocals are matched with feuding vocal elements from Jason’s female counterpart, which give the band a bit of grit, though they never stray to far from the middle of the road. Therein lies one of the problems with this record: nothing here sounds entirely new to the listener.  This isn’t mean to knock on the band entirely, as its quite difficult to produce purely original sounds nowadays, but this just seems a bit to easy for the band.  At times the songs seem a bit uninspired, almost as if the band were just throwing about demos inside their studio.

Strong moments do exist throughout the entirety of this record, such as on “Accidents Will Happen.” Here you find the and bouncing along appropriately, as guitars jangle.  But, you’ll also find a certain rawness to the vocals, which show that Von Bondies still like to stay close to home.  They can’t seem to move on from their own history.

In the end, you find a band wavering on a middle ground, stuck between a poppier quality that is bubbling beneath the surface and their classic garage sound.  Many will find that the pop elements warrant approval, while others will relish in the fact that the band could definitely hit it a lot harder.  You decide.

[audio:https://austintownhall.com/wp-content/uploads/2009/02/04-only-to-haunt-you.mp3]

Download:  Von Bondies – Only to Haunt You [MP3]

Wavves – Wavvves

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wavesRating: ★★½☆☆

It has been a productive year for Nathan Williams of the beach punk band Wavves. He released his first self titled album, a cassette, two 7”s, and now his second LP entitled Wavvves. Whew… but, ferrrrrrrrrrrt. You can’t help but give him credit for being prolific and releasing everything he creates without a filter, but herein lies the problem of not having a solid, well crafted album from beginning to end. His lo-fi approach reminds me of Times New Viking’s recording style in that they are lo-fi for the sake of being lo-fi. They have enough money and resources to record albums properly, but they’re too effing cheap to cough up the dough. It’s either that or they think they’ll get credibility for sounding raw, edgy, and punk as fuck but really, they just sound like total shiite on record. I really don’t understand why someone would want to record an album where a listener can’t even make out the lyrics? Everything is hitting red on the dials while recording which makes it clouded in white noise and fuzz to the point where it all breaks up. This minimal recording method can be thrown to the waste-side, but the album does have some shining moments when the album’s few strong songs break through Williams’ pot-fueled instrumental experiments.

“So Bored” is an instant ear grabber that breaks the trance of “More Fur,” a song in which Williams is setting the course for the Enterprise to deep space and does little more than use delay and an arpeggiator. “So Bored” brings things back to earth by starting off with a driving drumbeat that gets one of the raddest and dirtiest guitar intros I’ve heard in awhile. That’s right mofos, I just said rad. The vocals soon follow and the song is a beautiful dirty mess which showcases his melodic sensibilities instrumentally and vocally. (Note: try and figure out which 80’s song he copies with his closing guitar line. First one to do so gets free drinks on me the whole show when they play here in Austin for SXSW). “No Hope Kids” is another rocker that talks about, well…I don’t know because you can’t understand what in the hell he is saying since the recording sucks so bad. But the chorus is…(drum roll) “Nooooo-hooooope-kiiiiiiiiiiiiidsssss!” “Surf Goth” is another honorable mention just based on the weirdness of the singing alone. It sounds as if Williams invited Gene and Dean Ween over and began knocking a few rounds back and taking whip-its together.

It is tough to say whether Williams’ output is something to admire or if it needs to be controlled. I like the fact that he is willing to put everything out there for everyone. The problem for me is that his ideas seem a little fragmented at times. The space voyages that he goes on are tiring and trying of one’s nerves. Alot of artists will use noises to add to a song for texture later. Some of these ideas can be used, some thrown away. Sometimes the artist will release the songs that aren’t quite as strong on b-sides or reissues in the future. Williams needs to critique himself a little bit more to make an album that is more defined. Shave off the fat, get rid of the noises and the songs that aren’t as good and be patient for at least another 6 months to a year. Then he’ll hopefully have from beginning to end, a slew of well-rounded, more thought out songs.

We will definitely get to see step by step, note for note, the progression or digression of this 22 year old. Will he wait a little bit longer on his next release and fine tune these thoughts? I am curious to see which way Williams is going to go because there are good moments on Wavvves where you can see the hints of potential. I just need to be able to hear what he is saying.

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

Download: Wavves – So Bored [MP3]

Iran – Dissolver

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irandissolverRating: ★★★★☆

It has been seven years since the last release from Iran, which makes the forthcoming record Dissolver one of the more curious and anticipated albums of 2009. Especially after the song “Buddy” was found all over blogs in October of 2008, we heard the new direction that the sound was heading in — Hi-fi(ve) and thank-you for doing so boys. Fresh off of living in Norway for two years to make a successful documentary about the black metal movement, “Until the Light Takes Us,” Aaron Aites returns with an album that touches on many musical templates. Pop, soul, doo-wop, folk and of course- the NOISE can all be found on this outing. Helping bring the sounds to life are Kyp Malone (TV on the Radio), Peter Hoffman (The Mendoza Line) and Aaron Romanello (Grand Mal).

The first thing that catches your ear from the get-go is that this wasn’t recorded in a bedroom, on a 4-track recorder like the first self-titled album and the second called The Moon Boys. It is a natural progression for a band with more resources, a bigger pocket book, and everyone in it being more established. Where The Moon Boys built upon being a tinge poppier and more restrained than the mega-experimental freak-outs of its predecessor, Dissolver aborts the pit stops and emerges with its fundamentals in tact, boldly new and refreshing.

The album was recorded at Gigantic Studios with Malone’s bandmate of TVOTR Dave Sitek putting his thumbprints all over the sound of the album. With concise and controlled fuzz always being the trademark on his own albums, Sitek’s sound meshes perfectly with the sound initially made by Aites during his gritty, 4-track days. While listening to these beautiful harmonies accompanied by larger than life doubled voices, it’s hard not to notice the TVOTR bleed over. Songs like “Buddy” and “Can I Feel What” are prime examples of Malone’s contributions of high, ball-grabbing harmonies and tasty fuzzed out guitar playing. “I Already Know You’re Wrong” is a Beach Boys inspired number ala’ “Sloop John B” that carries a great surf groove with a similar vocal rhythm and again, great harmonies.

Then there’s the experimental noise of “Baby Let’s Get High Together One Last Time” with its Pavement infused undertones. The sassy wordplay and erratic guitar lines have a familiarity about them that bring back memories of mid 90’s slacker rock. The song ends in a wall of sound of electronic bleeps and glitches which segues into “Digital Clock and Phone.” Not leaving their roots far behind, Iran shows they still like to make a little noise. This will take you old fans back to “The Music Plays Itself” from their first album. Enjoy!

Btw-do yourself a favor and buy this album, though rumor has it that it may not be released until February 17th, because chances are, you will never get to see them play live. They are renowned for not going near stages very frequently with their only show being scheduled for March 6th at the Mercury Lounge in New York.

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

Download: Iran – Buddy [MP3]

The Pains of Being Pure at Heart – s/t

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painsRating: ★★★★½

Some of the simplest music occasionally connects with you on the most personal level, and this probably is just one of those times.  The Pains of Being Pure at Heart have released one of the most personal albums of the year, and yet there is no explanation.  From start to finish, the album wins you over, time and time again.

Minute one is full of the jangly guitar pop that leapt all over the indie landscape throughout the late 80s and into the 90s.  Surrounded in layers of reverb and feedback, it chugs along, claiming that “you never were a contender.”  Lyrically, it is one of the most simple ideas put to paper, but you can carry that any which way you like; it never takes away from the magnificence of the music.

At times, you can clearly see the influence of bands like My Bloody Valentine, as the band use various effects to coat their sound in a darker spectrum, but at the heart of it all is a clear understanding of the craftsmanship in pop formulas.  Suppose you cleared away all the atmospherics intentions of the band, just for a moment.  You would find the most accessible pop song you’ve come across this year, but that’s what makes it so wonderful. This New York quartet didn’t take the easy way into your hearts, they took  the road less traveled.

Vocalist Kip seems like the sort of guy you always wanted to hang out with when you walked through your campus.  He wasn’t pretentious, not even in his writing, as he was assuredly an English major. Still, every time you saw him cross your path, you knew he had something to him; you knew he could take over the world.  Here, his voice is warm and entirely unassuming. The songs he crafts are all the things you wish you could’ve written, and he’ll gladly share them with you.

One of the more intriguing elements here is that the bobbing bass work is precisely what this record needs to move along.  It’s got a certain bounce to it that makes you want to continually move your feet.  It’s club music for those that  just don’t have the need to go to the club every single night of the week. Toss that in with the simple, yet exact, drum work, and you have a rhythm section that can really claim to be the backbone of this band. See “Teenager in Love” for the perfect example of the strength of the rhythm section.

Vocal interplay across the album is perfectly fitting, coddling every little harmony.  There is nothing modern about this record, other than the fact that it came out in modern times.  It could fit in alongside the best albums of the Cure or even the Go-Betweens, yet it stands on it’s own two feet.  Each turn brings you a new melody, a new angle with which to approach the songs. You don’t want to put it down, as you are sure that there has to be more to what lies beneath the album.

But, greatness aside, there is a drawback to the album. You want to keep listening to it over and over again. You want to play it on your walks, in your house, in your car on a sunny day.  That can be a bit much, and since the sound is a bit repetitive at points, you might find yourself worn out on the album in a short time frame.  Rest assured, you’ll be back soon to keep listening to this album time and time again

[audio:https://austintownhall.com/wp-content/uploads/2009/02/07-everything-with-you.mp3]

Download: The Pains of Being Pure at Heart – Everything With You [MP3]

Ben Kweller – Changing Horses

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bkhorsesRating: ★★☆☆☆

Ever since Ben Kweller flopped down upon the floor of stages to play his keyboard many years ago, we were all instantly hooked. His uncanny knack for creating simple pop tunes had long been known, but at such an early point in his career it was hard not to be flabbergasted by the young lad.  Now, two albums later, can he still win us all over with Changing Horses?

His first release brought us a slew of pop tunes that seemed to be centered around creative tunes written strictly on his piano, but then he brought out the rock with his release of On My Way. If anything, Ben Kweller couldn’t be pigeonholed for a staple sound, and this album is just another example of his musical maneuvering.  We find Ben channeling his inner country soul throughout the entirety of his newest release.

Sure, it’s nice to see a singer-songwriter push forward into new ground, and we all saw this coming with the release of his latest EP.  Still, the twang of the slide guitar seems to be a step to far in a different direction from Ben.  It comes off entirely forced, as if Ben wasn’t really pushing to break new ground so much as he was trying his best not to fall into old patterns.  He had tried it the ways he knew best, so why not go in an entirely Texas direction?

For one thing, the clever sensibility that he always maintained seems to be a bit far off on each of these songs. “Gypsy Rose” sounds too much as if he wanted to go down the path of the forefathers of folk music, resting on gentle guitar plucking.  You can juxtapose that with “Sawdust Man,” which may share similarities to Dr. Dog, but comes off more in the vein of a teenager trying to write the score to his latest homemade Western movie.

Now, the one thing that always remains true for Ben is his ability to keep you interested by holding onto his voice.  You’d be hard pressed to find someone who doesn’t have a soft spot for some of his better traits, namely this spectacular voice.  The way he can manipulate his inflection mid-melody is definitely something you could use to pass the time.  However, sometimes it just doesn’t seem to fit the country-mold of the album as a whole.

You’ll find a few gems lying beneath the covers here, such as “Ballad of Wendy Baker,” which comes across like a more subdued version of some of his earlier releases.  Here he lays his voice on the line, backed by appropriate guitar strumming and simple string instrumentation.  It’s one of the shining moments.  “Things I Like to Do” is very simplistic in its lyrical content, but that is precisely where Ben has always succeeded. He’s never been one to get to deep with the discussion in his lyrics, and simple suits him just fine.  It just might not be enough for most fans.  Even “On Her Own,” which seems to channel a little Pete Yorn vocal has some fine elements worthy of repeated listening; it just seems like these moments come few and far between.

Ben Kweller has always supplied us with hit after hit, creating seamless albums you could play all the way through. Changing Horses, in the title alone, demonstrates a move in a different direction, as he can no longer ride the same one-trick pony to stardom.  Sadly, this might not be a winning horse either.

[audio:https://austintownhall.com/wp-content/uploads/2009/02/05-ballad-of-wendy-baker.mp3]

Download:  Ben Kweller – Ballad of Wendy Baker [MP3]

Heartless Bastards – The Mountain

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hbmountainRating: ★★★½☆

Heartless Bastards, who now dwell in Austin, or so rumor has it, have garnered a lot of claim in recent years for their passionate tunes.  They’ve been backed by some big names, though we should probably just stick to the music.  The Mountain, their third full-length hits stores this week, ready to establish the band as one of the lead acts across the states.

Looking through a list of the band’s influences, it’s easy to see where the  guitar sounds come from on album opener “The Mountain,” as the band blatantly wears their Pixies homage on their sleeves.  But, they aren’t one to simply regurgitate sounds of the past, instead adding pedal steel to complete the transfer of the past towards a more modern means. It’s one of the telling signs of growth, as this record shows that they completely own their sound, packed full of tidbits from the great landscape of American underground music.

Once again, singer Erika Winnerstrom’s voice dominates the entirety of this album.  At every turn it’s full of passion and pain, simple and yet never overstated.  It’s not every day that you can find such a deep voice that carries an encouraging femininity along with it, which shows you just how much power the young lady holds. It’s got remnants in the soul-inspired folk rock of past days, yet you can immediately see the relevance it has in today’s music scene.

You will find it difficult to place the band’s exact sound, or at least locate a genre in which the band will dwell. For all intents and purposes, the band never seems to stay in one place at one time.  After the opener, with all its influences, the band jumps into a more direct country sound on “Be So Happy,” this just before the go into a Dinosaur Jr.-esque romper in “Early in the Morning.”  All this before going back to a more roots based folk sound.

Despite the power possessed by Winnerstrom, her voice seems to be more suited to the slower tunes here. Beneath the lyrics and the structure of the songs, you can see her personality clearly coming through, begging to be listened to by everyone.  Okay, so maybe we’re harping too much on her voice here, but it’s the most recognizable medium on the album, and the one all listeners will most likely attach themselves to when listening to the album.  Clearly she can hold her own here, although at times, the songs do seem to drag on a little long, and that may wear the effects of her voice out a bit.

Three albums in, and the band is building on their strengths, pushing forward with solid tunes, and yes, it’s all backed by the power of Erika Winnerstrom’s voice, but who wouldn’t want to listen to a voice like this? And please excuse the poor cover art.

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