Tag: album review

Kurt Vile – Wakin On a Pretty Daze

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Kurt-Vile-Wakin-On-A-Pretty-Daze-608x608Rating: ★★★★☆

It’s hard not to fall head over heels for any release by Kurt Vile, no matter what he does.  There’s something about his vocal delivery, and the mood he manages to establish with every tune he writes.  Wakin On a Pretty Daze isn’t any different; it maximizes his chill factor, yet wraps it all in a neat auditory box for you to play over and over.

Looking at the track listing, you might be overwhelmed by the length of “Wakin on a Pretty Day,” which clocks in at 9.5 minutes.  But, don’t let the number be daunting, as Kurt Vile manages to capture your attention from the get-go, carrying you with his smoky vocals for the entire duration of the track.  The guitars, of course, have that swirling effect that highlights both the tone and the strumming style.  Even when he tapers off toward the end with a string of “yea, yea, yeas” it’s hard not to feel the emotional pull of his songwriting. In fact, many of the songs on Wakin On a Pretty Daze are well-over the typical length one expects, like this one, but not a one of those could really be discarded.

For me, the beauty in what Kurt does is not just in the lyrics or the songwriting, but in the overall mood left with the listener, myself in this case.  I like the solemnity presented in a song such as “Girl Called Alex,” opening with a trickling bit of guitar before Vile makes his grand entrance.  He fills some of the negative space with distorted guitar.  There’s no rush in what he’s doing, always showing restraint where others might push on too quickly.  That track fits perfectly back to back with “Never Run Away,” which uses a touch more pace, though the vocal delivery is what holds my interest through this track; I also appreciate the way the guitar lines work in and out of the track’s quieter moments. It’s easy to be concise in a shorter time frame.

While I enjoy all of these tunes, I think he accomplishes more in the little songs here.  “Shame Chamber” has a bit of a crunchy stomp to it, though lower tones of Kurt’s drawn out vocal and the cutting guitar plucking soon rid the track of that sentiment. He even flirts with this pop vocal inflection (see 1.16) that leads me to believe he’s flirting with visiting other musical territory.  This number is much like the following tune,  “Snowflakes Are Dancing;” that track has a nice little coat of haze and gentle tones on the vocals to accompany the natural warmth of Vile’s guitar playing.

After spending hours listening to the new album, I think you’ll find it’s strength lays in the fact that the length of the songs and the emotional pull allow you to completely let yourself get lost.  I imagine that’s what Kurt Vile has always been after, creating guitar pop that leads its listeners into an endless state of wonderment. Take a few trips around the block with Wakin On a Pretty Daze and you’ll surely feel the same.

The Lonely Wild – The Sun As It Comes

397270352-1Rating: ★★★★☆

Though this band hails from L.A, you may have caught them somehow in your slew of SXSW shows this year. However, if you didn’t, not to fret, this band is an up and comer that will be hard to miss in time to come. Born in 2010 as the project of Andrew Carroll, The Lonely Wild released an EP that generated them some fame in their local scene, but their first full length, The Sun As It Comes, is here to stick this band on your radar.

This album is one that grabs your attention the instant you put it on. First, song, title track, and possibly one of the best tracks I’ve heard this year, “The Sun As It Comes” is a cathartic build up of folksy beginnings to a fiery finish. What starts as hair distant but powerful feminine “Oohs” accompanied by soft plucking of guitars transitions to the hair raising harmonies of Carroll and Jessie Williams, as they take you on an eerie journey of storytelling. All the while, the electric guitar gradually pushes itself into your listening spectrum and demands attention. Then, suddenly, Williams has gone back to the background vocals and Carroll’s Conor Oberst-meets-Ben Gibbard voice is screaming at you in frenzy. Such songs of gentle intrigue, along with outright fire, are to be found and enjoyed on this album.

The Lonely Wild have a lot of things going for them on this first full length release aside from a great opening track. Additionally, the songwriting on all of the songs here is engaging, apt, and relevant, serving as the icing on the cake to the sonically delightful music that this band doles out, track after track. By yhe third track, this band proudly shows you that they mean serious business, and aren’t shying away from creative details. Take “Everything You Need” as another example of an exemplary song that can be found here. Once again you have the dual vocals of Carroll and Williams, but wait, what’s that? Horns?! And an outright jamming beat from the start? What more can you want?

If your answer to that rhetorical question was a variety of tracks that transcend genres and bridge the gaps between rock and folk then look no further—The Lonely Wild has you covered. From start to finish, they hook you and then close the deal too, sealing it with their glorious harmonies and effortless likability. Do yourself a favor and give it a listen; you won’t want to be the last one to hear this band!

The Black Angels – Indigo Meadow

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The-Black-Angels-Indigo-Meadow-Album-Cover-e1358880938544Rating: ★★★☆☆

From the moment that Indigo Meadow opens, the drums seem to crackle in your speakers, while the guitar creates a trance-like sensation.  It’s a mood that sits with you for the beginning of your listen to the new record from Austin’s The Black Angels, but like always, the band allows for that sentiment to resonate for just a few tracks.  Just a few minutes later, “Evil Things” has that heavy-handed guitar churning again, creating that psychedelic cum metal stomp, but the chorus just beyond the 1.5 minute mark indicates a world of madness and beauty that arrives later.  Of course, the band wants to leave you with a smash and grab at the end of the track, just so you know they mean business.

But, you can leave the heavier stuff for a bit, as mesmerizing tracks like “Holland” wait your ears.  Sure, there’s a stereotypical organ placed in the background, but the way the guitar slowly plods along and the vocals swirl and the shout revert listeners back to the innocence of Haight-Ahsbury; songs like these are reminiscent of the genre at its best. That same sentiment exists throughout the middle of the record, especially with tracks like “Love Me Forever,” though the Black Angels always add their own twist.  Slowly the song snakes around the reverb vocals, but they push down on the distortion pedal and let out a momentary growl.  Then it soars off into a Zombies-esque vocal harmony that lasts all of about 3 seconds.  It may seemed like a scatter-brained world you’re listening in on, but I think that’s ultimately what makes Indigo Meadow an album worthy of repeated listens.

In the past, I’ve felt, though not minded, that The Black Angels often get stuck in their own sound, but the work here shows that they’ve branched out, reaching into all of their musical influences on one record.  I’ve mentioned the heavier opening numbers, and perhaps some of the psychedelic nods that are placed here and there, and that attitude allows for a certain diversity that will keep your ears entertained throughout. You’ve got groovy nostalgic ditties like “You’re Mine, which might be one of my favorite tracks on the LP, has this fuzzy throb to it, accompanied by ringing guitar cuts and the perfect accompanying percussion.  But, you turn around and find the album closer “Black Isn’t Black” built on a different wave-length.  Yes, there’s a throb/pulse here, but it’s much more sinister…that’s only made stronger by the way the vocals were recorded for this tune, like a ghost haunting your ear drums from the echo-y cavern of your skull.

While some may choose to focus solely on the lyrical content, or the misconstrued words of others, none of that really matters to me when listening to The Black Angels.  Having seen the band live many a time here in Austin, I listen to their tunes in hopes of creating my own landscape where the band’s music will accompany me.  Perhaps they’re playing in a cave that serves as drainage into Edward’s Aquifer, or maybe they’re taking me on a haunted boat cruise along Lady Bird Lake; regardless, they’re always taking me somewhere (musically and physically) that allows me to appreciate them as musicians playing the Devil’s good old-fashioned rock n’ roll throughout the entirety of Indigo Meadow.

[audio:https://austintownhall.com/wp-content/uploads/2013/02/02-Evil-Things.mp3]

Vondelpark – Seabed

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Vondelpark-Seabed-4.2.2013Rating: ★★★½☆

Blending electronica with R&B sounds is definitely a popular route to make waves in the music world nowadays, but it’s not like Vondelpark haven’t been going at it for several years.  That being said, their new effort, Seabed, manages to create an LP of songs that drift slowly into your subconscious without ever boring you.

Seabed opens with one of the album’s shorter tracks, “Quest,” and immediately the table is set for the rest of the record.  Singer Lewis Rainsbury floats atop the opening lines, just before a shimmering guitar line smoothly moves in and out of the track.  If you listen carefully, you can hear faint references to the IDM genre…it’s perhaps the band’s secret weapon. Those distant IDM/trip-hop touches allow the group to differentiate themselves from the rest of the pack, even though the emphasis revolves around the soothing vocal appeal.  You can really hear this on the opening moments of “Dracula,” which eventually unfolds into a foray of experimental electronic bliss.  This is easy listening for people with good tastes.

One of my favorite Vondelpark tracks on this effort has to be “Always Forever.”  It begins as much of the songs due, inching its way towards perfection.  Yet, just after the 30 second mark the song sees a bit of classical guitar sampling and an increased pace.  The vocal performance is perhaps the best, and the most emphatic, especially when the vocal is looped just behind the main vocal.  It’s dreamy, still, yet oddly energetic, considering the style of music the band composes.  It’s placement in the middle of Seabed also makes way for a nice little digression in “California Analog Dream.”  Guitar work takes a more prominent role here, as do the drums.  For my ears, it’s the most sonically experimental track, melding all the various components present into one unique blend that moves beyond mere bedroom R&B.  Together, these two tracks have been played the most through my dozen or so listens.

But, the group doesn’t just rely upon Rainsbury’s singing to leave their listeners in awe; just check out “Bananas (On My Biceps)” and its use of a vocal sample.  At first, I struggled to find the merit of this track; it deals with lots of empty space in varying parts.  However, the more time I spend with this record, the more that I’ve grown to appreciate the tune.  There’s warm washes of atmospheric electronics, and the aforementioned vocal sample seems perfectly placed.  Like much of the LP, mysteries unfold within and continue to impress your ears.

For me, Vondelpark seems perfectly fit to take the lead role in the emergence of this genre.  Their sampling and IDM work are an homage to a purer time of trip-hop, while every vocal seems perfectly timed and tuned to fit the song.  Seabed might not be your everyday listen, as it definitely sets its own mood, but it will reveal itself to be a stunning listen if you allow it some the appropriate time.

Gun Outfit – Hard Coming Down

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gun-outfitRating: ★★★★☆

Olympia, Washington’s best kept secret might have been Gun Outfit, that is until people get wind of the incredible piece of work they’ve constructed, and just released.  Hard Coming Down is their third LP for Post Present Medium, and according to press, the first that includes bass.  I don’t care much about any of that, other than I can’t get enough of their blend of Sonic Youth meets Built to Spill meets Dinosaur Jr meets rock n’ roll.

Hard Coming Down almost opens up softly, with a relaxed female vocal from Carrie Keith, but that doesn’t stick around for too long.  Guitars begin to ring out loudly and angular-ly, while drums pound heavily in the background.  Of course, the Sonic Youth attribute does exist in the opener, with the band going from soft to hard in a flash, though Keith has more of a sweetness to her vocal as opposed to Kim Gordon.  From here the album goes into one of its many highlights with “Lau Blues,” with Dylan Sharp offering up his drawn out vocals for a change in the album’s dynamic.  Here you’ll find the same sharpness to the guitars, though they have a country-fied meandering to them, all working around Sharp’s vocal.

While it’s easy to throw these guys in a grab bag of various alt-rock favorites, they manage to make the sound entirely their own.  For instance, the opening guitar work on “I’ve Got a Gift” surely has that fast paced guitar/bass battle working, but it’s the approach that changes things up.  Rather than let the guitar create direction, it’s the vocals here (Sharp again) that dictate where the track will go.  It’s almost a country-jam, though the pace might be too quick for that allusion.  There’s also “Death Drive,” which combines some Mascis-esque vocal tones, but the drumming alone is something that allows this song to step outside of the shadows of their fore-fathers.  Personally, I dig the juxtaposed vocals on this track between Sharp and Keith.

Of course, you’re going to have to pick your favorite singer between Sharp and Keith, and today, I’m sticking with Carrie.  Her voice on the twangy “Fallen Sun Song” is one of her best, and the more I listen to it, the more I see a haunting darkness lurking beneath the soft cover.  Or you can go back to “High Price to Pay” where she sounds more life-worn.  Wherever she pops up, it’s with purpose, providing a distinctive sound that elevates the entire record.  But, I assure you Dylan’s performances aren’t too shabby either.

Up until now I had really only been familiar with Dim Light, the group’s last album, but Hard Coming Down just continues to grow spiritually within me, especially when you bust out the vinyl version.  Gun Outfit has been on the tip of everyone’s tongue, but this album secures the band’s spot as one of the brightest stars on the musical horizon.

Generationals – Heza

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1705Rating: ★★★☆☆

Heza is the third proper full-length from Generationals, and while the sound remains largely the same, there are some definite shifts that alter the musical landscape for the group.  One thing is for sure though, the band consistently find themselves crafting perfect pop tunes that we’ll all enjoy.

“Spinoza” starts things off the right way, giving you some quick paced guitar work that reminds me of the modern surf-pop of bands like The Drums.  Of course, one thing the Generationals always have to make them stick out is the affecting vocal tone present on all their efforts.  It’s the perfect way to make surf-pop their own.  But, just as you think you’ve got the group pinned down, they go in a different direction on “Extra Free Year.”  This tune is filled with a thick bouncing bass, and the delivery of the vocal is much more subdued than on the previous track.  Little bits of guitar trickle in and out of the song, but it’s largely driven by the rhythm section.  It took me awhile to warm up to it, but it grew on me eventually.

By the time you arrive at “You Got Me,” you realize that Heza definitely has an emphasis on giving you hooks surrounded by the blips and beeps of electronica, though that’s not a huge step in a new direction, as those elements have been present before.  But, while past songs have seen those attributes used to push the track, here it seems to flesh out a mellower vibe.  There’s even vocal samples from a speech that fill out some of the empty space.  It’s tracks like this that suffice, though they’re not necessarily going to go down as my favorite. Still, it sets the mood for “Put the Light On,” which is one of the album’s standouts.  Guitar work is sparse, yet jagged, and there’s a warm atmospheric mood accentuated by some keyboard touches.  Those soaring high vocals that always do the trick are here too, allowing listeners to really fall in love with the great vibes provided by Generationals.

While I think that Heza is a little unfocused at points, the remarkable tracks are extremely memorable.  “Awake” is perfect in that it shows some restraint in pacing.  Had the band forced the issue, pace wise, I think they might have had a guaranteed iTunes commercial spot, though I’m glad they didn’t, as the true joy from this track comes when you let it slowly unfold.  This is where the band excels most on this effort, rather than their more traditional bouncing pop ditties.

After spending several weeks listening to Heza, I think that it’s an album with some great high points, and not really any lows.  Surprisingly, Generationals have excelled this time around on warmer, slower tracks.  You’ve still got your catchy pop tunes that will no doubt become live favorites, but if you spend time with the record, you’ll surely find clarity in their more pristine ballads.  Might not be top of the pops just yet, but the group continues to win my heart.

[audio:https://austintownhall.com/wp-content/uploads/2011/07/02-You-Got-Me.mp3]

Download: Generationals – You Got Me [MP3]

Frank Smith – Nineties

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franksmithRating: ★★★★☆

Frank Smith is a band, not a man.  I figured you would know that, as the group has been knocking around for nearly 10 releases, but I’m thinking Nineties is their best work to date.  It’s got roots in the world of folk music, sure, but it pushes the envelope with more than its share of loud guitars and careful musical accompaniment.

You won’t find a better opener for Nineties than “We All Win;” it opens with little more than vocals and strummed guitars…a few of the notes receive an extra twang in the mix.  While it might be one of the quietest tracks on the record, it provides a teaser of sorts, just whetting your appetite.  Soon you’ll find the pure pleasure that is “Beaten Sacks of Death.” I love the way the guitar turns at the chorus, taking the Americana roots and gearing it up for a more rocking ensemble.  What steals the show, at least in this tune is the accessorizing done musically; the accompaniment draped all provides perfect accentuation at every turn.  Oh, and wait for the stomp just after the 2 minute mark; you’ll surely come back for more.

What will stand out to many of the fans of Frank Smith will be the more complete, even louder, presence here.  If you look at the middle section of the album with songs like “How Many Ways” and “It’ll Be Over Soon,” you will see the decibels rising in your ear, but importantly, the band’s sound isn’t lost here.  There’s a slight drawl on the vocals on “How Many Ways,” and the song opens slowly.  However, the group jumps off into a rocking jam; dig the echoing guitar in the background.  “It’ll Be Over Soon” nears a full on rock track, though with hints at country nostalgia with slight electric organ touches throughout.  The chorus reminds me of how good simple lyrics can come across in this genre, like those great Old 97s tunes.

Even with the louder sound here, don’t sleep on the band’s ballads.  “One Day” is probably one of my favorite tracks on Nineties.  Everything on this track fits; there’s acoustic strumming, changes in the vocal pitch, gang vocals, piano tinkering, even a distorted guitar breakdown…this song has it all.  It all prepares you for the elegant album closer, “Chewing Glass.” The piano serves as the backbone on this number, with the guitar swirling around both vocals and piano.  Personally, I like the fact that the lyrics can be easily sung, as is the case with all the tracks on the record.  If you’re not affected by one listen to this tune then I have a feeling that something’s wrong with your heart.

I don’t want to make too much of a fuss about a more pronounced sound on Nineties, as I think that’s really unfair to the record.  While it may be louder, you’ll find absolute joy listening for the finer touches in the nooks and crannies of the album; you’ll also rejoice that Frank Smith sounds exactly like, well, Frank Smith.  I think the band is officially ready to take on the world, so join in on the fun, won’t you?

[audio:https://austintownhall.com/wp-content/uploads/2013/03/10-Chewing-Glass.mp3

Download: Frank Smith – Chewing Glass [MP3]

Warm Soda – Someone For You

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tumblr_mii422dWF51qeazcjo1_1361334027_coverRating: ★★★★½

Out of the ashes of Bare Wires comes Warm Soda, but this time around things are going to be glistening with pure pop.  It’s not like this wasn’t lurking around the corner, but with Someone For You the band has created something that will inevitable find itself stuck in your head, and heart.

Let’s get the bad thing about this record out of the way, if you can even really find a fault here.  Okay, it does sound a little bit the same through and through, but I’m not biting that that’s entirely awful.  After all, when you find so many songs filled with hooks and anthemic choruses you’re going to be happy they didn’t try to diversify their sound too much, choosing to rock it the way they do best.

“Violent Blue” kicks off the album with one of the heavier tracks present on Someone For You, using a quick pace and steady drumming to propel the track.  But, the chorus of “violent blue” hints at the more pop-centric leanings of the group, preparing you for a fun filled ride of hits.  Basically, that starts as soon as you hit tune #2, “Someone For You.”  While the cymbal work and drumming hint at a more garage filled sound, the soft quality of the vocals working against the chiming guitars definitely makes you feel good.  I especially like the way vocals blow you away with the drawn out “you” at the 1:47 minute mark. It’s just a teaser though, making way for the crunchy goodness of “Jeanie Loves Pop.”  If you need a standout track to pass along to your friends in mixtape format, then you have to include this song.  There’s a rawness to the guitar playing, yet the chorus is as anthemic as you can get, begging you to shout it out at the top of your lungs.

I think one of the best attributes of Warm Soda is the ability for the drums/guitars to work against the brighter quality of the vocals.  For the most part, the drums are pretty steady and pushed up in the mix, like in “Waiting For Your Call.”  Here, the guitars and the cymbal work build this incredible tension that you expect the band to unleash, but the twist of the knife comes via the melodic chorus relief.  Is the track heavy? Is it a pop tune? Neither, it’s just a rad tune. The same can be said for “Busy Lizzy” with its knife’s-edge guitar work and quick blasting drum work, all centered around a cool vocal that’s slightly coated.  Just wait for the boys to bang out the ending with pure pop class.

Honestly, I know a lot of people that think the Exploding Hearts sound could never be done again.  It came at the perfect time in indie rock, but now is the time for Warm Soda.  They combine elements of garage rock and power-pop to perfection; there’s not a band out there doing things as well as these lads.  Someone For You is filled with hit after hit, and you can’t ignore a single song for fear of missing greatness.  The best thing you can do? Buy this LP right now!

[audio:https://austintownhall.com/wp-content/uploads/2013/02/06-Waiting-For-Your-Call.mp3]

Download: Warm Soda – Waiting For Your Call [MP3]

 

Wavves – Afraid of Heights

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Wavves-Afraid-Of-Heights-600x600Rating: ★★★☆☆

Nathan Williams, better known as Wavves, may have crossed your radar at some point, be it through the media realm of the indie music world, or through his music; either way, Wavves is one of the most buzzed about bands. Back in 2010 he released a full length album, which seemed to take the buzz to a whole new level and his relationship with Best Coast’s Bethany Cosentino made for his place as the title within his 2010 release: King of the Beach. Now that it’s been a few years and the buzz has died down some, will Nathan Williams come back swinging from the fade?

The answer isn’t so straightforward, as this is decent album, but the honeymoon stage for fans may be long gone. Afraid of Heights begins with some tinkering instrumental, feeding the anticipation of audiences. The first track, “Sail to the Sun” bursts into life quickly, though, the guitar wailing along with Williams’ vocals, as he kicks straight into it. Fast paced and laden with lyrics classical to the California punk lifestyle that Wavves has always explores. It’s a short and sweet track, but reminds audiences that this guy knows how to rock.

Pushing onwards, you’ll find that it’s not all full speed ahead on Afraid of Heights. The second song, “Demon to Lean on” evokes a sound that reminds me of a grungier, wilder, Weezer, which isn’t a bad thing. Tempo slowed, you can focus on the details that Williams has to offer, which include small nuances within the verses. Other strong moments on this album include, “Dog,” which gives listeners a break from blasting guitars and offers a catchy chorus to sing along. Later on, “Cop,” continues this milder, less garage-rock style, with mini-builds inside of it to explode into choruses, but as on “Dog” there aren’t those waves of dominating electric guitar. Some fans may detest this, but Wavves may be gaining some new fans.

What works against Wavves on Afraid of Heights is time—the album just feels long. With songs that are so repetitive and similar to each other, it seems like a few could have been cut from the track list that would have simplified the album and made for a snappier overall sound. Williams’ music gets a bit sluggish toward the end, and so did my interest, which may be the biggest problem for listeners on here.

Regardless of length, there are some excellent garage rock tunes on this album, which should feed the buzz just enough for Wavves.

Dick Diver – Calendar Days

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DICK-DIVER-CALENDAR-DAYS-575x575Rating: ★★★½☆

When you look at the history of modern music, it seems that the second album is always where bands make it or break it.  You can either slide into oblivion with a mediocre effort, or you can establish yourself as a mainstay with a certified hit.  Listening to Calendar Days, I think that Dick Diver is going the latter route, branching out from their already solid established sound into broader territory that’s supremely rewarding.

While their first album was filled with twinkling guitar pop, “Blue & That” opens the album with a different agenda.  There’s not even a guitar on this track; you’ll find a synthesized drum track and horns.  It’s a statement track, especially when considering it’s song placement.  Dick Diver is growing up, and with that, their sound aims to progress as well.  Still, the bright guitar pop isn’t gone completely, as you’ll notice in the following track, “Alice.”  For me, the guitar sound reigns supreme on this number from the get go.  It creates a swinging element that will have you smiling while you tap your toes.

It’s difficult to follow-up a statement track and a gem with another hit, but that’s just what happens on Calendar Days when the group hits their stride with the album’s title track.  Steph Hughes takes center stage here, bringing in a more innocent vocal to the realm.  Guitars twang and drums push the pace forward; I particularly like when the whole gang joins in to accompany Steph’s vocals.  It all leads you up to what I think is the definitive track from Dick Diver, “Water Damage.”  There’s a dueling guitar sound, stemming from some slide guitar and the group’s typical jangling bright guitar work.  You throw that in with a trading back and forth between male and female vocal parts, and it’d be hard for anyone not to fall for this number.  And, if you’re reading along, that’s 4 for 4; quite a feat.

There’s something about this album that allows you to really get lost in the music.  “Two Year Lease” is one of the tunes that I’ve found myself gravitating towards as I’ve listened more and more.  It’s probably the least musical track on the record, but I actually like that approach, as the trading vocal parts are really worthy of letting your heart (and ears) drift.  But in just a few tracks, you’ll get one of the more upbeat tunes from the record by way of “Bondi 98.” It’s got a guitar that rings brightly and the vocal delivery adds a purity to the guitar pop the band have created this go round.  It’s a casual jam, but in that casual cool sort of way that we’ve all come to find endearing.  These are just a few more of the great songs that fill up this entire record.

Sure, some might say that Calendar Days is a touch to unfocused, but I think that would be an unfair assertion.  Yes, the band are trying some new things out, and some new styles, but in doing so, they’re successful, which leaves the door wide open for future songwriting.  It’s clear after spending days with this album that Dick Diver can write great songs, so only time will tell just how far they will go.  One thing’s for sure, no matter what formula they choose to pursue (or all of the above), it’s going to be a joyous listen.

 

 

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